Issuu on Google+


AUSTRALIAN INSTITUTE OF MUSIC

THE LEADING SCHOOL FOR TODAY’S MUSIC INDUSTRY

Degrees in Performance | Production | Management | Composition Industry connections | events | guest artists | career opportunities

Semester 2 starts 23 May APPLY NOW

www.aim.edu.au


THE DRUM MEDIA 26 APRIL 2011 • 3 •


• 4 • THE DRUM MEDIA 26 APRIL 2011


VILLAGE SOUNDS AND SECRET SERVICE PRESENT THE 11TH ANNUAL ARTS & MUSIC FESTIVAL

FRIDAY 29, SATURDAY 30, SUNDAY 31 JULY 2011 TICKETS ON SALE 9AM THURSDAY 5 MAY 3 DAYS U ONSITE CAMPING U MULTI STAGES

WOODFORDIA, WOODROW ROAD, WOODFORD QUEENSLAND 1.5 HOURS NORTH OF BRISBANE U ALL AGES & LICENSED COLDPLAY (ONLY AUSTRALIAN SHOW) U KANYE WEST (ONLY AUSTRALIAN SHOW) U JANE’S ADDICTION U THE HIVES U PULP U THE LIVING END THE MARS VOLTA U REGINA SPEKTOR (ONLY 2011 SHOW...ANYWHERE) U BLISS N ESO U PNAU U MOGWAI (ONLY AUSTRALIAN SHOW) U DJ SHADOW U FRIENDLY FIRES GLASVEGAS U THE GRATES U DEVENDRA BANHART AND THE GROGS U MODEST MOUSE U THE MIDDLE EAST U KAISER CHIEFS U JAMES BLAKE U KELE U THE VINES ELBOW U ESKIMO JOE U NOAH AND THE WHALE U CHILDREN COLLIDE U THIEVERY CORPORATION U CUT COPY U ISOBEL CAMPBELL AND MARK LANEGAN BLUEJUICE UÊ THE KILLS U BLACK JOE LEWIS & THE HONEYBEARS (FEATURING THE RELATIVES) U ARCHITECTURE IN HELSINKI U FOSTER THE PEOPLE THE PANICS U JEBEDIAH U THE VACCINES U GOMEZ U BOY AND BEAR U GOTYE U DOES IT OFFEND YOU, YEAH? U CLOUD CONTROL MONA U SPARKADIA U WARPAINT U MUSCLES (LIVE) U FITZ AND THE TANTRUMS U THE JEZABELS U DRAPHT U BRITISH SEA POWER U TIM & JEAN LEADER CHEETAH U GROUPLOVE U SEEKER LOVER KEEPER U YELLE U KIMBRA U PHRASE U OH MERCY U DANANANANAYKROYD U THE BLACK SEEDS MARQUES TOLIVER U THE HOLIDAYS U GHOUL U LIAM FINN UÊ THE HERD U YOUNG THE GIANT U GUINEAFOWL U HUNGRY KIDS OF HUNGARY JINJA SAFARI U WILD BEASTS U ILLY U CUT OFF YOUR HANDS U GARETH LIDDIARD U ALPINE U WORLD’S END PRESS U MOSMAN ALDER U LANIE LANE PLUS DJ’S THE ASTON SHUFFLE U FLIGHT FACILITIES U D-CUP (WE NO SPEAK AMERICANO) U AJAX (MEGA JAM SET) U HOODRAT & DANGEROUS DAN UÊLIGHT YEAR UÊHOOPS CASSIAN U WAX MOTIF U KATO U TONI TONI LEE U CHARLIE CHUX U TRANTER U TRIPLE J UNEARTHED WINNER AND LOCAL ACTS TO BE ANNOUNCED TICKETS AVAILABLE ONLINE FROM MOSHTIX.COM.AU

VISIT SPLENDOURINTHEGRASS.COM FOR UPDATES

THE DRUM MEDIA 26 APRIL 2011 • 5 •


a collection of the finest stor ytelling songs of our time

STORYLINES is an album full of classic storytelling songs that take the listener on a journey. Every track is a masterpiece and the album is a must for a generation of music lovers. Featuring:

Bob Dylan, Leonard Cohen, Simon & Garfunkel, Johnny Cash, Van Morrison, Glen Campbell, Al Stewart, Kris Kristofferson and more. ALBUM IN STORES FRIDAY 29th APRIL

They were the days of miracles and wonder, of tales told by troubadours, & lyrics that have endured throughout the years.

And now they’re back. CCEntertainment & Sony Music present

LEITH STEVE BALBI JEFF DUFF EVELYN DUPRAI ELLIOTT WESTON SPENCER JONES SAM KNOCK NICKY KURTA SAM JOOLE* * DAMIEN

under the creative direction of

(Noiseworks)

Joseph Calderazzo

* performing at The Basement only

Performing their versions of storytelling songs by Dylan, Springsteen, Joni Mitchell, Cat Stevens, Simon & Garfunkel & many more THE BASEMENT

LAYCOCK ST THEATRE

Strictly Limited Dinner & Show Tickets – Call 9251 2797 General Admission Tickets - moshtix.com.au

Call 4323 3233 or laycockstreettheatre.com

SATURDAY APRIL 30

• 6 • THE DRUM MEDIA 26 APRIL 2011

FRIDAY MAY 6


THE DRUM MEDIA 26 APRIL 2011 • 7 •


THIS OFFER IS VALID AT THESE RETAILERS ONLY • 8 • THE DRUM MEDIA 26 APRIL 2011

JB HI-FI: SYDNEY METRO, KOTARA, GLENDALE & CHARLESTOWN

SANITY: ALL SYDNEY METRO + SHELLHARBOUR, MAITLAND & CENTRAL COAST

REDEYE RECORDS UTOPIA RECORDS HUM KING ST HUM OXFORD ST ST MARY’S SOUND CENTRE LEADING EDGE WARRIEWOOD

LEADING EDGE MUSIC GOSFORD VISION WINSTON HILLS WINMALEE RECORDS RICHMOND RECORDS ACE MUSIC NARELLAN


at fa Have your say

cebook.com/A

rtline

THE DRUM MEDIA 26 APRIL 2011 • 9 •


• 10 • THE DRUM MEDIA 26 APRIL 2011


What’s On this Week

Anil Desai 26 & 27 April Factory Theatre

CarlEinar Hackner

Andres Lopez

Burnham

Sun 1 May Enmore Theatre

tue 26 april Metro Theatre

Chris Radburn

27 April - 7 May Factory Theatre

27 - 30 April Parade Theatre

26 - 30 April Factory Theatre

Julia Wilson & Greg Parker

27 - 30 April Parade Theatre

27 April - 1 May Factory Theatre

Ronny Chieng

Rockwiz Live!

27 April - 8 May Factory Theatre

Dead Cat Bounce

2 - 7 may Enmore Theatre

28 April - 1 May Metro Theatre

28 - 30 April seymour centre

Mark Watson

Marcel Lucont

Bulmer’s Best of Edinburgh Fest

Danny Bhoy

Hing & Magee

Guy Pratt

Felicity Ward 28 April - 1 May Factory Theatre

Bo

26 - 28 April seymour centre

John Robertson

27 - 30 April Seymour Centre

Nina Conti 27 April - 1 may opera house

Sarah Quinn

Sammy J & Randy $18

29 - 30 April Enmore Theatre

2 - 3 May Yalumba Wine Bar

Stephen K Amos

Smart Casual

27 - 30 April Seymour centre

tue 26 April Enmore Theatre

SHOWS AT THE CORRIDOR Corridor Club

29 - 30 April

Pedigree Syndicate 26 - 30 April

Mikey Mileos 27 - 30 April

30 April - 1 May Metro Theatre

27 April - 7 May Seymour centre

Steve Hughes 27 - 30 April factory theatre

Seamus Mcalary

26 - 30 April

29 - 30 April Seymour centre

Daniel Moore

27 - 29 April

Michael Workman

26 April - 7 May

BOOKINGS: SYDNEYCOMEDYFEST.COM.AU OR 9020 6966 THE DRUM MEDIA 26 APRIL 2011 • 11 •


• 12 • THE DRUM MEDIA 26 APRIL 2011


COMING SOON

MONDAY 25TH APRIL

GUINEAFOWL & BALL PARK MUSIC + Tin Sparrow

WEDNESDAY 27TH APRIL

DEAN MICHAEL SMITH

+ Tegan Rogers + Anthony Hughes + Stasi Matzis THURSDAY 28TH APRIL

JACK JONES + Luke Pittman

FRIDAY 29TH APRIL

IAN MOSS + Renny Field

SATURDAY 30TH APRIL

IAN MOSS + Daniel March

SUNDAY 1ST MAY

BON CHAT, BON RAT WEDNESDAY 4TH MAY

ASH GRUNWALD

Thursday 5 May Afro Moses Friday 6 May Holly Throsby Saturday 7 May The Flood Sunday 8 May The Little Stevies Monday 9 May Comedy Night Special Tuesday 10 May Mark Olson Wednesday 11 May Pete Cornelius Thursday 12 May Jeff Martin Friday 13 May KISS Tribute Sunday 15 May The Ritmo Arch Tuesday 17 May Mike Noga Wednesday 18 May Freddie White Friday 20 May GANGgajang Saturday 21 May Doc Neeson Sunday 22 May Glen Mead Tuesday 24 May John Overholt Wednesday 25 May Bones Atlas Thursday 26 May Jackson Mclaren Friday 27 May Mark Seymour Saturday 28 May Abby Dobson Sunday 29 May The Brewster Brothers

COOGE E FRI APRIL 29

TRIPPLE SHOT OF ROCK

MONKS OF MELLONWAH + THE BLACK HEIST + CROWS FEAT

SAT APRIL 30

PHIL JONES & THE UNKNOWN BLUES WITH FRANK MACIAS & LOS AMIGOS

THURS MAY 5

TONY JOE WHITE

THE ORIGINAL SWAMP ROCKER COMING

SOON!

DEREK WARFIELD & THE YOUNG WOLFE TONES SAT MAY 7 D

DAVE GRANEY + DOG TRUMPET SAT MAY 21 D Band Bookings

info@codeone.net.au - www.codeone.net.au

Tickets & info from www.coogeediggers.com.au

COOGEE DIGGERS 9665 4466 CORNER BYRON & CARR STREETS • 14 • THE DRUM MEDIA 26 APRIL 2011

USE ME.


THE NEW"-#6.

INCLUDES “ROPE” AND “WALK”

5)&"6453"-*"/"-#6.Ň"7"*-"#-&&7&3:8)&3& PRODUCED BY BUTCH V*(ő.*9&%BY "-"/.06-%&3 foofighters.com facebook.com/foofighters twitter.com/foofighters

FOO FIGHTERS "'*-.#:+".&4.0--

BACK AND FORTH

FOLLOWED BY A LIVE PERFORMANCE OF WASTING LIGHT’ IN 3D

*/$*/&."45)*45)634%":

4 DAYS ONLY!!!

‘Back & Forth’ chronicles the 16 year history of the Foo Fighters anH [ill Fe follo[eH Fy a ½lQeH TerforQance of their ne[ alFYQ ‘Wasting Light’ in 3D...front to back! FOR MORE INFORMATION AND TICKETS TO THIS E;C/8SI9E E9ENT HEAD TO ZZZIRRÀJKWHUVÀOPFRP 8hanks to ,oyts 'ineQas:illage 'ineQas )Zent 'ineQas +reater 9nion 'ineQas anH DenHy 'ineQas %Ystralia [iHe

THE DRUM MEDIA 26 APRIL 2011 • 15 •


(SCOTLAND)

FRI 29TH APR

Ninth Pillar

10TH ANNIVERSARY SHOW

+ Delorean Tide + Lower Coast Skies+ Groin Gravy SAT 14TH MAY

Front End Loader + Over-reactor SAT 21ST MAY %.42!.#%0/).43 4/#!-053

45..%,

-!). 15!$

-!..

,!7.3

/6!,

'2!&&)4)

%2$

# )%. 3#

).'2$

$ 2

2.!6% %!34% 2$ 4/#)49

-!..).'

3)49

5.)6%2

6)#4/2)!0!2+

&//4"2)$'% 4(%!42%

0!22!-!44!2$

&2/.4

• 16 • THE DRUM MEDIA 26 APRIL 2011

$ 44!2 !-!

2 0!2

2)$'%

Saturday 28 May: Empires and Vampires (Farewell Show) + Lockdown + Azlock + The Ocean The Sky

&//4"

+ Bayside Wreckers + Bustacap + Madame Wu & Dj Endo

4/#)49"2/!$7!9

!6 %

High Noon


FRIDAY 20TH MAY TO PRESENT IS PROUD THE S N IO T C ODU R P

CIAL E P S H WIT UE S T S G

S (M C T EL B )

10 Y NICHE EA

RSARY SHO E V I N N W A R

T THE C E P S Y D E P R O J RO JE PA P E R L A N E P P

MANNING BAR TICKETS ON SALE NOW THROUGH MOSHTIX.COM.AU NICHEPRODUCTIONS.COM.AU – THEBAMBOOS.COM

THE DRUM MEDIA 26 APRIL 2011 • 17 •


WWW.THEGAELIC.COM

5@5 $10 STEAK & 12-3PM ALE TUE- FRI $5 PINTS

OPEN 10AM- 4AM PURPLE SNEAKERS PRESENT

JELLY

LAST NIGHT

WRESTLING

PLUTO JONZE MON

25 APR

WED 27 APR

THU 28 APR

SAT 30 APR

MAY 16TH

TUESDAY ROCKSTEIN

7PM - MUSIC & MOVIE TRIVIA

THE AGGROLITES BACKY SKANK + THE RUMJACKS STEPPIN RAZOR + MADONNA THE STUDY feat

MONKS OF MELLONWAH LOVERS JUMP CREEK + MIRAMAR + STONE MONKS

THE CADRES

DOC HOLIDAY TAKE THE SHOTGUN + HATTIE CARROL

THE AMENTA

RUINS + OUROBOROS + AEON OF HORUS #/-).' 3//.

THU 05 MAY

-5234(7/.$%2

• 18 • THE DRUM MEDIA 26 APRIL 2011

SAT 07 MAY

*%&&-!24).

THU 12 MAY

")'3/5.$3


SALE ON NOW! Limited time only.

$329

$559 $89 V845 FFGX720

APX500

ylish cutaway Spruce top, st lit y acoustic body, high -qua ics. atile electron tone and vers

Excellent playabilit y and E p powerful resonance is delivered by this solid spruce top guitar. b

e original pedal ecifications of th Based on the sp V845 Wah- Wah e th s, x in the ‘60 onnee developed by Vo ry wah- wah to the same legenda ts ris ita gu s n. fer of le desig but very af fordab in a new sturdy

$189

Audiogra

m6

Featur ing built on t wo mic/ins tr e with Cu knob compre ument inputs , in ss b AUDIO ase AI record ion and bund G R AM ing soft led 6 w yo u r m usic at makes it easy are the ho to P C and Mac co me or on the record go. mpatib le.

$859

$1449 Stagepas500

Great for all live sound ap plications. Th portable, ea is light weigh sy -to- use PA t, system cons high -per form ists of a pair ance 10” 2- w of ay speakers channel dual an 250 watt de d a built-in 10 tachable po wered mixer .

channel at 4 ohms, Delivering 590 watts per . sing board speaker proces

a shells, ball- cla Quality Yamah re. braced hardwa

mp tom

uble holders with do

PACK BONUS PST3 CYMBAL

9 $77 P3500

GIGMAKER DRUM KIT sed all Brass copper ba RRP Valued at $359

with on-

ow 14” hi hats

, 16” crash, 20

” ride.

DTXPLORER

$855

E xcellent value for th e beginne 100’s of tr r or hobbyi aditional, st. With electronic sounds, yo and exotic u can build drum along to yo your own drum kit a ur M P3 or nd play to re r create a live conce the 22 preset song s to rt in your h ea dp h o n es.

...more great offers in-store! 255 Church Street, Parramatta - (02) 9635 5552 www.guitarfactory.com.au

Sale prices are set by the retailer. The RRP is the recommended retail price set by the Australian distributor of the product. The products may not have necessarily been sold at the advertised price point in the past or sold in the future. Limited time only and while sale stock lasts. Errors and omissions excepted.

THE DRUM MEDIA 26 APRIL 2011 • 19 •


Contents Issue No. 1057 Tuesday 26 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.

DRUM MEDIA Giveaways – Look to your left for free stuff, silly! 20 The Front Line hits hard with industry fact and conjecture, plus we look at the changing nature of Sydney’s venues. 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.

BEASTIE BOYS

32

Get it while Darwin Deez is hot.

34

HOT HOT HOT

House Of Pain give the people what they want. 36

With the new Beastie Boys album, Hot Sauce Committee Part Two, hitting stores this Friday (led by ace first single Make Some Noise), Drum has joined forces with EMI for a killer giveaway of some amazing Beasties gear to celebrate its release. Each cover of Drum features a unique QR code (you know, those squares of black-and-white blocks that were on the front) that, as soon as you scan it with your phone (QR readers are available free from the respective app stores), will let you know whether you’re one of the 50 lucky winners to score some Beasties merch. Prizes include copies of the new album on delicious double vinyl (with bonus 7”), t-shirts, CDs and selections from the Beastie Boys’ back catalogue. You’ve obviously picked up the mag, so if you haven’t already, get scanning!

The Wombats’ new album was an absolute headfuck to make.

36

Everything is right with their music and their lives according to Escape The Fate.

37

KIWI ROOTS

FLOATINGME put their stage pants back on.

38

KD Lang rediscovers the band vibe.

39

Attention Harvey Keitel – The Stranglers’ Hugh Cornwell has written a novel and god is there a good part for you in the movie adaptation. 40

Five years ago, one of New Zealand’s most loved roots reggae fusion combos, TrinityRoots, called it a day, but once you’ve got the bug… Late last year, the trio reunited, sold out every theatre they played on their NZ tour and scored an invitation from Bluesfest to top it off. TrinityRoots have done their Byron stint so now they’re heading to the Metro Theatre to catch up with old friends Friday, and we have two double passes to the show to give away. Email us with TrinityRoots giveaway in the subject line by 5pm Thursday.

People have lied to Bleeding Knees Club about being virgins.

40

Custom Kings come off the back burner to play Gum Ball.

40

Silverstein don’t want to be a flash in the pan.

41

FLOAT ON, YOU

Joseph Arthur has highs of strange fortune.

41

Unless you’ve not seen a copy of The Drum Media in months, you should all have heard that three members from ‘90s Sydney band Scarymother have teamed up with Cog drummer Lucius Borich and Karnivool bass player Jon Stockman as something really intriguing – FLOATINGME. Friday night, FLOATINGME launches its eponymous debut album and would love to see you all there. As it happens, we have two double passes to the show to give away, so email with FLOATINGME giveaway in the subject line by 5pm Thursday.

IT’S BIN NIGHT We’re well into this year’s cracker of a Sydney Comedy Festival and that means more fun giveaways, this week five double passes to Bin Night, the “human-puppet-musical-comedy extravaganza” starring Sammy J & Randy – you decide which one’s the puppet! Bin City is running just two nights at the Metro Theatre, Saturday and Sunday, and those aforementioned double passes will get you into the Sunday evening performance, so get emailing – Bin Night giveaway in the subject line – by 5pm Thursday.

On The Record reviews new release albums and singles from Fleet Foxes, Beastie Boys, Mick Harvey and more. 42 Chris Maric gets local with hard rock and metal in The Heavy Shit.

46

Sarah Petchell brings us local and international punk news in Wake The Dead. 47 Adam Curley muses on Bieber fever in The Breakdown. 48 Viktor Krum asks you to Get It Together with the latest in hip hop.

48

Dave Drayton gets Young & Restless with all ages goings on. 48 Bob Baker Fish looks at leftfield music in Fragmented Frequencies. 48 Dan Condon features the world of blues and roots with Roots Down. 49

GET INTO ROCK BAR

Michael Smith delivers some Blow with jazz and world music news.

Friday night, Rock Bar at The Gaff in Darlinghurst hosts a night of Hot Blooded Monsters, with an acoustic set from Ameera and Jimi May from Syndicate along with a stack of guest DJs celebrating the launch of the new albums from Foo Fighters – Wasted Light – and The Art – Here Comes The War. We have one double pass to the night that also entitles you to free drinks till midnight (so you’ve got to be over 18!) to give away. Email us with Hot Blooded Rock Bar in the subject line by 5pm Thursday.

Go south as you enter Pedro Manoy’s Swamp Shack. 49

TWENTY YEARS IN PAIN In Boston back in 1991, two high school friends teamed up with a DJ and formed one of the more unique musical combinations, an Irish-American hip hop group. They called themselves House Of Pain and released three acclaimed albums before splitting. Last year, they got the call, regrouped and found they were loving it so much they thought they’d do it properly – a 20th anniversary world tour. On the Australian leg of that, House Of Pain touches down at Manning House Friday 6 May, and we have three double passes to the concert to give away. Email us with House Of Pain giveaway in the subject line by 5pm Tuesday 3 May.

THE BHAGGIES ARE BACK Back in what’s now considered the “Golden Age of Indie-Pop”, the late ‘80s early ‘90s, one of our finest exponents was a four-piece from Sydney called The Bhagavad Guitars, signed to the then ultra hip Red Eye label. In the end that proved problematic but that’s another story. Fourteen years after releasing their last record and parting, they’ve reunited, cut a new album, Unfamiliar Places, and Friday 6 May, they’re launching it at Notes and we have three double passes to the show to give away. Email us with Bhagavad giveaway in the subject line by 5pm Tuesday 3 May and winners can collect a copy of the album when they get there.

ABOUT GROUP DOMINO Two years ago Hot Chip’s Alexis Taylor, Spiritualized’s John Coxon and two musical friends got together, sight unseen, no repertoire, in a studio and recorded what happened. They released the album as About Group, and two years on comes the second album, Start And Complete, and we have three copies to give away, so head to facebook.com/drummedia this week, like us and then look for the giveaways tab for more information. • 20 • THE DRUM MEDIA 26 APRIL 2011

26

Necessity is the mother of invention for Kyuss Lives!

twitter.com/drummedia

49

FRONT ROW This Week In Arts runs through the week ahead; News looks at the Spanish Film Festival, Sydney Writers’ Festival and more. 50 Irish comedian Jason Byrne steps into the ring; Cultural Cringe wraps up the week’s arts news and whispers; our new column dedicated to foreign DVDs, Region-Free, debuts. 51 Australian actor Chris Hemsworth picks up the hammer in Thor.

52

Curator Mish Grigor runs through the Tiny Stadiums festival programme. 53 Made You Look visits ‘the gallery’; dancer Ty King-Wall talks about The Australian Ballet’s British trilogy; Netta Yashchin calls in about I Just Came To Use The Phone. 54

LIVE It’s all here: gig reviews, tour guide, what’s happening this week, charts, gig guide, random shit and more.

55

Backstage and BTL – your guide to studios, recording, gear, courses and more.

70

The Classies – need a singer/bassist/ drummer/any other service/product you can think of? Your answer is here. And on iflog.com.au. 73


STREAMING

NOW

ABOUT GROUP’S

START AND COMPLETE Super(hip)group of sorts About Group unleash album number two, Start And Complete. Featuring bods from Spiritualised, Hot Chip and This Heat, the band recorded the album in one day (and mixed it in three days on Conny Plank’s old desk). Start And Complete moves from vintage Muscles Shoals sound to kosmische-influenced motorik workouts and includes their inspired cover of Harvey Averne’s You’re No Good.

START AND COMPLETE BY ABOUT GROUP IS ON SALE NOW POWERED BY STREET PRESS AUSTRALIA


front

LINE

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

NEWS FROM THE INDUSTRY WITH SCOTT FITZSIMONS

HOW TO MANAGE A RELEASE The Association Of Artist Managers has announced the second annual event for the Executive Seminar Series, which they’re calling Records, Labels & Releases: How To Make It In Today’s Industry. There will be three panels – The Majors, The Lawyers and the DIYs – which will discuss each element on today’s market through the good and bad experiences of the industry professionals who will make up each panel. The lawyers point/counterpoint debate will feature Jules Monroe and Katie Hankin, the major label discussion will feature Courtney Hard, Glenn Dickie and more and the look into the DIY/indie scene will have Sebastian Chase, Graham Nixon, Justin Cosby and more. To be held Tuesday 31 May from 6.30pm to 9.30pm at Notes, the event is free for all Association of Artists Managers members. Head to aam.org.au or email info@aam.org.au to become a member.

TWO DAYS THE TICKET FOR PERTH FESTIVAL Perth’s Southbound Festival has revealed to the Daily SPA newsletter that the event will be reverting to the two-day model for 2012. The event, which attracts a lot of the artists in Australia for the Falls Festival, sold out the event three years running in 2007 through 2009 before trying its hand at three days. Sunset Events’ Managing Director Dave Chitty told Daily SPA that it is for a “multitude” of reasons that they are returning to the two-day model. “We were keen to trial doing a three day format, but found that punters were fatigued after New Years and Christmas,” he said. The event takes place the first full weekend of the new year, which falls on 7 and 8 January in 2012. “Most of the feedback we got was the festival was too long, punters were knackered after three days... [It will be] the same experience, just in a shorter time frame.” He also said that the same ratio of local and international artists will remain and that the ticket price will be adjusted to reflect one less day.

GET YOURSELF THE KNOW-HOW The schedule for the Bondi Wave Music Industry Conference has been announced, the free event to take place Friday 20 May at the High Tide Room at Bondi Pavilion. Covering both the creative and business aspects of the industry, it hopes to attract musicians, producers and managers. Kicking off at 10am, the first speaker will be Dan Zilber (Music Director, FBi 94.5 FM). 10.30am will have Simon Moor (Managing Director, Kobalt Publishing Australia), 11am Kris Swales (Editor, 3D World), 11.30am Tony Harlow (President and CEO, Warner Music Australasia), 12pm Steve Pavlovic (CEO, Modular), 1.30pm Tim Levinson (Urthboy, Elefant Traks), 2pm Will Larnach Jones (Director, Parallel Management), 2.30pm Brian Taranto (Managing Director Love Police) and 3pm Graham Nixon (Managing Director, Resist Records). Registrations on the day take place from 9.30am.

MOVE IN DOWN UNDER Amongst Sydney’s evolving scene at the moment, Kings Cross’ Down Under Bar & Bistro is making a play for the live music scene. They’re currently on the lookout for emerging bands that are looking for a foothold into live performing in the city. They’re providing four residency gig slots per week to be completed over the period of a month. These residencies will make up the venue’s entertainment alongside the existing open mic night, which takes place on Wednesday and is open to everybody. If you want to get yourself a residency, email dave.downunderbistro@gmail.com or call 0414 628 269.

• 22• THE DRUM MEDIA 26 APRIL 2011

TV ON THE RADIO

VALE GERARD SMITH

Shortly after the release of fourth album Nine Types Of Light, TV On The Radio has announced the death of multi-instrumentalist member Gerard Smith. The band delivered the news via its website saying, “We are very sad to announce the death of our beloved friend and bandmate, Gerard Smith, following a courageous fight against lung cancer. Gerard passed away the morning of April 20th, 2011. We will miss him terribly.” They also cancelled their next five American dates. Smith, who joined the band in 2005 before the release of the album Return To Cookie Mountain, had recently announced that he was taking time off from the band to return to treatment for lung cancer and back in March the band wrote on its website, “Upon the completion of Nine Types Of Light, Gerard was diagnosed with lung cancer. As a result, he has been undergoing treatment and will be unable to participate in the upcoming tour… Gerard is fortunate enough to have health insurance and is receiving excellent medical care. Already we have seen dramatic results. Combine that with Gerard’s legendarily wilful disposition and it might just be cancer that has the problem. We appreciate your concern and support for Gerard and his family.” Drum Media’s recent review of Nine Types Of Light said, “Whether shocking you or caressing their way through a love song, TV On The Radio have recorded ten tracks that more than stack up against their already compelling catalogue.”

BROADWAY’S SPIDER-MAN TAKES HIATUS TO SAVE ITSELF

according to demand. The leading ticket company claimed the move would combat scalping by pushing up prices for priority seating while reducing that for less-desirable positions. Already on trial with some sporting teams, the company hopes to roll it out further this year. The Australian Ticketmaster’s Australian CEO was unable to comment on whether this model would be applied to Australia eventually and how it would be effective against scalping.

U2’s Bono has flown to New York to try and help rescue the flailing Spider-Man: Turn Off The Dark Broadway production, which he alongside U2 bandmate The Edge is scoring. The show, which has cost $US70 million so far making it the most expensive show in history, has gone from disaster to disaster. Starting with injuries to cast and crew – some left and signed confidentiality agreements – and then a record-breaking run of preview shows (over 100), the initial reviews were scathing. The Washington Post wrote, “I haven’t seen every stinker ever produced, so I can’t categorically confirm that Spider-Man: Turn Off The Dark belongs in the dankest subbasement of the American musical theater. But its application certainly seems to be in order.” More recently, the show’s original director, the widely respected Julie Taymor, was relieved of her duties and a new creative team is being formulated. The show, which still hasn’t officially opened yet after the date has been pushed back multiple times, is taking a three-week hiatus until June to get its act straight. The overhaul is believed to involve new staging, re-writing of songs and further choreography. Reeve Carney, who plays the lead role, said, “Julie is one of my closest friends, she’s the one who made me pretty much – I wouldn’t be here without Julie Taymor. But you know, this new version, while there are going to be changes it’s still true to the heart of her vision. It’s just having a little bit of extra help, that’s all it is.” In an interview with Rolling Stone for the release of their latest album No Line On The Horizon, Bono revealed the news that he was looking at doing the project. At the time, The Edge had expressed his hesitance to make his Broadway debut for SpiderMan. Another group that may be regretting its move is Disney, as it has no control over the production given the Spider-Man brand is licensed to Sony for the production.

KANYE’S CHARITY CLOSES “MYSTERIOUSLY” As music fans watched Kanye West’s set at Coachella live streamed, especially those with ambitions to score a ticket to Splendour In The Grass where he will be performing, the New York Times revealed that West’s charity organisation, the Kanye West Foundation, had “mysteriously” closed. The foundation, which hoped to encourage kids to stay in school longer, was founder by West’s mother Donda West who, according to the

WEIRD AL STRUGGLED TO GET GAGA PERMISSION

KANYE WEST website, was “committed to developing the dreams that she and her son shared: to give back, to help others, to inspire and to make a difference. Dr. West, a dedicated English professor, was passionate about student success. She believed in educating the whole child.” The New York Times reported, however, that the charity had experienced a steep decline since Ms West’s death in 2007 from plastic surgery complications. Not funded by Kanye but rather donated to by organisations he worked closely with, news of the Foundation’s close has been kept quiet. It was discovered through an email from the now ex-executive director Joseph Collins. “I am reaching out to let you know that the Kanye West Foundation (kanyewestfoundation.org) has officially closed its doors after a successful 4+ years of programming and events,” it read. Collins declined to comment further to the paper and representatives from West’s agency, label and the foundation’s chairwomen also declined to comment.

TICKET PRICES CAN CHANGE ACCORDING TO DEMAND Ticketmaster has announced the phase-in of a new ‘dynamic’ ticket pricing system in America, which will see ticket prices fluctuate after they’ve gone on sale

twitter.com/drummedia

Ahead of the release of his new album, music parodist Weird Al Yankovic posted a blog on his website that claimed that Lady GaGa had blocked him from releasing his Born This Way parody Perform This Way, which was to be the first single from his record. Summarising the lengthy post he said, “I wrote and recorded what I thought was going to be the first single off of my new album: a parody of Born This Way by Lady GaGa called Perform This Way. But after hearing it, Lady GaGa decided not to give me permission to release the song, so… it won’t be coming out commercially anytime in the near future. Sorry.” He then leaked the song himself to YouTube. Following the post, TMZ reported that a GaGa source said it must have been “a misunderstanding because [GaGa] is in no way trying to block the release of the parody”. Following that, Yankovic’s manager has revealed that permission has now been granted.

NOVOCAINES MAKE FILM IMPACT Punters that have seen Scream 4 may have recognised the track from Perth locals The Novocaines, whose track One More Cup Of Coffee features in the opening sequence. The track was a hit on triple j earlier last year, the station also championing the band by Unearthing them.

PUNK KIDS TO RE-ISSUE FORMER GLORIES Cult loved hardcore band I Killed The Prom Queen has announced that they’ll be making the most of their comeback tour – the Destroy Music tour alongside The Amity Affliction – by re-issuing two of their titles. In an example of UNFD’s (ex-Boomtown) recent deal with Warner, Music For The Recently Deceased and DVD/ CD pack Sleepless Nights And City Lights will hit stores Friday 20 May.


“COULD THE LAST TO LEAVE TURN OFF THE LIGHTS?” THE ANNANDALE HOTEL’S NOT THE ONLY SYDNEY VENUE IN A PERIOD OF TRANSITION AT THE MOMENT. A LOT OF REGULARS AND NEWCOMERS ACROSS THE CITY ARE RE-INVENTING THEMSELVES, WRITES SCOTT FITZSIMONS.

Speaking of Spectrum, The Front Line has been told by a venue representative that refurbishments are about to begin and more details on the Exchange Hotel’s live room will be revealed in the future. According to an insider, there are some doubts as to which format the venue will return in and when. At the moment bands are being moved up to 34B, on the Oxford St venue’s top floor. Moore Park’s The Forum’s new format is also under question marks, as while it had intended to come back as a live venue, The Front Line has been told by an inside source that there have been problems with council approval and/or renovations.

F

Merivale has been quiet about its plans for the venue – which also can’t be a good sign for bands and fans relying on the rock pub – but last week there was an inadvertent leak of sorts. A Sydney Morning Herald story looking at celebrity chefs and upcoming restaurants in Sydney revealed that “Chef Dan Hong was in Mexico City last week doing research for the menu at Merivale’s recently acquired Excelsior Hotel in Surry

THE FORUM Hills.” Little else is known. Elizabeth St’s popular Spanish tapas restaurant El Bulli is moving further down the road to a bigger venue, which will allow the possibility for traditional Spanish music performances. The venue they’re vacating would make a good wine bar, if Hemmes is watching. Manly Fisho���s, which has attracted a diverse range of artists over decades of service, is indeed packing up – although they’re hoping to return at a new venue. An ad that appeared in last week’s Drum Media read, “While it is the end of an era with the fact that the iconic building that we have been in for over 50 years will no longer be a music venue, the Manly Fisho’s will continue on at another location in Manly and will be re-opening as a live music venue in a few months time.” The new venue is the current site of the Manly Rugby Union Club, which in March was given approval to amalgamate with the Manly Fishing & Sporting Club. Fisho’s intends to foot the $2 million bill for refurbishments of the venue and will also contribute to the Manly

thurs da y

e es pr

nt

s

8pm / $12 on the door

fri da y

10pm / $5 befo re 11, $10 afte r

es pr

Junior Rugby Union Trust for the next five years. There’s no exact timeframe for the venue’s re-opening at the moment. One venue that did launch last week was Star City’s foray into grassroots events. Titled Rock Lily, it’s deep in the heart of Sydney’s casino and is putting an emphasis on creating the ‘rock’n’roll’ feel. The bar is well endowed with tequilas and American whiskeys, as TVs screen The Blues Brothers. Although it’s being branded as completely separate to the casino proper, it’s impossible to distinguish the two. The bar provides one of the sides but there’s no dividing wall between the venue and the pokies area. There’s actually quite a good view of the stage from the outer side of the bar. So far, bands and artists that have already performed (apart from special functions and the launch night that was graced by Washington and Art Vs. Science) include The Paper Scissors, Animal Shapes, Angelas Dish, Hell City Glamours, Only The Sea Slugs and Kate Gogarty. Essentially it’s a crowd that would normally frequent

There’s been a bit of hope in Marrickville, with perhaps the suburb’s most publicised warehouse space, Qirkz, granted ‘provisional approval’ from the council. There’s still a long list of things that still need to be adhered to, but the venue can now exist alongside the legal Camelot sister venue and start to develop a hub alongside the likes of The Red Rattler. It’s a positive move by the council, whose mayor Fiona Byrne is looking to repair her image after not winning the seat in the state election for the Greens and having her controversial boycott of Israeli products rejected. Other venues are looking to strengthen their live music appeal as well. Kings Cross’ Down Under bar has put the call-out for bands willing to do month-long residencies and Martin Place’s Manhattan Lounge – which has seen the odd gig – is looking to bring a steadier trade through following its May re-launch. Ravál at the Macquarie Hotel isn’t doing regular gigs and is focusing on functions. Brisbane conference BigSound’s Sydney launch took place there. Unfortunately while there are new venues coming through, it’s far easier to close a legendary venue than it is to start one up – reputation and history cannot be bought. As Manly Fisho’s said in their ad, “Could the last one out please turn off the lights? Thanks.”

20 Apr

RADIANT LIVE #2

GOLDEN ERA

LINE the likes of the Sandringham Hotel, Spectrum or the Excelsior Surry Hills. Whether they’re going to be willing to take a taxi and walk through a casino remains to be seen.

our months into 2011 and the Sydney live music landscape is starting to look very different to how it did four months ago. Without a doubt, the biggest news regarding venues to arise this year is the imminent sale of the Annandale Hotel. The ominous real estate sign that’s emblazoned with “Opportunity Rocks” is both sad and endearing. But it’s not the only venue that is undergoing changes at the moment – others are making moves to and away from live music. Earlier in the year the news filtered through that Surry Hills’ Excelsior Hotel had been bought by Justin Hemmes, the man behind the family-run Merivale Group that already owns Ivy, the Beresford Hotel, the Good Vibrations festival, Jam Music and a host of other pubs, venues and hotels. Hemmes paid $4.5 million for the hotel in what is being viewed as a move to buy up property within the booming suburb. As Kings Cross becomes increasingly clubbing-focused and busy, Surry Hills is viewed as the next location for those with trendy disposable income. Indeed, in announcing the purchase the Sydney Morning Herald reported that it was a move to combat popular Crown St venue The Winery, owned by younger rival Fraser Short. If this was the case, there’d almost certainly be a reduction in live music, if not cessation.

front

CHARGE GROUP THE COOLIES ALPS

21 Apr

t en

TONI TONI LEE PAPER PLANE PROJECT DJS JONY CUPCAKES

s

BLEEDING KNEES CLUB

w ith

satur da y

8pm / $11.25+bf OZTI X

DEAD FARMERS STEP-PANTHER

www.fbiradio.com

SUPPORTED BY twitter.com/drummedia

THE DRUM MEDIA 26 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)

COMPROMISING POSITIONS Dear Drum, I have idolised Brand New’s Jesse Lacey for years and years and years and years. I’m 22 now and first heard the band when I was 14 and they’ve meant everything to me since. I don’t listen to them as much as I used to, but I can’t imagine life without them and Deja Entendu remains the album that changed my life. I have met Jesse before and had a few great chats with him and what I always really liked about him was that he seemed so unlike other people – really earnest, a little mysterious and intelligent as hell. Now, I’m not at all a sex-negative person, but bearing all that in mind you can imagine my surprise when a website published alleged photos of him in… compromising positions … on webcam this week. I know that everyone has urges and celebrities and singers are no different to the rest of us, but when you see your childhood idol having a wank and telling the girl to “show me your arse again”, among other such things, it is unsettling to say the least. I guess I always assumed that he was either a) sexless or b) destined for me only. A very strange experience indeed from the most unlikely suspect. You know what they say about meeting your idols – or in this case, seeing your idol’s meat. Kate Beecroft We’re not touching that one with a ten-foot pole. Unlike Jesse, obviously… - Ed

HITS FROM THE BONG Dear Drum, I thought you may be interested in how my weekend was ruined because, as a music publication, you have an interest in QOTSA, Phish and other weed-friendly musical acts. My tolerance for them has been tried significantly over the last week. My house in Eveleigh is neighboured by fans of such music and last Wednesday (in what I can only assume was some hazy-eyed Four Twenty ritual) they decided to bake special Anzac cookies. I know this because they have been offering them to me ALL WEEKEND. Seriously, it’s like Wilson from Home Improvement started smoking reefer they keep popping their heads over our shared back fence,

FRONTLASH

or coming to my door and asking if I want to ‘celebrate’ with them on Anzac Day with their ‘special cookies’. Not only did they stink out the whole street before the olds came round for a visit, by they continued to ask me at least four times a day from Wednesday where my Anzac spirit was. Apparently they had found it in the cookies. Nich Eveleigh QOTSA are weed friendly? Hey, that’s one we haven’t tried. Thanks for the tip. – Ed* *Don’t do drugs. Drugs are bad, okay?

BOB A JOB Dear Drum, My parents saw Bob Dylan before I was born in the early ‘80s and walked out in disgust without even staying for the whole show – it was right at the start of his reinvention period and rather than performing the songs they know and love, he instead twisted them into something unrecognisable, all the while doing the whole rock thing which was a little new at that stage. A friend of mine saw him on the last tour with her parents and had basically the same experience – her mother even wanted to write a letter of complaint to the promoter. However, with all that said, I do still want to find this out first hand. I didn’t want to pay $100 or more for a ticket, so I was pretty stoked to hear that they’ve been reduced to just above $50 each. Given that we frequently pay more than that for bands and artists who don’t have nearly as much of a legacy, I figure that even if it’s awful I only had to give up a few hours worth of wages for it, rather than not eat for a week. In the unlikely event that Mr Dylan himself picks up a Drum and reads this – please make it worth my $56! Or don’t, because that’s what I wanted to find out anyway. Oh – and if you drop Don’t Think Twice, It’s All Right in a recognisable form I will be forever indebted. Arielle Sydney You heard her Bob, please don’t disappoint her. We, uh, can call you Bob, can’t we… ah… Mr Dylan… sir… – Ed

BACKLASH

EASTER EGGS

ITRACE

While chocolate at any time is always good, we’re particularly fond of the Reese’s peanut butter filled eggs this year.

So the iPhone is apparently tracking our every move and storing the info? That’s some scary George Orwell-style shit. Oh – and by the way, we only visited those places for research purposes.

CHEESECAKE PHOTOSHOOTS When a woman wearing only a gold bikini shows up on the doorstop of your office having a random, guerrilla photo shoot, well, it helps one get through the day just that little bit better.

YEE-HAW We liked how the crowd got rowdy at The Felice Brothers for a hootenanny of a time. Real taste of the country in the heart of the inner west.

TRAVEL CHAOS Sydney airport out of action for a few hours due to a security breach (seriously, how could someone not have noticed the scanning machine wasn’t on?), strikes threatening QANTAS, Tiger cancelling flights…just what we needed going into an Easter long weekend. We tell ya, our Spruce Goose is looking a better and better option every day.

PUBLIC HOLIDAYS Jeez, we love the days off, but man the deadlines are a killer.

PUBLISHER Street Press Australia Pty Ltd

GROUP MANAGING EDITOR Andrew Mast

EDITOR Mark Neilsen

ASSOCIATE EDITORS Michael Smith, Scott Fitzsimons

FRONT ROW EDITOR Daniel Crichton-Rouse frontrow@drummedia.com.au

CONTRIBUTING EDITOR Adam Curley

STAFF WRITER Bryget Chrisfield

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

• 24 • THE DRUM MEDIA 26 APRIL 2011

twitter.com/drummedia

Craig Pearce, Cyclone, Dan Condon, Daniel Johnson, Danielle O’Donohue, Fiona Cameron, Giselle Nguyen, Jamelle Wells, James D’Apice, James Dawson, Katie Benson, Kris Swales, Lee Bemrose, Lauren Dillon, Liz Giuffre, Luke Monks, Mar Garvey, Mark Hebblewhite, Matt O’Neill, Paul Smith, Pedro Manoy, Priscella Engall, Rob Townsend, Ross Clelland, Rod Hunt, Rod Yates, Sam Fell, Sarah Petchell, Sasha Perera, Sebastian Skeet, Sevana Ohandjanian, Shane O’Donohue, Steve Bell, Tim Groenendyk, Tom Hawking

PHOTOGRAPHERS Carine Thevenau, Cybele Malinowski, Jamie Williams, Justin Malinowski, Kane Hibberd, Linda Heller-Salvador, Rod Hunt, Tony Mott

ADVERTISING DEPT sales@drummedia.com.au Brett Dayman, Jason Spiller, James Seeney

CLASSIFIEDS

iflog.com.au

ART DEPT

artwork@drummedia.com.au Dave Harvey, Samantha Smith, Joshua Penno

COVER DESIGN

Dave Harvey

ACCOUNTS DEPT

accounts@streetpress.com.au

ADMINISTRATION

Elise Milgate Karina Leotta

THE DRIVERS

Grant, David, Julian, Ray, Paul, Al, Mark

PRINTING

Rural Press (02) 4570 4444

DISTRIBUTION distro@drummedia.com.au

SUBSCRIPTIONS Subscriptions are $2.20 per

week (Minimum of 12 weeks) – Send your details with payment to Subscriptions Dept, The Drum Media, PO Box 2440 Strawberry Hills NSW 2012 (cheques/money orders to be made payable to Dharma Media Pty Ltd)

ADDRESS PO Box 2440 Strawberry Hills NSW 2012 Level 1/142 Chalmers St Surry Hills NSW 2010 Phone (02) 9331 7077 Fax (02) 9331 2633 Email info@drummedia.com.au


CNR BROADWAY & CITY RD, BROADWAY WEBSITE: WWW.THELANSDOWNE.COM.AU TWITTER: LANSDOWNE LIVE FACEBOOK: LANSDOWNE HOTEL

> FREE ENTRY! - $7 meals! BACARDI MIXER & BREEZER $5

MON 8pm TUE 9pm WED 9pm

THU 28/04 8pm

BEN&LOCKIE COOPERS JUGS $10

TRIVIA with STU & CHEAP JUGS WIN BEER & HEAPS OF GIVEAWAYS!

BOAGS JUGS $12.50

UNI NIGHT

CHEAP JUGS & ALICE TERRY & GUESTS

BUNDY DRAUGHT JUGS $12.50

VEGAN MOSQUITOES + ERIK THE RED + MANGER + DJ NIC YORKE

SOLKYRI

JACK DANIELS RTDS $6

FRI 29/04 MENISCUS 7pm + DJ + GRUN

+ LANDER CONFIGURATIONS RUSSIAN STANDARD $5 / WITH MOTHER $8

SAT 30/04 8pm

THE LICKS ROYAL CHANT

+ FRIEND DJ SET + DROVER MAD + BANG! BANG! ROCK N ROLL SAUZA TEQUILA $4

SUN SOON 6pm

RUMBLE IN THE QUAD

BAND ON BAND // UNI VS UNI

COMING SOON: Thu 5th May / INDIE WARHOL FT DJ + THE EARLY BIRDS FrI 6th May / DARK BELLS + DJ

EASTER LONG WEEKEND STAY TUNED MON 25th - ANZAC DAY - 2UP

LANSDOWNEBOOKINGS@GMAIL.COM WWW.MYSPACE.COM/LANSDOWNEHOTEL THE DRUM MEDIA 26 APRIL 2011 • 25 •


NEWS@DRUMMEDIA.COM.AU UK-born singer/songwriter Jont is hitting the road on his Whole Again tour, which sees him play Artichoke Café in Manly Friday, then Sack’s Coffee House in Newtown Tuesday 3 May and Lizotte’s Kincumber Thursday 12, before pulling into 505 to launch his new single, Wild Beast, Saturday 14. Sunday 29, he’s back down to play Lizotte’s Dee Why. Canadian Iraqi The Narcicyst, Sydney hip hop fourpiece Daily Meds and Last Kinection’s DJ Jaytee will be joining Murs & 9th Wonder and R.A. The Rugged Man when the visitors take over The Gaelic Thursday 5 May.

ABOUT GROUP

HOW ABOUT THIS

SIMO SOO

WHAT A HOOT

America’s Aa, as in Big A little a, who will be hitting the Australian touring trail with Melbourne’s Rat Vs Possum, have invited production-based duo Domyeko/Gonzales, 8-bit dance party hero Simo Soo and Siberia Record’s DJ 3DS aka Dan Midnight Juggernaut, to join the lineup at warehouse venue Dirty Shirlows Friday 6 May.

Melbourne singer/songwriter Brooke Addamo, better known under her alias Owl Eyes, has a new EP coming out. It’s called Raiders, the follow-up to her debut EP, Faces, and the first single, also called Raiders, is floating around the airwaves – if you haven’t heard it, you soon will. The songstress has not only sung on her own tracks, but also has recently been heard as the female vocalist on Illy’s It Can Wait. Owl Eyes will be supporting Darwin Deez on their upcoming dates and also appearing at the Big British Sound, but if you’d like to catch her in her own right, she’ll be at Otis Bar on Wednesday 1 June, Transit Bar on Thursday 2 June and The Gaelic on Friday 3 June.

Fresh out of the UK, UNKLE is squeezing in a headline sideshow at Sydney Opera House Monday 9 May after playing Groovin’ The Moo Maitland Saturday 7 and Canberra Sunday 8. Yeo, Tuka, Casual Projects and Dust Tones DJs have been invited to support Californian hip hop tunesmith Pigeon John, who is touring our part of the world to promote his new release, Dragon Slayer, when he takes over Tone Friday 20 May. Saturday 21 May sees Israeli dubstep producer Borgore taking over the Manning Bar, with a bit of help from J. Nitrous, Droid Sector, Killafoe and the Low Society DJs, to help Ministry of Sound launch its two CD Sound Of Dubstep, showcasing the best of the contemporary London underground movement. Regular visitor, America’s Michael Feinstein this time brings his 17-piece Sinatra Big Band to perform classics from his Sinatra Project album and more in the Concert Hall of Sydney Opera House Monday 4 July. Sydney is obviously totally nuts for k.d. lang, with her previously announced three shows completely selling out in one day, so that’s prompted the addition of a fourth State Theatre so the American songstress and her Siss Boom Bang band will now be performing Wednesday 9, Thursday 10, Wednesday 16 and Thursday 17 November, as well as Monday 7 at Canberra AIS Arena.

The side project of Hot Chip’s Alexis Taylor, About Group, has a new album out. It’s called Start And Complete and it’s streaming on themusic.com.au this week. The band also comprises members of This Heat and Spiritualized and the album was recorded in one day at Abbey Road Studios. Taylor penned the songs over the last few years and the rest of About Group only heard most of the piano/vocal demos a few days before recording, so what you hear is very much of the moment. Head to themusic.com.au to check out the 13 tracks on the record. No, really this time.

HIGH UP Australian songbird Ali McGregor, who spent five years as a soprano with Opera Australia, is now deep in the world of cabaret and launches her debut album, Jazz Cigarette, which features trumpeter James Morrison along with a few famous Melbourne musicians and includes covers ranging from Cole Porter’s So In Love to Britney Spears’ Oops, I Did It Again. She’s taking the tunes on the road and comes to The Basement Circular Quay on Tuesday 17 May, Street Theatre on Friday 20 and the Riverside Theatres in Parramatta Saturday 21.

GOING DOWN Rabbit Hole is Tone’s latest invention, a new monthly club night that will be held on the first Saturday of each month. It will feature up and coming bands in every instalment, as well as beats and grooves from resident and guest DJs, and boasts it will also feature Sydney’s only “late show”, with the headlining band kicking off at 2am and a 5am curfew. The first such evening is launched on Saturday 2 July, with the first band playing at 10pm.

LEADER CHEETAH Leader Cheetah and Grand Salvo will be opening for The Middle East when the Brisbane combo launches the new album at the Metro Theatre Friday 17 June and at the Cambridge in Newcastle Sunday 19. Kim Salmon & Leanne Cowie from The Scientists are heading up the Hume to perform only their third gig as a duo, supporting The Holy Soul at the Excelsior Surry Hills Friday night. Melbourne alterno-folk duo The April Maze is taking the second single, The Protest Song, from their forthcoming album, Recycled Soul, for a spin up the coast, stopping in Wednesday 4 May at Old Manly Boatshed, Friday 6 at Manly’s Artichoke Café, Saturday 28 at the Great Northern in Newcastle and Sunday 29 May at the Rhythm Hut in Gosford. Withy his debut album, Voyager, due for release Friday 20 May, picking up the support slot on Lowrider’s Hold On tour couldn’t have been timed more perfectly for Joelistics, who will accompany them to the Harp Hotel in Wollongong Wednesday 11 May, Transit Bar Thursday 12 and the Annandale Friday 13, before they head off interstate. Richard In Your Mind is going “up market”, playing the Sydney Theatre Company’s Wharf Sessions Friday 13 May. The two friends who make up Brisbane’s The Blackwater Fever, who release their second album, In Stereo, Thursday 12 May, head down the coast to launch it, pulling in at Otis Bar Thursday 19 May and the Lansdowne Friday 20. • 26• THE DRUM MEDIA 26 APRIL 2011

COLLARBONES

CHILL OUT

ASH GRUNWALD

COLIN HAY

HOT VIBES Melbourne bluesman Ash Grunwald returns to Sydney for some solo shows after a summer of full band shows at various festivals across the nation. Grunwald’s latest release, 2010’s Hot Mama Vibes, saw him earn an APRA Award for Best Blues Album in the same year. The album features guests like Mr Trials (Funkoars), Count Bounce (TZU) and Chasm (Astronomy Class) on production, bringing a whole new flavour to the traditions of the blues. The solo shows happen Wednesday 4 May at The Brass Monkey, Thursday 5 at Beach Road Hotel (free), Friday 6 at Lizotte’s Dee Why and Saturday 7 at Vault 146. Ashleigh Mannix supports at all shows.

HAY THERE Born in Scotland, growing up in our lovely land and based in Los Angeles since 1989, Colin Hay is one of Australia’s most beloved expats, both as a member of Men At Work and his own 11-album body of solo work. His new album, Gathering Mercury – his first since 2009, inspired by the passing of his father – is out next Friday 6 May, and he returns to his second motherland to launch it after his current American tour that’s seen sell-out shows in various cities. He plays Tuesday 24 May at The Basement Circular Quay. Tickets are available now.

twitter.com/drummedia

The chilly season cousin of Summer Vibes and Totally Autumn, Winter Chills takes place mid-year thanks to the good folk of Spring Break, who are tirelessly putting on the Spring Every Season festival series. It’s again happening at the Croatian Club in Newcastle, this time Saturday 11 June. The lineup includes two exclusive performances from New Zealand-bred, Adelaide-based Batrider, off hiatus and back in action, and New Zealander Pumice in his only Australian performance, lo-fi gems under his belt. Other acts appearing include Scattered Order, Hit The Jackpot, Bitch Prefect, Oceans, White Woods, Collarbones (pictured), Pimmon, Holographic Coccoon, Stitched Vision, Unity Floors, Polyfox & The Union Of The Most Ghosts and Mere Women. Tickets are available now – get in quick, as it’s very limited capacity and sure to sell out.


THE DRUM MEDIA 26 APRIL 2011 • 27 •


NEWS@DRUMMEDIA.COM.AU

THE CAPTAIN MATCHBOX WHOOPEE BAND

RAGGLE-TAGGLE IS BACK Famous throughout the ‘70s for its raggle-taggle tunes, eventually garnering enough of a cult reputation to catapult onto TV and cinema, The Captain Matchbox Whoopee Band was a powerhouse back in its day, centred on brothers Mic and Jim Conway. The debut LP, Smoke Dreams, went gold in 1972 and has been honoured this year as one of Australia’s top 100 albums, so the band is back together, an eight-piece surrounding the brothers, and with Bluesfest having just been conquered and Gramophone Man in tow, they play the Cell Block Theatre in Darlinghurst on Saturday 7 May.

GET IT

TRINITY ROOTS

BACK TO THEIR ROOTS New Zealand group TrinityRoots is back from the dead – well that’s a little dramatic, but it’s been a while since they shook things up and so their reformation is good news for fans in Australia, especially because they are in town for their first ever visit to these parts this week. They just got done at Bluesfest and their city date here in Sydney happens Friday at The Metro. Expect your toes to tap uncontrollably to those infectious reggae jams.

Eli “Paperboy” Reed’s music isn’t what you’d expect from someone his age, sounding more like the best parts of ‘60s and ‘70s soul. His latest album, Come And Get It!, shows a voice that belies its age and pays homage to all the greats of the past. With Boom! Bap! Pow! he takes on Oxford Art Factory on Thursday, sure to get toes a-tappin’ just like the good ol’ days, so that even if you weren’t alive in the heyday of soul you can get a little glimpse into what it was like.

WAY OUT

THAT’S BIG

After brief promotional appearances last year that were met with rave reviews, Big Boi has announced that he’ll be flying back down our way for some proper headline shows later in the year. Big Boi rose to fame as a member of Outkast but last year released his solo debut, Sir Lucious Left Foot: The Son Of Chico Dusty, which saw further acclaim thrown his way from all manner of music media outlets and fans around the world. He will bring his full live band with him this time, and is joined by support Theophilus London from New York City. London has just released his first EP, Lovers Holiday, and has collaborated with the likes of Mark Ronson and The Daptones. Padded out by local hip hoppers Thundamentals, the Sydney show of the tour happens on Saturday 27 August at the Enmore Theatre. Tickets are available to the general public on Wednesday.

The folks in Melbourne duo The April Maze have been living on the open road for some time now, breathing in the fresh air and injecting it into their tunes as inspiration. They have a new single out, The Protest Song, the follow-up to their first single, Where Do They Go, which flew up to take the top spot on the triple j Unearthed roots chart. Over the Easter long weekend the band launched the single at the National Folk Festival in Canberra, and are following that with an East Coast tour leading up to the eventual release of their debut album, Recycled Soul. They play the Old Manly Boatshed on Wednesday 4 May, Artichoke Café Manly Friday 6, Great Northern Newcastle Saturday 28 and Rhythm Hut Gosford on Sunday 29. The single is available for free download at theaprilmaze.com.

FEICK’S DEVICE

LAST SPACE For five years now, YourSpace has provided Sydney with weekly music and art installations for free. Tomorrow night there will be a celebration at YourSpace’s home, the Town Hall Hotel (or Townie, if you like), marking half a decade of music and art – for the last time. It is the final instalment of YourSpace and, as well as featuring artworks, will see sets from YourSpace alumni like Rex Havoc, Grant McNally, Feick’s Device, Fishing Backwards, Covert Udon Noodle Traffickers, Solomon Barbar, The Snakemen, Stephen Farrell, through a glass, darkly, Upside Down Miss Jane, Dave Sattout, Candlewax, Matt Reilly, Janise Shanley Band, Brenden Parker & Hal Shorter, Captain Acoustic, Dan McReed, Deyvesson and more. Set times will be determined by a raffle. It starts at 7pm and is free entry, so come along and farewell one of the Inner West’s local staples as it goes out with a bang.

TIM ROBBINS

ROGUE ACTOR

BEN SALTER

Actor Tim Robbins, known for his roles in films such as The Shawshank Redemption, also counts making music as one of his many hobbies – and he ain’t bad at it, either. He fronts a band called Tim Robbins & The Rogues Gallery Band, though he’s actually been making tunes for many years more – as you’ll find out if you flick to the interview with him in last week’s issue. It’s just that now’s finally the right time for him to show his musical side to the world. You’ll be able to catch him if you head to the Clarendon in Katoomba Wednesday and The Basement Circular Quay Thursday night.

ONE COOL CAT Brisbane singer/songwriter Ben Salter, known as the frontman of The Gin Club, is gearing up to release his debut solo album, warming up by playing a few East Coast dates and re-releasing his self-funded EP, Perceived Slights. The upcoming album is called The Cat and was produced by The Drones’ Gareth Liddiard, and Salter will be showcasing tracks from it when he plays GoodGod on Thursday 12 May and MUM on Friday 13. Limited copies of the EP will also be available for purchase at the shows.

BEGGING YOU Sydney five-piece Beggars Orchestra is finally unleashing its debut album, And Then The Crows Will Come, mid-May. It is a concept album that was made under the guidance of producer Brendan Anthony, who has worked with artists like INXS, Jimmy Barnes and george, and mastered at 301 Studios in Sydney. The band launches the album at Newcastle’s Pink Metal Shop on Saturday 7 May, the Bald Faced Stag on Saturday 14 and at an appearance at Showdown Festival at the Annandale Hotel on Friday 10 June. • 28 • THE DRUM MEDIA 26 APRIL 2011

DAMIEN LOVELOCK

I HEART NEW YORK

CART YOURSELF THERE

The Sando is hosting New York, New York, an evening where Australian artists get together to pay tribute to some of the best bands to come out of New York like The Velvet Underground, Blondie, Talking Heads, New York Dolls, Ramones, Television and more. It will feature Celibate Rifles frontman Damien Lovelock (pictured), reprising his band’s 1999 New York tribute evening, as a vocalist, as well as Rob Younger (The New Christs, Radio Birdman), Link (The Meanies, The Bakelite Age) and Carrie Phillis (Booby Traps, Downtown Three), with Shaggin’ Wagon acting as the house band for the night, featuring special guest Matt Galvin of the Happy Hate Me Nots. It happens on Friday 13 May.

Double bass jazz legend Ron Carter comes to Australia for the first time ever mid-year with bandmates Russell Malone and Mulgrew Miller as the Ron Carter Trio. Carter has over 2500 recording credits to his name and is one of America’s jazz heroes, with a career spanning more than 45 years that’s seen him work with people like Miles Davis and James Brown. The trio appears at the Darling Harbour Jazz & Blues Festival on Saturday 11 June before headlining on Sunday 12 at The Basement Circular Quay, with Elixir – featuring Katie Noonan – in support. Elixir has recently returned to the studio to make a second album, so you can expect to hear some new tunes from them too.

twitter.com/drummedia

GEORGIA FIELDS

FIELDS OF GOLD Melbourne songstress Georgia Fields released her debut self-titled album last year and is taking the tunes on the road when she plays a headlining show here in May. She has toured around the country, as well as been invited on RocKwiz to test her musical knowledge. Her album was named one of Clare Bowditch’s recommendations for 2011 in The Age, and the Sydney Morning Herald featured her in their list of 2011’s Next Big Things. Find out what the fuss is about when she plays The Vanguard on Sunday 22 May.


THE DRUM MEDIA 26 APRIL 2011 • 29 •


POWER ON A club night dedicated to power ballads is the newest addition on The Gaelic’s roster. They’ve called it Absolute Power and it’s dedicated to the best in fist-pumping, hair-teasing, face-melting riffs as the soundtrack, comprising purely power ballads, leads you through the night. The night is launched on Saturday 18 June, when The Gaelic will be given a facelift to resemble the set of an ‘80s music video – candelabras, fireworks, doves, smoke machines – the lot. The Absolute Power resident DJs will be spinning tracks on the night, joined by a number of special guests still to be announced.

JUMP IN

DRIVE IN

Melbourne rockers Calling All Cars have a new single out this week. It’s called Reptiles and is lifted from their second album, which they’re hard at work making with producer Tom Larkin, the dude who beats the drums for Shihad. The guys in Calling All Cars need a bit of fresh air as they’ve been holed up in the studio for a while now, working on said album, so they’re heading out on a headlining tour to launch the new single. With Strangers and The Cairos hopping in the van and coming along for the ride, the band plays Spectrum on Friday 27 May.

Sydney pop singer/songwriter Patrick Weyland-Smith, known under his stage name Patrick & The Deep End, has recently released his first EP. It’s called Stuck Up On Show and it’s a delicious little pop record bursting with theatricality and wit. He names Amanda Palmer, Bjork and The Smiths as influences, so if you’re intrigued as to what those influences could possibly culminate in then head to Low 302 on Sunday 15 May to find out. Entry is free.

NEWS IN BRIEF The Vines will “raise the roof” of St. Stephen’s Anglican Church in Newtown Thursday 26 May, the first Live At The Chapel event for 2011, and Russian Standard Vodka Live at the Chapel is offering fans the chance to win tickets to this money-can’t-buy concert – just go to the website for details.

DRAMATIC. ROMANTIC. DEADLY.

Hitting Sydney Friday to participate in the Creamfields festival, if you’d like to meet deadmau5 in person, he’ll be at Foot Locker on George St in the city between 4.30-5pm, where if you’re one of the first ten people to show your Creamfields ticket to the guys and girls there, you could also win some great prizes. Perth’s Rocket To Memphis, over this side of the continent to launch their new album, Jungle Juice, are playing an instore at Mojo Records in the city 6pm Thursday, their only Sydney performance. Some of the biggest names in Australian country music, among them Kasey Chambers, Shane Nicholson, Gina Jeffreys, The McClymonts, Catherine Britt, Wendy Matthews, Melinda Schneider, Beccy Cole and Felicity Urquhart, joined forces with host Ray Hadley at this year’s 39th Country Music Awards of Australia, to perform their version of The Beatles classic, Help. Released via BigPond, you can now buy their version, as The Spirit Of The Country, with all proceeds going to the Queensland Disaster Relief Fund. One of the major international attractions of this year’s Sydney Festival, Emmylou Harris, releases her new album, Hard Bargain, Friday. UK dubstep/R&B/House singer songwriter Katy B releases her debut album, On A Mission, locally Friday 6 May. English indie rock five-piece Art Brut releases its fourth album, Brilliant! Tragic!, Friday 6 May. Groundbreaking saxophonist Joshua Redman has a new quartet calling itself James Farm, which is releasing its eponymous debut album Friday 6 May. Three-time Grammy winner Booker T. Jones invited a few friends, The Roots, Sharon Jones and Lou Reed among them, to join him on his latest album, The Road From Memphis, which is released locally Friday 13 May. Brazilian-born DJ and electronic producer Amon Tubin releases his latest studio album, Isam, Friday 13 May. Toronto, Canada-based trio Austra releases its debut album, Feel It Break, Friday 13 May. Experimental Philadelphians Man Man release their new album, Life Fantastic, Friday 13 May. The South African-spawned LA-based Seether release their fourth studio album, Holding On To Strings Better Left To Fray, Friday 13 May.

The Australian Ballet pays tribute to its British beginnings in a thrillingly diverse triple bill

SYDNEY 3 – 21 MAY Opera Theatre, Sydney Opera House with Australian Opera and Ballet Orchestra

BOOK NOW MORE INFO australianballet.com.au australianballet.com.au or 1300 369 741 sydneyoperahouse.com or 02 9250 7777

It’s been quite a while between releases from the artfully eccentric Kate Bush, her last being 2005’s Aerial. Released Friday 13 May, Director’s Cut isn’t exactly a new album but a revisiting and re-recording of selected tracks from her 1989 album, The Sensual World, and 1993’s The Red Shoes. Selected from concert performances between 2007 and 2009, Bride Of The Noisemakers is a new, live two CD set from Bruce Hornsby & The Noisemakers, out Friday 13 May.

TICKETS from $30 Transaction fee of $5.00 – $8.50 applies

Local prog five-piece Beggars Orchestra releases its debut album, And Then The Crows Will Come, Friday 13 May.

Daniel Gaudiello & Olivia Bell Photography—Georges Antoni

To celebrate 25 years of American glam rockers Poison, 35 of their biggest numbers have been gathered together for a careerspanning two CD set titled Double Dose: Ultimate Hits, out Friday 13 May. Celebrating the reunion of I Killed The Prom Queen and their participation in the Destroy Music tour through May, their 2006 album, Music For The Recently Deceased, expanded to a two CD set, and their DVD, Sleepless Nights And City Lights, with a bonus live disc, are being reissued.

• 30 • THE DRUM MEDIA 26 APRIL 2011

twitter.com/drummedia


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

ENROLLING NOW FOR J U LY

Large Format Printers

THE DRUM MEDIA 26 APRIL 2011 • 31 •


WITH HIS “FUCK KYUSS” MENTALITY NOW A THING OF THE PAST, JOHN GARCIA HAS GOTTEN (SOME OF) THE BAND BACK TOGETHER TO CELEBRATE THEIR LEGACY WITH THE TOURING BEAST THAT IS KYUSS LIVES!. KRIS SWALES TALKS FILLING THE VOID, FRAUDULENT FEUDS AND NEW MATERIAL WITH THE BURLY FRONTMAN.

listen without

I

DISTRACTION

n March 1993, four relative unknowns were plucked from the obscurity of the Palm Springs, California desert to support Metallica – then staking a hefty claim for the title of biggest band on the planet – on their jaunt around Australia on the back of ‘The Black Album’. By the time they called it a day in October ’95, they’d been lavished with praise like “heavier than a truckload of Mudhoney CDs”, “should be measured by Richter not by volume” and “God’s gift to drop D tuning”, the latter from Dave Grohl himself in Spin magazine (though in truth they tuned down to C).

down there [since 1993]. I’ve been trying to get down there and I’ve been trying to get [still active post-Kyuss band] Hermano down there, but it has to make sense to do stuff and this time it kind of makes sense.”

And so after four full-length studio albums in as many years, peppered with two collectors’ item vinyl platters which also found their way onto the Muchas Gracias ‘greatest hits’ compendium in 2000, Kyuss was no longer a band but a legend – like The Velvet Underground before them, a band whose influence and legacy far outweighed their commercial impact while extant. And like The Beatles, the volume of musical output from John Garcia, Josh Homme, Nick Oliveri, Brant Bjork, Scott Reeder and Alfredo Hernandez post-Kyuss far outweighs that of their esteemed early project.

“Sometimes he gets some flack, but I think the majority of the time – like 99.99 percent of the time – he gets praised, because he shows an incredible amount of respect to Josh. He wants to play what Josh played. He’s a fan of Josh’s. Of course he doesn’t want to butcher the songs and I think he shows the songs an incredible amount of respect, but I also think he puts his own flair, his own personality… it’s almost impossible for Bruno not to put his own personality onto some of these songs and you can hear it in some of the solos he plays and some of the little nuances that he does. That’s something that Josh did as well. I don’t think I’ve ever heard Josh play the same – he didn’t play solos very often, but when he did there was always those subtle nuances.”

Also much like The Fab Four, seeing any permutation of those six members sharing a stage, or indeed a studio, looked highly unlikely as Josh Homme’s career trajectory went through the stratosphere with the stoner rock throne’s rightful successors, Queens Of The Stone Age – an outfit which at various stages had included Oliveri, Hernandez and even Garcia himself on the pre-QOTSA Gamma Ray recordings. Homme has continuously hosed down reunion speculation throughout his tenure as the main man of the QOTSA collective and even Garcia, who famously got hopes up when he guested with QOTSA on Kyuss tunes Thumb, Hurricane and Supa Scoopa And Mighty Scoop at a California gig in December 2005, was keen to distance himself from the band in the years immediately following their 1995 split. “There was a time in my life where I used to say ‘fuck Kyuss’,” frontman Garcia admits as he takes a break from “Mr Mom” duties caring for a sick wife and son. “I didn’t want that association with Kyuss when I wanted to go off and do my own thing, but it’s difficult if you’re the singer for Kyuss and you go off and try to do a different rock band – I’ll always be known as the singer for Kyuss. It’s something I don’t shine anymore, it’s something I embrace and it’s something that I’m very proud of, I’ve come to terms with and I’ve got a newfound love for the past.” That newfound love has crystallised in the form of Kyuss Lives!. With its genesis in the Garcia Plays Kyuss tour, on which Garcia traipsed across Europe in 2010 delivering the band’s songs to rabid crowds, the project really gathered steam when founding bassist Oliveri and drummer Bjork joined him and guitarist Bruno Fevery on stage at France’s Hellfest. Kyuss Lives! was born, with the dual purpose of taking their classic material to a new generation of fans (as well as older ones still living the dream) and helping Garcia raise awareness for his forthcoming Garcia Vs Garcia solo project. “I never really expected this Kyuss Lives! piece to go any further than this past trip to Europe. But the response and the amount of attention that was generated was almost impossible to refuse. Once I heard that Australia was in the mix, there was no possible way that I was going to turn that down because I’ve been waiting to get • 32 • THE DRUM MEDIA 26 APRIL 2011

The sell-out Australian tour indicates fans have embraced the concept despite the notable absence of Homme (not to mention Messrs Reeder and Hernandez), with Garcia adamant that Bruno Fevery has stepped confidently into what is surely one of the most revered guitar slinging positions in rock music.

Homme is a recurring theme (for the most part

me and Josh sitting down at a bar in the afternoon having a couple of cocktails and within five minutes of the conversation we’d decided to break up the band. We were already toasting about that time in Berlin or that time in Milan or that time in London and it was like that – and it’s been par for the course for the entire relationship between me and Josh.” Like the “big blowout” that never was, the so-called generator parties, which saw the band drag their gear and a generator into the desert surrounding Palm Springs and jam for anyone lucky enough to know where to find them, have become part of the Kyuss mythology. While it would be all too easy to suggest the group and the desert had a synergistic relationship, Garcia believes the influence of environment on their sound was secondary to the interpersonal chemistry of the band members themselves.

“I think we were just four young punks who had a huge void in our guts and it needed to be filled. We played the music that was missing in our lives. While I was listening to Earth, Wind & Fire, ZZ Top and The Smiths and whatnot, Nick and Brant and Josh were listening to Black Flag and The Misfits and Bad Brains and The Ramones. We were on our own trips, yet we wanted to fill that void. I don’t necessarily think it came from the desert – yes, is the desert beautiful? Is it awe-inspiring?

I never really expected this Kyuss Lives! piece to go any further than this past trip to Europe. But the response and the amount of attention that was generated was almost impossible to refuse.”

unprompted) in Garcia’s conversation – understandable given Garcia and Homme were the constants through the group’s union as Katzenjammer while still in high school in the late 1980s, then transformation into preachers of the stoner rock old testament on instant classic albums Blues For The Red Sun (1992) and Welcome To Sky Valley (1994). And Garcia is determined to quash any rumours of beef between the pair.

Yes. But it’s like that old saying – necessity is the mother of invention. It was a necessity for us to go out there and fill that void. It was a necessity for us to fill that boredom. And sometimes it was sheer out of boredom that we’d get together and play tunes. There was not a whole lot to do out here in the desert back in those days. Now it’s a great place to raise a family, there’s plenty to do and the desert’s changed.

“Josh Homme – everybody wants there to be this bad blood between me and Josh, when I have nothing but the utmost respect for Josh. I love him to death, I think he’s a brother of mine, I think he’s an unbelievable singer, I think he’s an unbelievable guitar player, but I think most of all where he really shines is his songwriting. There’s a certain class and a certain feeling that I get when I listen to his songs, whether it be Them Crooked Vultures or Queens Of The Stone Age – and I’m more of a fan of Queens Of The Stone Age than Them Crooked Vultures, but I think Josh knows that.”

“Whether we were in the south of London playing house parties, or in the middle of Lawrence, Kansas playing in some corn fields, just us four getting together and how hungry we were was the main mix, that was the recipe for Kyuss. And we didn’t want to suck, we wanted to sound good and we wanted to make a mark with our music, which I think we did.”

While Garcia won’t confirm whether burnout or creative differences were an issue (for the record, Garcia credits 1995’s slightly unfocused …And The Circus Leaves Town as his favourite Kyuss record even though it did signal “the beginning of the end for me”), he does say even the story behind the untimely demise of Kyuss has been embellished with the passing of time. “It’s funny,” he chuckles, “because whatever went down in the day didn’t even really go down. What went down was a ‘big blowout’ – the supposedly ‘big blowout’ was

And the good news is that an addition to the vaunted Kyuss discography may be just around the corner. “All four of us want to do another record and it looks like we are going to do another record. I’m very pleased in announcing that and I feel confident that we’re going to do it. We’re looking at some producers and that’s still up in the air and it’s all a bit premature, but yeah man – it’s gonna happen.” WHO Kyuss Lives! WHEN & WHERE Saturday 7 May, Big Top Luna Park

twitter.com/drummedia

HERMANO

SECOND TIME LUCKY

Though Queens Of The Stone Age has been the most visible post-Kyuss vehicle, the honour roll is a decorated one: Brant Bjork’s solo career followed a stint on Fu Manchu’s drum stool, Nick Oliveri has continued to pursue Mondo Generator after his messy departure from QOTSA, eagle-eyed fans would have Scott Reeder pop up auditioning for Metallica in Some Kind Of Monster (he also guests on Garcia Vs Garcia) while Garcia himself moved through Slo Burn, Unida and Hermano via a guest vocal slot for Las Vegas breakbeat act The Crystal Method on their 2003 anthem Born Too Slow and many more besides. For Garcia, music has until now taken a back seat since Unida’s record deal with American Recordings took a turn for the worse and he focused on family life and his other love – veterinary medicine. “I’ve been in veterinary medicine for the past eight years and I’ve always been into veterinary medicine, even when I was in Kyuss – interested and always educating myself. I’m very lucky to have two things I love to do. I would get my fix every now and again with Hermano or Arsenal or Mad City Rockers, some of these one-off projects that I go and do a jaunt with like The Crystal Method, that was done on my family vacation time from work. “So [returning to music full-time has] been an interesting move but I’m digging it so far. I’m looking forward to coming down to Australia and celebrating the past and letting people know that Garcia Vs Garcia is coming out. Don’t sweep me under the carpet just yet. Don’t kick me to the kerb just yet. I’m not done.” Better still, Garcia is launching his fresh assault from just up the road from where it all began rather than his (thankfully brief) home town of Los Angeles. “No, no – I’m in the desert,” Garcia assures, as if the alternative is an outer suburb of Hell itself. “I tried moving to Los Angeles for a job, for this other career that I had working for the largest animal diagnostic company in the country. I was working for them for a while and I decided that Los Angeles wasn’t for me. As soon as I moved there, the day that I started unpacking, I knew that I was coming back and it took me about a year and a half to come back. Luckily we kept our house, which is near Palm Springs – about 15-20 minutes north of Palm Springs. But yeah, I’m still here and I’m doing very well.”


SUBMISSIONS ARE OPEN

FOR 2011 WWW.THESYDNEYFRINGE.COM.AU W WW.THESYD THESYD THE DRUM MEDIA 26 APRIL 2011 • 33 •


DARWINIAN EVOLUTION

DECIDEDLY CHILLED NEW YORK-BASED BOHEMIAN INDIE POP WUNDERKIND DARWIN SMITH, AKA DARWIN DEEZ, IS ALREADY FEELING THE HEAT TO DELIVER ON HIS ALSONAMED BAND’S SECOND RELEASE – AND YET THEIR DEBUT HAS REALLY ONLY JUST SUNK IN AT HOME. MITCH KNOX CHECKS IN WITH THE AFFABLE FRONTMAN PRIOR TO HIS AUSTRALIAN VISIT.

S

ometimes, you think you’ve got a person all figured out and then, out of nowhere, they throw curveballs at you which straight up blindside you and leave you wondering how you had them so horribly misperceived. Such is the case with the enigmatic Darwin Deez. At first glance, he seems like any other earthy waif of a hipster, but it’s not until he admits he’s been filling his days between “shows and shows and lots of shows” doing “a little bit of rapping, listening to the Chili Peppers and listening to a lot of John Mayer” that it’s apparent that Deez is a truly unique specimen indeed. The rapping refers to his recently-released “high concept” rap mixtape made up of samples from the original Willy Wonka film, but the Chili Peppers? John Mayer? Really? “I’m just following the muse, I guess,” Deez laughingly justifies. “I don’t know why. I guess the Chili Peppers fascination kind of started because a bunch of us… well, first I started reading his [Anthony Kiedis’] biography – his really racy and maybe, probably, exaggerated biography, which is just continuous sex and drugs – Scar Tissue. It started because I bought it for Michelle [Dorrance, aka Mash Deez], our bass player, and she never really read it, but I did, before I gave it to her – parts of it – then I finished it more recently on tour and we’ve all passed it around and we got kind of obsessed with it. It made us want to listen to this music that they’re talking about in the book, so that’s where the Chili Peppers thing came from. I don’t know about John Mayer. He’s just a musical guy; I can’t resist.” Strange though it may seem that Deez could find not only enjoyment but relevance in anything Anthony Kiedis has to say, he admits that he has something of an ongoing fixation with the lives of music royalty that compels him to hear their tales, however (probably) exaggerated they may be. “Well, I’ll tell you, I like to see the films,” he explains. “I like to see the documentaries about musicians’ lives because it’s relevant; it’s just fascinating and it’s fun and exciting. And now more than ever it’s relevant to me because it’s like, well, this is how it could be if I keep going down the path I’m going down. Whereas for most jobs and lifestyles it’s kind of evident how things are going to turn out and what they could be like and I think for a musician – just for me – it kind of gives me a picture of what that’s like. I love to watch those documentaries.” When he has the time, that is. Although the band’s eponymous debut album was released in the UK around a year ago, it only dropped in his home country in late February this year. It’s not the most usual of approaches, but a lack of “label love this side of the pond”, among other reasons, led to the arrangement and so only now is Deez blessed with the opportunity to make a dent on the US psyche. Not that he really seems to mind the way things panned out.

Sophomore albums usually suck, so at least I’ve got it now. Get it while you’re hot, right?”

“It’s boding well, yeah,” he says of the album’s early reception at home. “We’ve done a few shows at colleges and those have been good, so I think that’s a pretty good place to start. Certainly a goal I’ve had for a long time is to play those college gigs that pay well and are a lot of fun and you’re getting in front of people that you want to play for, so it’s definitely progress. “It was kind of like a goal and a fantasy and a dream for it to happen in England first,” he continues. “I always thought it was, like, the best way to break in to the music business because England is kind of the mother of all music press and there’s a lot of really reputable acts that were famous in England first, like The Strokes and The Killers and Jimi Hendrix… and they have this way of talking about music in England, I swear, that’s, like, way more exaggerated. There’s a word for that – hyperbole – and I think that gets people excited and it contributes to the spread. So I’m really happy for us too and, again, I think it’s a good sign. I’m happy.” The positive vibes now irrevocably flowing, Deez is similarly optimistic about his impending performances in Australia. “I think you can expect to like it,” he affirms. “I think you can expect to remember it for a while and if you don’t love the songs already, you probably will, so… that’s pretty boastful I guess, but I think that’s just the truth about this group of songs and about our live show so, y’know, who’s to say whether we’ll be able to keep it up? We probably won’t; sophomore albums usually suck, so at least I’ve got it now. Get it while you’re hot, right?” Well, yes. Besides, at least if the expectation is there that the second album could “probably” tank, there surely can’t be all that much pressure to perform. “No, no; it’s definitely, like, super-megapressure,” Deez frets. “I put a lot of pressure on myself anyway to make stuff good. So with this one, I think people are going to notice if it’s not good, so it’s probably about the same amount of pressure, but just more time pressure. I hate that, because I really don’t want anyone to be bothering me with, ‘Oh, this sounds done to me,’ for me to say, ‘No, I want three more months with it so I can change one word’. But it’s like that’s how I prefer to write and work, so I’m a little anxious about that. But it’s gonna be a new challenge and I like new challenges. That’s my thing; I’m Aries so I’m a pioneer – first sign of the Zodiac. So it’s like anything that I’ve never done before, I want to see if I can be good at it and that’s how I sort of stay interested in life.” WHO Darwin Deez WHEN & WHERE Saturday 7 May, Groovin’ The Moo Maitland; Sunday 8, Groovin’ The Moo Canberra; Tuesday 10, Metro Theatre • 34 • THE DRUM MEDIA 26 APRIL 2011

twitter.com/drummedia


Thursday 28th April........................

TIM ROBBINS Oscar-winning actor US Tim Robbins has just made his debut album at age 51, and will be performing material from it with The Rogues Gallery Band. Join the star of The Player, The Shawshank Redemption and Mystic River for a night of rhythm and satire.

Friday 29th April.............................

TONY JOE WHITE Tony Joe White has accomplished much in the years since he emerged from his home in Louisiana’s swamp country and the hardscrabble circuit of Texas honky-tonks. His music is part of America’s soundtrack.

Saturday 30th April........................

STORYLINES A new concert series presented by CCEntertainment and Sony Music, where contemporary singer-songwriters including Damien Leith, Steve Balbi, Evelyn Duprai, and Elliott Weston interpret great storytelling songs by Dylan, Springsteen, Joni Mitchell, Cat Stevens, Harry Chapin, Simon & Garfunkel and many more.

Monday 2nd May...............................

JAMES WHITING – ALBUM LAUNCH James in an upcoming jazz vibist who has performed alongside musicians including Jon Wikan (USA), Tony Miceli (USA), Steve Newcomb (AUS), and Jim Pugh (USA). Catch him playing with James Muller (guitar), Alex Boneham (double bass) and Tim Firth (drums).

Tuesday 3rd May...............................

SONGS ALIVE! SINGER-SONGWRITER COMP GRAND FINAL Catch Sydney’s rising stars in the last Songs Alive for 2011.

Thursday 5th May.............................

EDOARDO SANTONI EP LAUNCH Edoardo Santoni is one of the most unique vocalists in Sydney! His canvas of sound is coloured between the complicated vocal rhythms of Kurt Elling and the acoustic work of Lior.

Friday 6th May..................................

THE BREWSTER BROTHERS: BLOWIN’ IN THE WIND John and Rick Brewster, foremost songwriters and guitarists of the legendary group The Angels, one of Australias most loved and respected bands, present a magical interpretation of the music of Bob Dylan.

Saturday 7th May.............................

POPBOOMERANG LABEL NIGHT + AERIAL MAPS SINGLE LAUNCH A headline performance from critically-acclaimed Sydney band The Aerial Maps, plus a rare solo set from Melbourne indie darlings Skipping Girl Vinegar’s Mark Lang, plus The Bon Scotts, Russell Crawford and The Stickmen, and rising alt-rock act Celadore.

Coming Soon Book Now 9251 2797 Tue May 10 – ALISA FEDELE AND THE MONEY SMOKERS Wed May 11 – MARY COUGHLAN (IRELAND0 Thur May 12 – LULO REINHARDT Fri May 13 – HOTAL CALIFORNIA – A TRIBUTE TO THE EAGLES Sat May 14 – EMMA DEAN

THE DRUM MEDIA 26 APRIL 2011 • 35 •


THE REAL THING

SO YOU THINK HOUSE OF PAIN ARE JUST A BLAST FROM THE PAST? THINK AGAIN. MARK HEBBLEWHITE JUMPS AROUND WITH DANNY BOY TO GET THE FULL STORY OF THE GROUP’S REVIVAL AND FINDS OUT THAT IT WAS NOTHING MORE THAN A NATURAL EVOLUTION.

It wasn’t like he just woke up one day and saw that there were white guys in hip hop. He didn’t like what we said, not who we were. Besides, it all got squashed and we’re homies now. “So overall I don’t like to say that we were on some mission to make sure white people could contribute to hip hop, because we weren’t,” he continues. “But it is probably true that white kids out there saw that a group of Irish guys could make it and that it wasn’t a waste of their time to give hip hop a try. In fact, just last week we were doing a record signing and some kids came up to us and told us just that – and of course we’re proud of that. It makes everything worthwhile.”

“I

t had been 15 years since we broke up originally, but then Everlast, Lethal and myself hooked up for the La Coka Nostra project together [along with Ill Bill and Slaine] and that turned out really well, so we decided that it was probably time to revisit the House Of Pain material,” outlines House Of Pain’s MC Danny Boy. “From that decision we started getting booked to do shows for St Patrick’s Day parades here and there and we just thought, fuck it, let’s give the people what they want. And there you have it – House Of Pain was reborn.” Looking back do you regret all the time spent apart? Or was breaking up when you did the only way the group would one day be in a position to reform? “I think it’s a little bit of both,” ponders Danny Boy. “There’s no point going back and saying this should have, or shouldn’t have happened. We are where we are now, which is a good place so things have turned out for the best.” Now that they’re back in action, House Of Pain promises that’s it not just a part time proposition where the boys play the odd half-arsed live show and go through the motions. “We’re bringing it on every level,” reveals Danny Boy. “For the Australian tour we’ll be bringing over a full live band, which is going to sound amazing and will give all the old classics a fresh vibe. It’s been many, many years since we last came to Australia with Coolio and Naughty By Nature. This time we’re determined to make up for the long absence as well as show everyone that House Of Pain still has something to offer hip hop.

And while we’re talking about nationality, House Of Pain is synonymous with Irish pride. Is the group really that enamoured of their Celtic roots, or was Shamrock love just a convenient marketing ploy to reach a wider audience and corner St Patrick’s Day celebrations for all eternity?

“We’re also going to look at doing new material once we get back,” he continues. “All of us are committed to this and we’ve got a lot of great ideas that are worthy of the name House Of Pain. We’re still kicking stuff around so there’s not much I can tell you now, but stay tuned because we’re back and we’re not just going to live on old glories.” As well as churning out infectious hip hop anthems, House Of Pain proved to be a groundbreaking proposition as far as the issue of hip hop and race was concerned. Put simply, even during the genre’s rise to worldwide prominence in the late 1980s and early 1990s, white faces were very few and far between. Eminem was undergoing puberty, Vanilla Ice was a joke, the Beastie Boys were genre mixing and the likes of English icon Blade were residing deep in the underground. In fact, aside from producer extraordinaire Rick Rubin and the interracial 3rd Bass crew, the Irish yobs of House Of Pain were pretty much it. But according

to Danny Boy the crew didn’t see themselves as groundbreakers, they were just musicians. “Look, there was some difficulty breaking through initially, but when it came to getting signed and putting out the first record, we didn’t have any problems because people judged us on skills. They saw that we were serious about the art form and serious about the culture – we respected where it came from.” But surely episodes like DJ Quik’s vicious diss track Can’t Fuck Wit A Nigga, where the Quikster deliberately referenced House Of Pain’s skin colour and Irish origins, shows that it wasn’t all plain sailing within the hip hop community? “Well that actually happened for a reason – and not because of who we were,” explains Danny Boy. “We actually dissed Quik first because we thought he had taken a shot at our boys in Cypress Hill. Quik was actually a fan, but when he heard that he felt he had to hit us back. And that’s cool because that’s how beef is handled in hip hop. Quik felt he had a reason and went for it.

FIXING THE GLITCH

WITH A PLATINUM DEBUT ALBUM UNDER THEIR BELTS, YOUNG UK INDIE-POPSTERS THE WOMBATS TOOK A VERY DIFFERENT APPROACH IN ORDER TO CREATE THEIR FOLLOW-UP EFFORT THE WOMBATS PROUDLY PRESENT… THIS MODERN GLITCH. DRUMMER DAN HAGGIS SPEAKS WITH MITCH KNOX ABOUT MEETING THE PRESSURE BESTOWED BY A GLORIOUS FIRST TURN AT BAT.

“The album starts with Our Perfect Disease and I think that song was actually one of the first songs on the album – it was the earliest song that we’d made for the album, if that makes sense. It’s an older song in this period of writing,” skinsman Dan Haggis explains. “We really wanted it to have this Kraftwerk/Depeche Mode kind of feel to start with, to kind of shock or draw people into the album and go, ‘Whoa, what’s going on?’ Then after the first chorus it goes back to maybe more familiar Wombats sounds from the first album – just guitar, bass, drums and the backing vocal sort of thing. The synths were very much, uh… well, we wanted to • 36 • THE DRUM MEDIA 26 APRIL 2011

“So yeah, when you’re dealing with House Of Pain you’re dealing with the real thing. Hip hop is our life – we’ve never stopped even when the group split up and now we’re back, the group is stronger and more determined than ever before. So if you were a fan of House Of Pain before, you’re going to like what’s coming at you now. And for those of you who never checked us out, or were too young, well, we’re going to convert you.” WHO House Of Pain WHEN & WHERE Friday 6 May, Manning Bar; Saturday 7, Groovin’ The Moo Maitland; Sunday 8, Groovin’ The Moo Canberra

end, which it shouldn’t be, I guess. But I think we’ve still got a climax at the end, which Schumacher [The Champagne] is. That’s another one that’s so different to anything we’ve done before. We call it our ‘folk/rock/ grunge/electro’ song. It’s got, like, Neil Young-esque guitars at the end, but it starts off with this ploddy, folky sort of vibe, but at the same time it’s played on a synth and then there’s a banjo in there. I just hope people notice all the details, all the things we’ve put in. They probably won’t, though.” Oh, ye of little faith. Although, perhaps Haggis’ halfjoking pessimism is slightly justified – for example, it’s easy to see the appeal of the album’s second single Jump Into The Fog now that it’s everywhere, but even the band’s own label didn’t quite see the wider appeal in the more downstep vibe of the song; not when there was a whole album of other could-be-singles to pick from, which is strange considering the diverse aesthetics of the album’s singles to date.

F

rom the outset of creating their second album, The Wombats knew things had to change. The Liverpudlian indie-pop trio seemingly came from nowhere to dominate indie charts around the globe with their 2007 debut The Wombats Proudly Present: A Guide To Love, Loss And Desperation. Singles Kill The Director and Let’s Dance To Joy Division especially won them armies of fans who met them everywhere with unflinching dedication and enthusiasm. Anyone else might be happy to just rest on the laurels of their early achievements and hope for the best, but not The Wombats. They knew things had to change and, as a first measure in doing so, diversified their sound considerably with the simple addition of the indie scene’s weapon of choice – synthesisers. On the finished album, the shift in faith is apparent almost instantly, as are the reasons for it.

“Again we’ve always set out to be the people we are – no gimmicks, no bullshit,” spits Danny Boy. “We’re Irish boys from the east coast of America. There was no point hiding it, so we celebrated it. It’s funny actually, we’re from New York but a lot of people thought we were actually from Boston because we wore a lot of the fighting Irish stuff, which was what people did back then because of Larry Bird and that kind of thing.

try and find the balance between having synths in; each of us have synths next to us, so it was kind of a natural thing, but it was really nice when it came to arranging the songs that we could go to this happy, floaty section of all of us doing synths rather than before when we didn’t have them next to us physically.” As with any foray into new territory, the journey was not without its perils. Haggis indicates the actual process of creating …This Modern Glitch was a far more tumultuous one than they’d previously experienced. “Compared to the first album, it was just an absolute headfuck, to be honest, but a good headfuck nonetheless,” he admits. “The first album was sort of three weeks in a studio and we’d played the songs so many times live, even before we were signed – we were pretty much touring half the album at least. So it was all very much rehearsed, very much ingrained in us. There were no real changes to make, it was just a case of playing it live. Whereas with this album, we hadn’t played all the songs live so they weren’t as ingrained. We weren’t as attached to all our parts so it meant that when we were in the studio, there was a little more leeway with changing parts and adding different things

in there that before would have felt weird in the songs, you know what I mean? We over-thought a lot, basically, but I think it’s worked out for the best. “If there was a hook missing or anything, we had the time to actually add something in rather than say, ‘Oh, well. It’s fine’. So, yeah; it was a good experience, it was just difficult. We’re all still friends and we’re all still really excited about it, so that’s got to be a good thing.” Indeed, upon hearing the album it’s easy to see why Haggis is feeling good – The Wombats’ inherently pop-based sensibilities, newly invigorated with their thoughtful instrumental expansion, is a little hard not to smile at and bop along to. Despite the catchy overtones, Haggis is adamant that deceptively large amounts of thought and effort went in to constructing …This Modern Glitch in order to best capitalise on the interwoven nuances and intricacies. “We wanted to make the start of the album feel like you raced along and before you knew it, you were halfway through the album. Like an action film, I guess; they make sure that the start’s pretty exciting,” Haggis laughs. “Like a James Bond film – the start’s always amazing, isn’t it? Often the start’s even better than the

twitter.com/drummedia

“Jump Into The Fog was never actually intended to be a single. That was a strange one,” Haggis reflects. “We… sent it to the label and they were like, ‘Yeah, this is good – this could go on the album, but we don’t think it’s a single’. Then it wasn’t until a guy at Radio 1 heard it and literally shat himself and said it was absolutely one of his favourite songs that we’d done and that we’d have to release it as a single that our label was like, ‘Ooh’, and they re-thought it and then thought, ‘Okay, yeah, it can be a single’. “A lot of our songs end up sounding almost like they could be singles because of the way we arrange and stuff – we try and keep it concise and we don’t want people’s attention to wane – and the moment we feel like a section’s gone on too long or a part’s getting boring we kind of change something about it.” WHO The Wombats WHAT The Wombats Proudly Present… This Modern Glitch (14th Floor/Warner) WHERE & WHEN Saturday 7 May, Groovin’ The Moo Maitland; Sunday 8, Groovin’ The Moo Canberra; Monday 9, Enmore Theatre


MAJOR LESSONS

MELDING THE SOUNDS OF MODERN METAL AND POSTHARDCORE WITH THE IMAGE AND ATTITUDE OF THE GREATEST ROCKERS OF THE ‘80S, IT SEEMS THERE IS NEVER TIME TO REST FOR ESCAPE THE FATE. LOCHLAN WATT QUIZZES DRUMMER ROBERT ORTIZ.

former vocalist Ronnie Radke was asked to leave the group due to being sentenced a prison term for multiple narcotics and battery charges, an event which left the band unable to tour outside of its home state. Though he’s always pulled through, Ortiz reveals that life on the road can get pretty touch and go, himself having already “quit the band several times”. “I quit the band every fucking day,” he chuckles. “There’s been times when I’ve been like, ‘I’m fucking done’. I’ve been there before. It gets hard man. There’s a lot of pressure that goes into it. Everybody wants to be famous and control their own destiny, but when you do you’re always on thin ice no matter what you do. You don’t know how long it’ll last. I feel like our band’s doing great right now. A year from now it could be like, ‘What the fuck happened? Why doesn’t anybody care about us anymore?’

“I

f it’s not us being completely, wondrously successful and dominating everything, or at least trying to, then it’s us falling apart at the seams, or shooting ourselves in the foot and not getting along,” says Robert Ortiz of Escape The Fate’s year thus far. “There’s never a dull moment, but overall it’s looking to be the biggest year for us right now. We haven’t gone backwards; I can say that at least. We haven’t shrunken in popularity, which is a good thing, and shows that our album is doing pretty well.” Since forming in 2004 the band has released three fulllengths and gone through just as many ex-members, amid all sorts of sex, drugs and rock ‘n’ roll style controversy. Previously signed to punk label Epitaph Records for 2006’s Dying Is Your Latest Fashion and 2008’s This War Is Ours, the group now calls major label Interscope home. Last year’s self-titled album is the first fruit of said relationship and has brought the band to dizzying heights of success. “I’ll never forget playing in New York City when Max [Green, bass] fucking collapsed on stage on our biggest headlining show to date,” he says of their most recent headlining tour. “There were so many people there it was incredible and Max just collapsed in the last song, for reasons we’ll never for sure know, but it happened. That moment right there just symbolised everything about Escape The Fate. We can continue to grow when we do our best and when we come together, everything is right with the music and our lives. Everything is incredible and it props us up with everything that goes on.”

Just how has life changed for the band since the major label move? How do the label’s approaches differ? “Epitaph just kind of do whatever they feel at that moment and they go with it and it’s cool. They don’t really have too much at stake,” he says matter-of-factly. “They’re basically giving bands chances, you know? “But with a label like Interscope, there’s a lot to lose with them and they definitely know that this shit can hit and it can be great, but they can lose a lot of money if it doesn’t. They want to make sure that their hands are on everything we do, but we don’t want them to. We told them from the get go that our music, that’s the one thing that they don’t touch, ever. Whatever songs we create, they don’t touch that. That’s what we’re going to do, whatever we’re feeling.” However it appears things aren’t always peachy and Ortiz has his qualms with how things work. “They just want us to do all this shit. It’s how we present the music that

becomes a difficult part. They don’t want us to do certain things, like maybe do remixes or do all this weird kind of shit and like release this, or do this weird tour. We’re like, ‘No, that doesn’t fit right, it’s not what we’re about, or it’s not enough’. We’re trying to make a music video right now for our next single, but they don’t want to just yet. But it’s like, ‘Dude, come on, let’s roll with it’ and they want to sit back and wait for it to kind of simmer. So you get these little things that ultimately slow down the process. I don’t know, it’s hard to explain man, there’s like weird shit, there’s ins and outs in the business that are just not fun to talk about. They’re just weird and sometimes you disagree. But they do care a lot – they really care.” With the hedonistic lifestyle of Escape The Fate a part of their ethos and more or less of their overall image itself, the band’s rise to stardom has not been without some serious hitches in terms of maintaining their ranks. Original guitarist Omar Espinosa abruptly up and left the band in 2007 due to “personal issues”. In 2008

twitter.com/drummedia

“There’s times when things are great and everything seems to be working, making sense – the fans are there, they’re responding, everyone’s into it and everything’s awesome… and you just can’t get along with your bandmate and you’re just like, ‘Fuck you dude, I hate you, I don’t want you in my life anymore!’ You kind of gotta take a step back and realise that you all have the same goal in mind and ultimately we’ve created a record and the music we make together far surpasses everything else. So we’ve found a line that we’re all comfortable with each other, we know what makes each other tick. It’s not always peachy – and we still don’t get along and we still fight – but you know, we’re older now. We’re still really young, but we’re adults now and everyone’s got shit going on. Sometimes you don’t even care about this any more and you want to leave and do something else, but you come back to your senses and realise everything you have at stake and you go, ‘You know, maybe it’s not that bad. I’ll go for a little wander and let’s figure this out’. You don’t look for a way out anymore, it’s a way to fix the issues, whereas before we’d reached a point where it was just done and there was no way to fix it. It’s learning, man.” WHO Escape The Fate WHEN & WHERE Saturday, UNSW Roundhouse

THE DRUM MEDIA 26 APRIL 2011 • 37 •


DYNAMIC SPECTRUM

IT MAY SEEM THAT IT’S COME TOGETHER IN A RATHER SHORT TIMEFRAME, BUT THE INITIAL VISION OF NEW PROJECT FLOATINGME HAS TAKEN MORE THAN A DECADE TO PROPERLY REALISE. DRUMMER LUCIUS BORICH SWIMS TO THE SURFACE WITH BRENDAN CRABB.

“It’s fantastic to have new musicians around; we’re learning about each other and it’s a whole new dynamic. As a musician it’s great to keep yourself in different projects. It’s great for the creativity and I’ve always done that in one way or another. This band has been healthy for my songwriting and playing; it’s been a great little journey thus far.” The quintet has also hit the live scene, littering a few headlining shows among support slots for Shihad and Dead Letter Circus. “I’ve been building up relationships with different bands and I was just able to give them a call and say, ‘Can you help us out?’” Borich laughs. “We’re working without a booking agent at the moment, working with what we have. It’s a slow little process.”

W

ith a line-up rounded out by Karnivool bassist Jon Stockman and three members of defunct Sydney heavy rockers Scarymother, FLOATINGME has progressive/hard rock devotees salivating. Although the new project has only played a few dozen shows and just unleashed their selftitled debut album, Borich, best known as sticksman for Sydney rockers Cog, has already heard a few murmurings. ‘Supergroup’. A band filled with “star members” derivative of past glories. While he understands these terms being bandied about, he explains while there’s been a flurry of activity recently, the gestation period of the new venture has essentially been one lasting more than 15 years. “I’ve known the guys from Scarymother since ’94/’95 when I toured with them,” Borich enthuses from the band’s Sydney recording/rehearsal space, enjoying a few days off between shows. “I was playing in another band; we became friends and kept in contact. Andrew [Gillespie, vocals] was living in America and he said, ‘Come over and hang out’. Before Cog even got off the ground, we were hanging out on the Sunset Strip, talking about music, writing, coming up with ideas and enjoying each other’s company. He just wasn’t ready to put together a full band then. One way or another it was going to happen, that we’d re-connect one day and start writing again. I moved back to Australia and he stayed in LA. [Cog] just morphed into that band and when Andrew came back to Australia, he was ready to write again. So he and two of the other Scarymother lads [keyboardist Tobias Messiter and guitarist Antony Brown] started writing and once they had some tunes, I just got the call.”

• 38 • THE DRUM MEDIA 26 APRIL 2011

were so strong it was almost like the songs were written around his parts. I thought, ‘This is a good foundation to work from.’ We suit each other’s playing style.

That call came approximately two years ago, when Cog began to almost completely cease all band-related activities. “I loved what they’d written and it was at a time when Cog was winding down and wasn’t really functioning anymore,” Borich says. “Don’t hold your breath for any albums or gigs from Cog is what I tell people. It feels as good as over to me, but it’s never say never. I can’t put everything on hold musically because of that. It was heartbreaking to be put into that position after working that hard, but you can’t stop playing music. I’ve always been the kind of musician who likes to create with others. I just thought, ‘It’s the time to make it happen’. It gave me the chance to help take this by the horns and help bring it to fruition.” Early on with FLOATINGME, there was no real aim other to create and do so for the love of music. “There was no pressure; it was done organically when everyone had the time. I was busy with Cog, but whenever I had a chance to hang out or record with them, I did. People were able to work the songs out in different ways to see which worked best. It was an organic, slow process, just for the love of making and creating and I think you can get good results that way,” Borich says.

“It doesn’t sound anything like Scarymother, Cog or Karnivool, but draws from a similar space. It was imperative that we create something different to what we’ve done before. We’re very conscious of not sounding like our previous bands. The dynamics are wider – there’s keyboards, it’s quite dramatic. It can be quite sparse, so the lyrical content can shine through. I loved the space on it; to play in a band with that kind of dynamic spectrum is quite interesting.” The end result is a diverse, yet focused record sure to rank among the finest Australian releases of the year and covering a variety of sonic ground from prog to electronica and post-rock, underlined by a grand sense of occasion and ambience that may take a few spins to properly grasp. “I think we’re just trying to make each song sound slightly different to the one before it,” the drummer ponders. “But also keep a continuity.” So how did Stockman come into the picture? “Jon was the last piece of the puzzle. We’re lucky enough that he had some time and was into the music. We tried out a few other bass players, but it didn’t quite work out; they didn’t quite have the sound or the technique we wanted. The versatility of Jon’s playing, the bass lines he created

twitter.com/drummedia

FLOATINGME also has just started its first fully-fledged headlining tour. When Drum mentions being present for their first ever show in Wollongong in February, when the quintet understandably appeared a little tentative, Borich chuckles. “That first show was pretty nervewracking. We’re playing a lot better than that now,’ he says, laughing again. “Some of the guys in the band hadn’t been on stage in quite some time. They’re putting their stage pants back on; it is hard to adjust to doing it again. But it’s a lot of fun. It’s a completely new beast. Most of it was written in the studio and never played live together before, [but] I think people have been pretty forgiving. We all come from professional bands and have it all together, but bonding with new people on stage does take time to happen. We were thrust into some pretty high profile shows right away and it’s going well. We’re starting fresh and seeing how it dynamically unfolds is interesting.”

WHO FLOATINGME WHAT FLOATINGME (Cross Section/Inertia) WHEN & WHERE Thursday, Newcastle Leagues; Friday, Annandale Hotel; Saturday, City Diggers


COHESIVE AND MAGICAL

CANADIAN SINGER/SONGWRITER K.D. LANG TELLS PAUL SMITH WHY A SOLO ALBUM TURNED INTO A BAND AFFAIR.

T

here is no doubt that Canadian k.d. lang is best known for her incredible voice above anything else. Often described as being like velvet, it has a compelling and enveloping softness about it that immediately puts any song she attempts under her mesmerising spell. So much so that she could be singing about how to file a tax return and it would be an absolute pleasure to listen to. But as a singer/songwriter, does it ever bother her that people often don’t look past her voice? “You know what, I have thought about that in a very brief way but I figure if they’re talking about my voice then I’m happy,” lang reasons. “I’m not the world’s best songwriter, it doesn’t matter to me. I basically write because I find that it makes me a better singer. I like to songwrite to hybrid styles, but I’m very, very happy with being known as a vocalist. That doesn’t disappoint me at all.” It’s an attitude which probably explains her willingness to perform covers as often as she does, most notably a version of Leonard Cohen’s Hallelujah that matches any previously recorded – and that includes Jeff Buckley. As she puts it, “I love interpretation and I love songwriting. I think they both help me do the other better. They balance each other out in terms of understanding songs and understanding how to sing a song. A good song is a good song whether I wrote it or whether someone else wrote it.” Lang’s music has shifted in style during the course of her almost 30 year career. Her first two albums (one of which, 1984’s A Truly Western Experience, is about to get its first ever release in Australia, as a 25 year anniversary edition) were more country based than the later recordings that most people would be familiar with. “It’s just the path that I‘m going on,” lang explains. “I was never into country music until my twenties and then all of a sudden I decided I was going to sing country for seven years and then I was into pop music and then I was into crooning music. I guess what I feel like singing is something that’s a conglomeration of emotional and environmental influences.”

connected with him,” lang recalls. “The first time we wrote together we wrote two songs, The Water’s Edge and Perfect Word, which feature on the album and it was a pretty great beginning and we just continued to write. He’d just finished building his studio and we were the first people to record in it. He’s such a creative force. He’s got lots of energy and he’s a tremendous engineer and producer. We just clicked and started to record and we brought these particular players in that are the Siss Boom Bang and it just was combustible.” The album has a very natural feeling to it that lang attributes to recording the songs live, something she could do thanks to the immediate confidence she had with her musicians. She explains, “I think when you’re in a situation where you have like-minded people playing music and you’re communicating so well, it’s just such an open experience. There’s a safety net but there’s also this freedom to support each other to take chances. It was just so exciting and so liberating.” The result perfectly blends lang’s vocal with a more pumped up backing than her recent releases have had. As lang continues, “I think one of the things about it is that to me it marks a shift. It’s k.d. lang and the Siss Boom Bang, meaning it’s going to sound a little bit different than k.d. lang.”

Her latest album Sing It Loud sees lang give a firm nod back to those country roots. It also marks the first time that lang has recorded with a band since her first couple of albums, although it didn’t start out that way with lang initially planning to make another solo record. Something happened in the studio though that changed her mind. “You know for years I just never felt like I had a band vibe; it’s always been me with songs and using musicians in the studio,” she recounts. “I don’t know how to describe it but there was just a camaraderie that was palpable when we set up the first session though. It was obvious after three days in the studio and eight songs recorded that it was a proper band – they weren’t just great session players playing on my record. It felt like we immediately gelled into a sound, into a vibe, into an attitude and I just decided that it had to be k.d. lang and the whatever it was going to be and they all said yes

to being my touring band. It was just obvious because it just felt cohesive and magical.” Interestingly – and no doubt intentionally – the fact that this is a collaboration is emphasised on the opening track of the album, I Confess, where lang’s leisurely vocal intro is suddenly rocked by the guitar and drum sound of the band. “Yeah – and that’s where the Siss Boom Bang earned their name,” lang laughs. “It fits!” Although lang acknowledges that she was leaning towards returning to a bit more of a country sound, she says the fact that the album was recorded in Nashville was pure coincidence. For her it was all about wanting to work with multi-instrumentalist Joe Pisapia – who both co-wrote and co-produced the album – and it just happened to be where he lived. “I met Joe backstage at the Ryman Auditorium in Nashville and I just instantly

Lang will be bringing Siss Boom Bang with her when she returns to these shores in November to play some live dates. Whilst the focus will be on the new material, lang promises a smattering of older material also. They are shows that lang says she is particularly looking forward to, with Australia having a special place in her heart (she achieved her first number one album anywhere in the world with Watershed here in 2008). “I don’t know what it is but I just feel really at home there. I love the people, I love the environment, the food, the coffee, I just love everything about it,” she enthuses. “It also just happens to be my best market. I am really, really lucky because I could be popular in somewhere I really don’t want to go!” WHO k.d. lang & The Siss Boom Bang WHAT: Sing It Loud (Nonesuch/Warner) WHEN & WHERE Monday 7 November, AIS Arena; Wednesday 9, Thursday 10, Wednesday 16 & Thursday 17, State Theatre

Large Format Printers

twitter.com/drummedia

THE DRUM MEDIA 26 APRIL 2011 • 39 •


CHALLENGING BUT FUN

HE’S RELEASED EIGHT ALBUMS IN HIS OWN RIGHT SINCE 1990 WHEN HE LEFT THE BAND THAT MADE HIS NAME, THE STRANGLERS, BUT HUGH CORNWELL STILL HAS A SOFT SPOT FOR HIS POST-PUNK CATALOGUE, AS HE EXPLAINS TO MICHAEL SMITH.

the 10 Stranglers albums released between 1977 and his departure in 1990, as well as the odd B-sides and bonus tracks released along the way.

H

You have to wonder how he found the time. As well as touring constantly for instance, when he released the Hooverdam album, which he did initially as a free digital download, he also produced a short film, Blueprint, to accompany it, only to find when he went to see how it was coming along at the film studio in Manchester that it was all over the place, with a director not having been hired. He ended up spending four weeks editing the film down himself.

“It’s a lot of work though, doing a novel,” Cornwell admits, “and you’ve got to be constantly referring back because you can’t forget what happened earlier. The continuity is essential – it’s all got to believable and credible and what they’ve said to each other, the conversations they’ve had, the feelings; it all has to be consistent. It’s a lot easier to write songs.”

ugh Cornwell is heading back over to Australia performing the 1977 Stranglers album, Rattus Norvegicus IV, in its entirety. In 2009 he not only performed that record in its entirety on tour, but also his most recent studio album, Hooverdam. “The only thing that was odd,” Cornwell admits of performing Rattus…, “was when I sang the couple of songs that [bassist] Jean Burnell used to sing, ‘cause I’d never tried to sing those songs before – because to do them justice you almost have to pretend that you’re someone else. But it was fun and it seemed to work. I must say, performing these albums in their entirety, it’s quite a challenge but it’s fun.” As well as his studio albums, Cornwell has also released half a dozen live albums in the past decade, the most recent, last year’s New Songs For King Kong, a double CD recorded during that 2009 tour featuring the complete Hooverdam and Rattus Norvegicus IV album performances. “We were doing Hooverdam all the way through and then my crazy record label, who are two young, crazy Australian kids in London, they said to me, ‘Look, you can play nearly all of Rattus… anyway, what songs are left you’re not playing?’ I said a couple and they said, ‘Why don’t you learn them so you could do Rattus Norvegicus as well – that’s your first album and your latest album.’ So I thought that was a pretty good idea. “The live albums are popular; people do like a record of what they’ve been to see. I mean, a lot of bands now are burning off CDs of their performance and selling them after the show. I haven’t gone to that extent yet, but it’s amazing how people love that.”

Besides all this retrospective activity, Cornwell has just begun work on the next album, Totem And Taboo, as he explained in February when he took Drum’s call in London. “I just finished the demos today, so I’m just listening to them and I’ve just got to make some little changes before they’re ready to be given to my band for them to get familiar with. We’re not going to record them until September in Spain, so we’ve got plenty of time to listen to the songs. I found a great studio there in Spain – it’s a place I go to a lot, lovely weather and a beautiful place – and we’ll probably finish it off in America. “I just had this great title for it – Totem And Taboo – and in terms of writing songs you’ve just got to think about the things that that signifies. I mean there are a lot of things that are taboo and I love that; that’s like a red rag to a bull for me you know, taboos. So there are a few things on there, subjects being investigated – there’s one song called Love Me Slender, there’s another one called God Is A Woman – I mean, why should God be a man? It’s because fucking men wrote the Bible, you know.

ON YOUR KNEES

At that warehouse art show, the pair played four “random” songs, then began to pen more afterwards, taking hints from their favourite lo-fi slacker bands like Girls and Wavves, the latter of which they recently supported on a national tour – a “nerve-wracking” experience, according to Wall. Uploading tunes – mostly about “girls and guys having fun” – to triple j’s Unearthed website saw an influx of interest, eventually leading to the recording of their debut EP, Virginity, a messy burst of energetic fun barely exceeding ten minutes that was released in October. The cheeky pair named the EP after the fact that their then-manager allegedly lost his virginity the night before recording began. “We found out the other week that he lied about it – he’s still a virgin. He’s not our manager anymore, but the guy that was managing us is still a virgin so the EP is kind of a lie! “Camp Out was one of the first songs we ever wrote together when we first started. We weren’t really planning on doing an EP. We wrote two songs for the demo that we did and then we got enough songs to do an EP – so we sort of just decided to.” The EP was recorded live in the home studio of their friend Mark Duckworth, who helmed production duties. It was this DIY approach that allowed the band to stay true to its lo-fi sound in the studio. For the recording • 40 • THE DRUM MEDIA 26 APRIL 2011

“I’m a big movie fanatic so I love doing stuff like that. Vision and music go so well together, don’t they? And I’ve got my first novel coming out in May, which would make a great movie. There’s a great part for Harvey Keitel in there – God is there a good part for him! So, you know, watch this space. We’ll see what happens. It’s called Window On The World, which was actually the name of the restaurant on the top of the Twin Towers in New York, but it’s a coincidence though. The title sort of relates to what happens in the novel, so it sort of makes sense.” Cornwell has previously published The Stranglers: Song By Song, an in-depth look at the songs he contributed to

“And Fish is coming to Australia with me, because after the American tour we’re doing a UK tour playing the whole of the [1997 solo] Guilty album and Fish was on that all those years ago and [drummer] Chris Bell, who I’ve been working with in Europe for the last few years, he’s available too. So I’ve actually got the opportunity to play the Guilty album with the original rhythm section, which is fantastic. I’m really happy about that.” WHO Hugh Cornwell WHEN & WHERE Thursday, ANU Bar; Wednesday 4 May, Cambridge Hotel; Thursday 5, Manning Bar

LIFE HAS BEEN A LITTLE QUIET IN CUSTOM KINGS WORLD BUT THEY’RE CERTAINLY UP FOR THE GUM BALL, AS MICHAEL SMITH DISCOVERS FROM NICK VORRATH.

M

“We both played a little bit of guitar, but not really, then Jordan got a drum kit one day and we just started playing,” drummer, vocalist and songwriter Wall says. “We played at an art show one night and I guess that was it.”

If you check YouTube, you’ll find a promo video Cornwell shot for forthcoming Australian tour where he wanders around a cemetery, looking very dapper, the whole sequence a homage to Easy Rider.

HIT AND RUN

SOMETIMES THE BEST THINGS THAT HAPPEN ARE THE ONES YOU DON’T PLAN, AS ALEX WALL OF BLEEDING KNEES CLUB TELLS GISELLE NGUYEN.

ost young bands rising to national fame would say that they’re living the dream and while Alex Wall and Jordan Malane wouldn’t be able to deny that things are pretty sweet right now, they never even intended to be musicians. The 21-year-old Gold Coasters, who have been friends since meeting at daycare at the tender age of one, only began playing music together a year ago and, completely unexpectedly, Bleeding Knees Club was born – and has skyrocketed since.

“So there’s some controversial stuff and then totem – totems are things… It’s looking at things that we hold up as dear and questioning them and stuff, so I’m always inquisitive about stuff.”

Along with his regular band, Three Piece Sweet, Cornwell has been performing with a variety of other artists, from Jools Holland & His Rhythm & Blues Orchestra to a one-off collective dubbed Sons Of Shiva to, late last year, touring the US with bass player Fish and Blondie drummer Clem Burke (calling themselves Les Trois). In fact, the week after our conversation, Cornwell was off to North America again to do another tour with the pair.

T

of the impending debut album – for which they’ll fly overseas and team up with producer Devonte Hynes (aka Lightspeed Champion, another recent touring buddy) – Wall is keen to keep the same ethos, though also determined to take a step up. “I think we’ll still record in a pretty rough sort of setting and stuff, but we’ll just record it live so I don’t think our sound will change that much. Though I kind of want it to be a little bit of an improvement from the last recording – just sort of progressing a little,” he says. “I think the songs are a little more structured better than the EP. The EP was pretty badly recorded, I reckon, so it could be a tiny bit better but it still won’t be some pop clean album or something like that.” Jetting to New York City in May to record with Hynes – who Wall admits the band hasn’t spoken to much – Bleeding Knees Club will also play its first international festival date at The Great Escape in the UK, as well as a number of headlining club shows. They’ve also just polished off their first video for Have Fun, a hazy vintage dream, plus had the song featured on a Myer Miss Shop television campaign. So with all this momentum, is this what they want for a career now, however unexpected? “We’re gonna do the shows and ride it out,” Wall says. “It’s really good, it’s better than sitting at home and doing nothing or working at McDonalds.” WHO Bleeding Knees Club WHAT Virginity (I Oh You) WHEN & WHERE Saturday, Kings Cross Hotel

he last time Melbourne’s Custom Kings came to Olde Sydney Town was September last year as part of their national tour promoting their second album, Great Escape. “We’re taking a little bit of a break at the moment,” guitarist Nick Vorrath explains. He’s one of Custom Kings’ two songwriters, with bass player Jarrad Brown the other. “We’re just playing the odd show like The Gum Ball festival and, yeah, looking at starting writing pretty soon and that’s about it. I mean Jarrad’s off doing [his side project] Eagle & The Worm thing at the moment, so Custom Kings are sort of on the back burner.” As it happens, Eagle & The Worm are also performing at The Gum Ball this year, along with New Zealand’s KORA, The Wildes, The Bamboos, Claude Hay, Chase The Sun, Lanie Lane, Papa Vs Pretty, C.W. Stoneking & His Primitive Horn Orchestra, Resin Dogs, Bonjah and many more over the two days of the festival, which kicks off Friday night. Custom Kings hope to be recording again towards the end of the year, which will see them reduce the gap between album releases. Not that there seems to be any real sense of urgency in getting on with writing for the next Custom Kings record. “I’m just writing a lot of almost folkie songs. That’s usually the way I start writing, just the laptop on the coffee table while I’m watching television or something. Sometimes you can hear a bigger picture in there and sometimes you can’t. That’s usually the way I start, just trying to keep it simple and get actual structured lyrics before I go into the studio and start using computers and digi-racks and all that kind of stuff.” There’d been something of a three-year hiatus between the release of the first Custom Kings album in 2007’s At Sea and Great Escape as Vorrath himself took time out to record and tour his side project, Joe Neptune’s album No Time To Grow Up, so this sort of inactivity with regards to the “day job” isn’t exactly unprecedented. That doesn’t mean Custom Kings is a spent force. “The Custom Kings tour was good. It’s always fun to get out on the road – it had been a while since we’d done an Australian tour so it was good to get back to real places.

twitter.com/drummedia

The Annandale gig was fun; it was like a mini-festival, with a few cool bands I got to see. Dan Kelly was good – I hadn’t really seen him for a while. “I guess in between the last two albums, Jarrad had become a much better performer – he was the lead singer of his own band now and he was writing and singing songs – so that was what drove it a lot and the rest of the band always sang back-ups so it was natural that we’d lean towards more harmonies. We’ve always been pretty into our harmonies so we thought we’d put them on the record, so it naturally pushed down that way and our voices seem to have a sort of sound.” As it happens, Vorrath has played once before at the venue for Gum Ball, Dashville, which is a 100-acre bush property just out of Lower Belford in the Hunter Valley. The festival is now in its seventh year and once again is proudly supporting The Black Dog Institute, a not-forprofit facility offering specialist expertise in depression and bipolar disorder. “We sort of know those guys [the family of Matt Johnston, the organiser of Gum Ball] and one of the guys in our band and I have done it before in a different band, I think playing at someone’s wedding! So they’ve always been trying to get [Custom Kings] up there and we’re finally going to do it.” WHO Custom Kings WHEN & WHERE Saturday, The Gum Ball


RENAISSANCE MAN

MAINTAINING LONGEVITY

IT TOOK A “SUPERGROUP” TO GET HIM HERE, BUT SINGER/SONGWRITER JOSEPH ARTHUR IS TAKING THE OPPORTUNITY TO INTRODUCE HIMSELF TO AUSTRALIA IN HIS OWN RIGHT, STARTING WITH MICHAEL SMITH.

FEW WOULD ARGUE THE MUSIC INDUSTRY ISN’T IN NEED OF SAVING – AND SILVERSTEIN IS HERE TO THE RESCUE. BRENDAN CRABB DONS HIS LIFEJACKET WITH VOCALIST SHANE TOLD AND BASSIST BILLY HAMILTON.

S

hroughout a five-album career, the Canadian post-hardcore quintet’s modus operandi has been to avoid creative stagnation above all else. The atypical gestation process for new record Rescue (their first release for new label Roadrunner) made this prospect easier. “We were between record labels and generally when we make an album we take off a few months to write and record,” Told explains, relaxing at their Sydney hotel on a day off during the recent Soundwave Festival juggernaut.

inger, songwriter, painter and poet, Joseph Arthur certainly isn’t restricting himself when it comes to artistic expression – his artwork adorns his releases while his website even features a “Painting of the Month”, for sale on a first come first serve basis, while his blog includes his ongoing and prolific poetry output. Born in Akron, Ohio, he released his debut album Big City Secrets in 1997. He’s released four more solo albums as well as 11 EPs and two further albums with his band, The Lonely Astronauts, plus, last year, the collaborative Fistful Of Mercy, which is also the name of the “supergroup” that has brought him to Australia for the first time, to play Bluesfest. They’re a “supergroup” because the line-up also features Ben Harper and Dhani Harrison, son of Beatle George. When he took Drum’s call, he’d just finished his new album, The Graduation Ceremony, which will be released locally towards the end of May. “Well, I was working on this album called The Ballad Of Boogie Christ the last couple of years,” Arthur explains, “and it had quite a lot of production on it, like horns and singers… It was kind of a big record and kind of a concept record. Really I just wrote this song I liked and I was in LA and I went into my friend’s studio and cut it and thought, ‘Man I think this sounds like an all acoustic songs type of record,’ just something that’s really based around pretty songs you know, just do that, melodic, beautiful songs, really simple.

For Arthur, the art came first, then the music and through music the poetry. He sees no reason to put partitions between them, allowing them to feed each other organically. It was a demo of his first EP, Cut And Blind, which got him an introduction to that other very visual musician, Peter Gabriel. “Even though that happened to me fifteen years ago or whatever, it’s still mindblowing. Literally a month before I was working for minimum wages at a music store, so to have the experience of working at Real World Studios with some of those people that he attracted and seeing the way they made records gave me a great education.” Now here he is 15 years on and Arthur has just spent a year collaborating with Harper and Harrison, which has included Eddie Vedder joining the trio for a song at a Voices For Justice rally in Little Rock. “I continue to have these highs of strange fortune,” he admits. “Fistful Of Mercy came about because I was in LA playing a couple of shows at the Troubadour and felt I had to make them different, so I invited Ben to sit in on one of the nights and he ended up doing both nights and suggested we record something – we’d talked about doing something together for years – and asked if I knew Dhani, who I didn’t, so he said ‘Let’s invite him and see what happens.’” WHO Joseph Arthur WHEN & WHERE Friday, The Vanguard

“This time we had to do it a little differently, because our contract with Victory was over and we weren’t sure what label we were going to be on, so we were kind of by ourselves. We spent a lot of time working on demos, just ‘cause some labels wanted to hear demos. We wrote a lot of different songs and actually wrote the record over the course of almost a whole year, off and on. That was cool, because we were able to write a song, record it even, then reflect back and decide, ‘What do we like about it? What should we change?’ Whereas previous records, we just recorded it and that was it. I think this was cool because it really gave it the chance to sit with us, see which songs had staying power.” “If parts of songs got stale for us, we’d be like, ‘Okay, how are we going to spice this up?’” Hamilton adds. “One song on the record, we recorded it as a demo, then we were like, ‘Wow, these verses can be way more exciting if we just double the drumbeat’ and made kind of like a punk-metal drumbeat. That just brought the song to life – ‘Wow, this is a whole new song for us’.” Bands often select lengthy album titles in an attempt to be cryptic – but in Silverstein’s case, one six-letter word can possess multi-layered meanings. “Rescue is an uplifting word, it’s a positive word and that’s something we’ve always tried to be with our music,” Told enthuses. “It’s one word that means so many things and can be taken in so many different contexts. Also, with the music industry right now the way it is, it’s not in the best shape. You can use that as a rescue reference or you could use it personally.”

Flirting with numerous musical and writing styles has also assisted the band in sidestepping gone-as-quicklyas-they-arrived musical trends. “I feel like our genre has gone through so many waves in the ten to eleven years we’ve been a band,” Hamilton ponders. “We came into things at the time where we were influenced by the emo and hardcore bands of the ‘90s. Then all of a sudden the screamo tag came along and we got lumped in with My Chemical Romance and Thursday and these bands. Then that even went further with like a mosh-metal type thing. “We’ve seen bands come and go; we’ve seen bands turn from the smallest bands that we brought to open our tours become like arena headliners and we’ve also seen bands that have taken us on tour and been really big, then drop off. We just tried to maintain a medium of that – we’re not trying to blow up and go crazy overnight, be some flash in the pan that’s some hot new genre. In our expectations and songwriting, everything has been a constant and that’s important to us, to maintain longevity. But at the same time, we don’t want to be like, ‘Oh, everything’s the same’. You see bands like NOFX and Bad Religion who have been bands for 25, 30 years. It’s like, how does that happen? That’s the kind of thing we want to maintain; in ten years from now we still want to be around.” WHO Silverstein WHAT Rescue (Roadrunner)

"CR TR EA AN TIV SP ITY OR TS US

"

“That was kind of the idea and then I thought about certain songs I had that I hadn’t recorded yet, added some new ones, then I just went in and I cut ‘em, playing guitar and singing, no click track. Jim Keltner was playing drums on one of the songs for the …Boogie Christ album and I played him one of these acoustic songs and he wanted to play on it and I was like, ‘Great,’ and he ended up playing on the whole record. I was going to leave it like that but then I gave it to [co-producer] John Alagia, who goes, ‘Let’s fills this out a little bit.’ So sure enough, we ended up producing it anyway but I think we did good by it.”

T

LIVE MUSIC

CREATIVITY MOVES

CARRIAGEWORKS

®

PEOPLE . CULTURE . COMMUNITY Creativity is for everyone. Itt is is nott exc e exclusive. There is no club or secret code to crack. No obscure puzzle to decipher or genetic pre-disposition d to wish for. If you are human, you are creative. Being human equips us with everything we need to feel, to express, to relate, to understand, to imagine and to create. Creativity is integral to human existence. Our lives are our creative act. Get making! Housed in the old Eveleigh Rail Yards, the CarriageWorks site has been a place of movement, since its earliest days. Today, CarriageWorks is home to artistic exploration, creative collaboration, individual expression and collective experience. CarriageWorks exists to open up new opportunities to bring creativity, in all its forms, to as many people as possible. We invite you to make CarriageWorks yours, and share the experience with us. carriageworks.com.au | facebook.com/carriageworks | twitter.com/carriageworks | carriageworks.tumblr.com

THE FALLS

+ EMAD YOUNAN + RED BOOTS + PJ WOLF + EUSH

SAT 30 APR F R E E ! NOON-5PM (ARTIST TIPPING WELCOME)

CARRIAGEWORKS’ CAFÉ & BAR OPEN CARRIAGEWORKS 245 WILSON STREET EVELEIGH MAIN ENTRANCE: CNR CODRINGTON STREET | TRAIN: REDFERN OR MACDONALDTOWN

CARRIAGEWORKS.COM.AU | FACEBOOK.COM/CARRIAGEWORKS | TWITTER.COM/CARRIAGEWORKS

UNPLUGGED + UNCOMPLICATED IS PRODUCED BY CARRIAGEWORKS + OCCURS ON THE LAST SATURDAY OF EVERY MONTH

twitter.com/drummedia

THE DRUM MEDIA 26 APRIL 2011 • 41 •


WITH ROSS CLELLAND

LEADER CHEETAH Crawling Up A Landslide EMI With an individual mix of ‘70s west coast twang with a harmonising Appalachian undertow, you wonder how Leader Cheetah puts together such influences being of the wrong generation and location. Not that there’s anything particularly amiss with being young and from Adelaide. While rounded and smooth, it somehow doesn’t lose its underlying intelligence and musicality to its pop sense. It’s a music they can probably take to the world, without embarrassing themselves. May they do so.

JEBEDIAH Control Dew Process The second breath of Jeb’s resurrection, which appears to be working on more than just nostalgia exercise value. Although, with acoustic intro and chatty first verse, it could be that Bob Evans has just got a louder band to play with. When it gets around to dropping the clutch and Bob finds his way back to being Kevin, the buzzsaw delivery suggests all is well with the world. As well as the world was in 1998. The style will keep the fans finding their way back pretty happy and not overly frighten Bob’s newer followers.

DEAD LETTER CHORUS Yellow House ABC Music Down a gear from their turn on one of the current way of success – soundtracking a car ad – DLC pack up their Tarago (product placement!) and a take gentle drive through their more usual rural backdrops. The gentle insistence of their harmonies and their melodic dynamic keeps taking them beyond the ramshackle fancy dress of some of their earlier times, where they sometimes relied on novelties they really didn’t need. This again proves they deserve more than 30 seconds before going back to your program.

BEASTIE BOYS

CARO EMERALD

Hot Sauce Committee Part Two Capitol/EMI

Deleted Scenes From The Cutting Room Floor

Across a career spanning 30-plus years, Beastie Boys have largely maintained dependability, yet often been unconventional: Eschewing the frat boy rap/rock of 1986’s Licensed To Ill in favour of sample-heavy masterpiece Paul’s Boutique; recalling hardcore/punk roots or releasing instrumental albums; dissecting boomin’ older ladies and noodle-induced violence; recording prank calls and creating country music alter egos. They’ve done the unexpected again on Hot Sauce Committee Part Two, albeit unintentionally. Following Adam “MCA” Yauch’s cancer scare, the initial release was delayed, re-jigged as Part Two and is an enjoyable set, only really affected by a few by-the-numbers cuts and skits contributing nothing. The hefty grooves of funkladen opener Make Some Noise are instantly likeable. Selected rhymes on the previously released version of Too Many Rappers were tighter (understandably MCA now avoids lines like “I never die because death is the cousin of sleep”), and though Nas’ guesting doesn’t truly excite, his presence encourages the trio to up its game. Lee Majors Come Again is a reminder of punk origins, while Funky Donkey is appropriately titled. Much of their appeal lies in charismatic delivery and idiosyncratic humour and this comes to the fore on Long Burn The Fire, amusingly referencing Kenny Rogers’ pets and Mike D dubbing himself “the Jewish Brad Pitt”. The cowbell-laced Nonstop Disco Powerpack is a throwback to 1992’s Check Your Head, synth-driven, robotic Multilateral Nuclear Disarmament satisfies and Santigold brings a dub-ska authenticity to Don’t Play No Game That I Can’t Win. Unlikely this will resonate as a landmark Beastie Boys album, it proves they’ve still got the skills to pay the bills.

Caro Emerald rose to overnight success in Holland with Back It Up, the unexpected success of her only song prompting her working with producers David Shreur, Jan Van Wieringen and Vince Degiorgio to create her debut record, Deleted Scenes From The Cutting Room Floor. Emerald’s love of film and music from the ‘40s and ‘50s is obviously the main inspiration. Opening with That Man immediately transports you to a gentleman’s club with a jazz band on stage and the sultry Emerald capturing men’s hearts beyond the cigar smoke permeating the air. While the backbone of Deleted Scenes is her jazz style, the addition of contemporary pop melodies and shocking record scratching makes Deleted Scenes the most individual pop record of 2011. Absolutely Me highlights Emerald’s skill at combining foot tapping jazz with the effects of cutting voices back and forth, and cross fading melodies with a hidden needle. While sultry jazz and record scratching aren’t an obvious combination, Emerald marries them perfectly. She’s cheeky, fun and sexy with the strength of a classic femme fatale, unleashed on The Other Woman, a lethal ballad with velvety smooth band swings. While Emerald’s cheeky side is let loose in Dr. Wanna Do, where an upbeat jazz saxophone is partnered with her playful lyrics – “my eyes went ooh, my voice just cooed”. The many facets of Caro Emerald see her in a niche where Deleted Scenes can be appreciated by anyone, from music enthusiasts to casual listeners to dance floor lovers. Deleted Scenes is a unique take on vocal-jazz that sweeps you in, keeping you captivated till the very end. If the single Back It Up astounded a country overnight, this debut will amaze a worldwide audience in no time.

Dramatico/Shock

HEY ROSETTA! Seeds

Sonic/Shock The songs on this Canadian orchestral indie pop six-piece’s third album rise and fall dramatically and beautifully. The opening title track begins with strummed mandolin before exploding into full band sound and dying down to a light bass-driven calm, again pushed back up by an intense vocal-led build that gently toes the line between big projections and lower register, almost spoken-word enunciations. It’s this knack for creating gripping, well-structured songs that saves Hey Rosetta! from being dismissed as just another middleof-the-road indie group – the ingenious arrangements on Seeds are easily accessible, but not at the expense of expert songwriting that’s completely cinematic in its scope. Often the inclusion of strings can feel like a token gesture to add superficial one-line interest to a band’s music, but here it is genuinely necessary – especially on Yer Spring and New Sum, the cello and violin parts are perfectly tailored to the arrangement, which would feel thin without them – they’re an integral part of the Hey Rosetta! sound. Though much of Seeds is high-energy, Downstairs takes it down a notch with an acoustic-plucked vibe backdropped by both spoken word and a soft, reverberating vocal. Parson Brown also takes the slower road, propelled by swelling strings and theatrical drum rolls. Tim Baker’s passionate vocals kick in and the song cranks up to cacophonous volume in the last 90 seconds, climaxing in breathy sexual grunts and shrieks. This is a varied but fully coherent release from a band that’s doing something different in a genre where things can often feel the same. It’s an album that has a consistent drive to it, more rewarding the deeper you delve.

Brendan Crabb

Christine Caruana

Giselle Nguyen

MICK HARVEY

RIVAL SCHOOLS

SNOOP DOGG

Mute/EMI

Warner Music

EMI

NINE SONS OF DAN Landslide Independent As with the opener up there, title theme of the moment is apparently geographical slips. And we’ll add that generational and location problem again as well. From the Gold Coast and/or environs, if their youthful front and confident pop had occurred a few years back, they would already be signed to one of those old-style majors and on Video Hits every weekend. And even now, the music has a bit more going for it than self-conscious tripe like Short Stack and its ilk. But these are different days; the wheel may still spin their way.

FRIENDLY FIRES Live Those Days Tonight XL/Remote Control Already Mercury Prize nominees and apparently making all the right moves and noises, Friendly Fires are now heading towards trying to repeat the magic with album #2. With the currently fashionable bumping of tribal drums and old synths, collapsing into a dance routine, they’ve at least got that part of the formula right. In their Englishness they also – deliberately or not – get a touch of Pom-pop of times past, for there are twinges of Spandau Ballet and glam among other things sliding under the crack of the door.

YE LUDDITES Come On In Squares Beware The very term ‘prog’ would usually tend to make me run several blocks to the nearest purveyors of threeminute pop songs. But while Wollongong’s Luddites occasionally stare off to distant marshmallow skies, there’s enough energy, rough edges, good humour and simple honest love of what they’re doing to at least appreciate their enthusiasm. It twirls off on fuzzy flights of fancy in places, but can equally have guitar wig-outs suited for playing at 11. Likeable, in its hand-hewn kind of way. • 42 • THE DRUM MEDIA 26 APRIL 2011

Sketches From The Book Of The Dead It usually all comes back to love and/or death. They’ve been pretty much the default subjects for Mick Harvey, not the least through his three decades as Nick Cave’s less-red right hand. It would be easy to have the sometimes bitter resignation here relate to his bitter resignation from his long-term Bad Seeds position. But apparently he’d been working on this record of his distinct voice from well before his exit from that combo. And while ‘the story of love is an eternal thing’ as he intones at one point, it’s more the actual physical loss of people close to him which colours many of the Sketches. On investigation, the opening October Boy is an ode to another of Harvey’s old musical comrades, Rowland S. Howard, Harvey not only mourning him – and the songs he may have made – but tossing in an acceptable gripe at the belated appreciation of the man and his art. The song itself comes with an echoey rattle and keening guitar recalling Howard’s own work. Homage, tribute and comment at once. Other songs are even more personal – the backing throughout mostly minimal and sombre – as Harvey notes losses from his own family, or finding something that gives you a deeper understanding, as in Two Paintings (By Gustav Pillig). The broader feeling of waste in sacrifice of The Bells Never Rang perhaps finds more focus through his major input to PJ Harvey’s latest work. And through to the aptly-titled Famous Last Words, this is an album mostly of downbeat serious intent. But there’s no doubting the sincerity of Mr Harvey’s feeling and delivery. Ross Clelland

Pedals

In their brief life at the beginning of last decade, New York melodic rock four-piece Rival Schools dropped just one album. Fronted by hardcore legend Walter Schreifels (Gorilla Biscuits, Quicksand), Rival Schools’ only fulllength, United By Fate, released in 2001, was tightly coiled and explosive and not nearly enough to satisfy fans thrilled by the potential the band hinted at. Within a couple of years, the band members had moved onto other projects and it seemed that chapter was closed. Two years ago a reformed Rival Schools came to Australia with Soundwave, bringing talk of a new album and a couple of new songs. While plenty of reformed bands release albums that add very little to their history, any new release is at least beefing up the Rival Schools’ obviously slim catalogue, but Pedals is really so much more. The band sounds just as tense and edgy as back in the day and this album is just as bristling as United. Shot After Shot is an energetic punch to the stomach, Big Waves has that barest hint of a glimmering centre, A Parts For B Actors has an all-enveloping sense of yearning and Choose Your Adventure burns with crunch and muscle. Through it all, it’s Schreifels’ voice that ties all these songs together. Often understated, but always passionately pushing a song toward its conclusion, the vocals give Rival Schools their undeniable sense of urgency. And it’s this quality more than any other that is the drawcard and it would be a selling point whether the members of the band were in their mid-20s, mid-30s or mid-40s. Danielle O’Donohue

twitter.com/drummedia

Doggumentary

Yep: it’s Snoop’s 11th album. It’s been more than a decade since The Doggfather’s been relevant to much other than reality television and appearing over beats Timbaland has jacked from our countrymen, but here he is back with a new one. The promotion for this was strange. Part of the album was prepared for Prince William’s bachelor party (what?) and there have been about a billion singles. It all reeks of failure. But occasionally on Doggumentary the opposite is true. It’s no classic but there are some precious moments that turn back time. First things first though: this album is 80 minutes long. It literally could not have been any longer. This makes listening to it a marathon effort. Putting aside an hour and a half to listen to Snoop rap is not something many of us have been inclined to do for many years. But on the flipside it’s refreshing to see that there’s still life in the old dogg yet; he still has the drive to rap and rap and rap. Subject-wise there are no surprises here: Snoop’s about partying (though there is also a clumsy grab for the moral high ground on Peer Pressure: “homie, don’t pop that pill.”) The biggest surprise here is that Snoop isn’t tired. He’s become a caricature of himself. He probably has enough money. He has almost no credibility as a musician. But here he is: working hard, putting out some okay songs and making us all feel a little bit 1994 again.

James d’Apice


closest they have come in their pursuit of the perfect lullaby and also scraping Neil Young off their flannelette sleeves. But it’s actually the opening track, Montezuma, which, with its rich sounds and haunting noise, is a perfect summary of an album that delivers. Adam Wilding

FACT FILE Length: 12 tracks, 51 minutes.

SNOWMAN

WYE OAK

Remote Control/Inertia

Merge/Spunk

Absence

The posthumous third and final full-length album from one of Australia’s best unknown exports is their most lavish and experimental affair yet, an unsettling caress of noise that’s disturbing, sensual and surreal, both separately and all at once. Having officially called it a day shortly before the scheduled release, the four band members from Perth, whose history included an acclaimed eponymous vampire rock debut back in 2006, and their equally impressive follow-up The Horse, The Rat And The Swan, which saw them depart for the UK shortly after its release, present to us their final act which is both ambient noise and quiet brooding; an art-house movie score flitting between the Doctor Who theme of the title track, tribal jams (Snowmanstyle) such as Hyena and vampire lullabies such as Snakes And Ladders. The approach has emphasised the vocal layering, a combination of chants and almost incomprehensible phrasing, and the instruments are even less distinguishable. Absence also plays longer than the eight tracks would suggest, thanks to the average song time clocking in at around five minutes. Sometimes feeling like the stuff of an unsettling dream as far as listening goes, it requires some preparation and prior thought – that is, avoid putting this on during a family dinner (unless your last name is Addams) or at a funeral (unless you plan on attempting to resurrect the deceased). That said, it’s utterly captivating and displays a further evolution and unpredictable direction and sound, which is undoubtedly some of their best work. If we’re talking about retiring at the top of the game, then this is how I’d want it to end. Adam Wilding

Moods: Earthy, poignant and lush.

Civilian

DID YOU KNOW

Folk-pop bands often teeter on a fine line between enthralling and boring. Though Wye Oak has never stood out from the crowd in a profound way, there’s an ethereal beauty to their third record and a selfassuredness that makes the slow burn elements of their songs intriguing if not entirely captivating. The duo from Baltimore eases in with Two Small Deaths, vocalist Jenn Wasner channelling a bit of Emily Haines in her strong, low intonations. The music is simple in its construction but builds upon itself in songs like The Alter, where a pounding bass becomes the throbbing core surrounded by a repetitive synth line and an echoing, waterfall-like guitar riff. They’ve given way to their penchant for sudden shifts between loud and quiet, though on Holy Holy the guitars go from soft strumming to a burst of noise in mere seconds, almost as if to jolt the listener awake. Which sometimes is the case with this record; for every sonically interesting tune, there’s one where the duo rests on their laurels. Too often the album slips into background listening instead of staying at the forefront. The highlight is undoubtedly the title track, as it grows from a gentle strum and Wasner’s voice opening with a tender ‘I am nothing’. It surreptitiously coddles the listener before crashing into a cacophonic climax with guitar and drums marrying in a pulsing rhythm, electric soaring higher as Wasner’s voice becomes a series of moans breaking over one another. A sweet surprise in the centre of a perfectly enjoyable record.

FLEET FOXES

Helplessness Blues Sub Pop/Inertia

Seattle’s (that still sounds weird) Fleet Foxes have finally come down from the mountain with a copy of their much anticipated follow-up to their self-titled debut tucked under their arms, after an extended absence due in part to exhaustion from touring and drummer J. Tillman’s (excellent) solo outings. These cold shots clash with my idea that their first album always suited a classic long-board film, but they always seem to find themselves in layers when someone is taking snaps of them. That said, Helplessness Blues at first listen appears to continue on from where the first album ended, but subsequent listens paint a different picture. Recorded in a number of different studios, the playful naivety has been replaced with a more focused and deliberate formula which still relies heavily on analogue layering but contains less pop folk songs. Because of this, a few listeners looking for another White Winter Hymnal or even a He Doesn’t Know Why repeat will need some time to get used to the fact that there are less standout tracks. The beauty of the album lies in the bygone traditional folk era reserved for musicians well beyond their years, and finds room for other instruments such as the violin in tracks like the beautiful Bedouin Dress. Robin Pecknold’s distinctive lead vocal continues to haunt, and the layering and sound techniques continue to astound, especially on The Plains/Bitter Dancer, the

• The album had originally been intended for release in 2009, but that was not possible due to the band’s touring schedule. Sessions from February 2009 in a rented house outside Seattle were mostly scrapped. Another setback occurred with the aforementioned touring commitments for J. Tillman’s solo project, and Pecknold told Pitchfork that a late 2010 release was more likely after the band began properly recording last April in a diversity of locations from West Hurley to New York. So Helplessness Blues has been a while coming! • Among the influences Pecknold listed for the album are Van Morrison’s Astral Weeks and Roy Harper’s psychfolk album Stormcock, specifically its 12-string guitar. • Pecknold also told The Guardian that he wanted to do the “vocal takes in one go, so even if there are fuck-ups, I want them to be on there. I want there to be guitar mistakes. I want there to be not totally flawless vocals. I want to record it and have that kind of cohesive sound.”

Sevana Ohandjanian

Advertisement

INSOMNIA, MEMORY LOSS OR PSYCHOLOGICAL PROBLEMS. ECSTASY. FACE FACTS. For more information call 1800 250 015 or visit australia.gov.au/drugs

Authorised by the Australian Government, Capital Hill, Canberra.

twitter.com/drummedia

THE DRUM MEDIA 26 APRIL • 43 •


NEW SINGLES/EPS ROUND UP WITH ROSS CLELLAND

REISSUES

ELI ‘PAPERBOY’ REED In a world where the ‘hit single’ sells about a third of what it used to, it’s kind of disheartening to know shit still floats to the top. Case in point: the recent chart-topping success of Snoop Dogg’s latest, Sweat (Capitol). To formula, while the title takes care of the 99 percent perspiration, the one percent inspiration seeped away somewhere around 2002. Conversely, the ongoing pop-art and media project that is Lady GaGa may have already been somewhere around that once-coveted top spot by the time you read this, by channelling Madonna and similarly offending the pious with her Judas (Universal), the perfect Easter egg for tabloid journalism the world over. The more things change… Personally, more offensive in music and philosophy, 30 Seconds To Mars’ This Is War (EMI). The empty noise of Jared Leto’s screaming is enough, before you get the CGI-infused video trading off the unfortunate military guys and gals getting their limbs blown off in various desert climes. It would appear the world just overlooks the old ways of ‘traditional’ guitar pop, and gimmickry is even deemed necessary down the ghettos marked indie. Brisbane’s Re:Enactment add mounds of ‘80sstyle synths and a nearly as irritating as autotune vocal effect to their Bombd/Scraps (Lofly) to try and get further notice. My Escapade headed for those same bright lights from their Tasmanian homeland, their Painted Faces (Independent) wearing serious expressions to convince you their music has weight. C’mon boys, smile a bit, you’re in a rock’n’roll band. Staying put in Hobart, Enola Fall have some operatic warble to an arty-edged noise. I Am An Aerial (Creative Vibes) is a plucky, sometimes engaging, thing. Long Island Sound belie their name by actually being from Newcastle. They call the stuff on their EP (MGM) ‘math-pop’, which apparently means they do wiry guitar hooks and nice harmonies. Modern, without being too self-conscious about it. Apollo Pathway engages the increasingly well-regarded ears of Shihad’s Tom Larkin to produce the identifiable rock of Never Ending Story (Remedy), sadly not a reworking of Limahl’s soundtrack classic. Even bigger credentials in the credits of WIM’s See You Hurry (Modular) – producer/engineer Bob Clearmountain and Bob Ludwig have their names on records by everyone from Springsteen to Radiohead. And yet it still sounds a bit generic even with the right haircut and clothing deal. Here for Bluesfest, Eli ‘Paperboy’ Reed still has that retro-soul feeling across much of his work, Come And Get It! (Capitol) another good example of it. Husky also claim they are stepping through History’s Door (Victoria Rocks), but it’s more a sturdy and serious commercial type, suitable for proper radio stations. Even though Alex Turner’s film soundtrack sidetrack is still extant, Arctic Monkeys have the first sample of their next thing out now too. Listen carefully and Don’t Sit Down ‘Cause I’ve Moved Your Chair (Domino) suggests their voices have broken and the guitars have some more hair on their chests as well. Mardi Lumsden takes her step from girl-with-guitarsinger-songwriter persona by getting herself a band, The Rising Seas, filling her sound out on Magooproduced and engineered Wherever You Go, There You Are EP (Wallflower). New Zealand’s Kimbra is another attempting the big jump across the ditch with her Cameo Lover (Warner) mixing electronics with her clipped soul voice to make something a bit different. Mardi Pannan follows her nicely human EP of last year with Tattooed (The A&R Department), which comes with a slightly jaunty reflection that is sweet without being saccharine. Eleanor McEvoy is a biggish name in Ireland, and her Deliver Me (Moscodisc) is full, strong and with a slightly gospel overtone that speaks of her place of origin. If you call your band Radio Star it’s a little hard to tell if you’re being ironic or not. The deliberately dishevelled hair and Chapel St op-shop clothing, let alone the unashamed namechecking of The Cure of early times could be taken either way. A Common Tale (Remedy) skips along in a way that might make Robert Smith smile, or at least consider legal action. Low Budget’s Hard Act To Follow (Gentlemen’s Relief) take their cues from a similar era, but they were probably listening to old Naughty By Nature records. Further rock is serious business from Royal Chant, [Other] (Independent) having some old-school angry, particularly in Mark Spence’s convincing fist-shaking vocals. Same deal with Perth’s State Of Order, Calling Out (Independent) also coming with that kind of strain for melodic emotion. Metals are from Melbourne, but Candice Butler affects the correct American inflections to get the social policy of Get Yourself A Gun (Illusive) across over Digital Primate’s electro backing. Seems wrong, and yet right. • 44 • THE DRUM MEDIA 26 APRIL 2011

MILES DAVIS

PRIMAL SCREAM

THE CHURCH

Warner Classics & Jazz

Sony

EMI

Perfect Way

Screamadelica

This 2CD release is a junior version of a planned box set that was to be released in 2000-ish, titled The Last Word, anthologising Davis’ 1986-1992 period with Warner, but was stopped due to legal disputes. Perfect Way is a collection from Davis’s last years, showing a man forever striving to remain current and to absorb and create trends in music. As collaborator Marcus Miller put it, Davis’ story was one of “an artist, completely committed to the moment, totally immersed in the art of now.” Kind Of Blue may be the record most people know, but in his last decade the neophyte MD collaborated with New Wave acts and drew inspiration from contemporary pop music. Perfect Way comprises cuts from three studio records, two live ones, two soundtracks and five unreleased tracks – three from a 1986 concert in Nice and two from sessions for the unreleased Rubber Band album. Throughout his life, Davis managed to reinvent himself several times and he didn’t stop in his later years, embracing electronic influences and pop. This comes out in the collaborations with Miller on the Tutu tracks. The highly-processed, sample- and synth-heavy tunes aren’t timeless, and sound like MD is soloing over music programmed by Harold Faltermeyer. The second disc is the strongest, with the standout numbers coming from the exuberant live performance in France, with excellent accompanying liner notes from Davis’s nephew and drummer at the time, Vince Wilburn Jr. Also brilliant is the haunting ten-minute cover of Cyndi Lauper’s Time After Time. It’s light on previously unreleased material, and for somebody unfamiliar with late-stage Miles Davis and wants to hear an album of purely ear-friendly jazz, this is probably the wrong collection. Still, Perfect Way is well worth having.

Primal Scream’s classic Mercury Prize-winning record, Screamadelica, is being given the 20th anniversary treatment with a reissue featuring the original album remastered by the band and Kevin Shields, as well as the rare Dixie Narco EP, which features the title track that never made it onto Screamadelica. There’s nothing too special in the packaging to warrant the title ‘deluxe edition’ as the sticker suggests, but it’s as good an excuse as any to revisit a record that is every bit as interesting and ahead of its time 20 years on from its conception. What made Screamadelica so special? It was all about right time, right place. The ‘80s had brought with it a new, hopeful batch of British bands that ultimately was drenched in the melancholia of The Smiths and The Cure. In the midst of political upheaval courtesy PM Margaret Thatcher, there had developed a sudden hole that needed to be filled with music to make people move, more than the techno fodder of warehouse parties or the punk rock of underground clubs. With it came a record that somehow fused psychedelia with house music to create a sound so uniquely their own that any to follow would be branded Primal Scream impersonators. Originally released in September 1991 in the UK, Screamadelica is unashamedly feel-good. It is here to make you dance, to get your head rolling from side to side and your hands in the air. The EP is well worth a listen too, if for nothing else than the original track, Screamadelica, an upbeat dance song that is almost tropical in its liberal use of bongo-style percussion and island synths. This is the record that will keep Primal Scream’s name alive long after they’re gone. If you haven’t experienced Screamadelica yet, this is your chance.

Brent Balinski

Sevana Ohandjanian

QUEENS OF THE STONE AGE

SEBADOH

Rekords Rekords/Liberator Music

Domino/EMI

Queens Of The Stone Age

Bakesale

Starfish

Episode V, where the world finally gets it. If only for four-and-a-bit minutes. The last round of 30th anniversary album reissues took us through to 1986’s Heyday – now regarded as one of their best, but still not the commercial breakthrough craved and probably deserved. The local branch of EMI had been patient, but really couldn’t sustain the effort on the band any further. Label-less here, things didn’t look good. Oddly, the band’s reputation was stronger in America. College radio was supportive and MTV in particular gave them good airplay in the station’s alternative programs. And they reached the right ears. Clive Davis is a legendary figure in American music, discovering, signing, and/or nurturing the likes of Dylan, Joplin, Springsteen, Aretha Franklin and, er, Milli Vanilli. Disconsolately playing shows in their homeland, The Church suddenly had a four-album deal with Davis’ Arista, apparently on the orders of the man himself. Reinvigorated, the band returned to Los Angeles to record a new album. But this most uncompromising of bands found they had some orders to follow. For starters, they were paired with a couple of West Coast professionals as producers. Greg Ladanyi’s best work was with singer-songwriters like Jackson Browne and the somewhat more idiosyncratic Warren Zevon. Waddy Watchel was at least a respected session guitarist – he’s the bespectacled and fuzzy-haired presence in those old Linda Ronstadt and Stevie Nicks videos – but they had firm ideas of how everything should sound and be played. Discipline was never The Church’s strong suit. Marty Willson-Piper’s and Peter Koppes’ guitar jams were tightly reined, Steve Kilbey was even sent off for singing lessons, while Richard Ploog’s expansive drumming was boxed in, virtually sidelining him, and perhaps hastening his chemically-induced decline and eventual exit from the band an album later. Heads naturally bumped. What are politely referred to as ‘creative differences’ were frequent and loud. Kilbey could at least channel his frustration and displacement into songs; Reptile an angry spit at unspecified American personalities and politics, and the deceptively stately Lost a person out of place looking around, and realising there’s nothing you know. Despite its fraught construction, and unlike many songs they have disowned from their own canon, chunks of 1988’s Starfish still make frequent live appearances in the church (note lower case) of the 21st century.

Originally released in 1998, Queens Of The Stone Age’s debut self-titled album began stoner rock’s infiltration of a larger audience. Retaining the eclectic approach to rock, jam mentality and obscure sound production methods championed by bands and previous projects like Kyuss, QOTSA harnessed the sound, refining the devil-may-care sludge into short(er), sharp(ish), truly original rock. Taking a Darwinian approach to stoner rock, they took its best elements and channelled its evolution into a wholly new beast. This reissue includes three bonus tracks - Spiders And Vinegaroons, The Bronze and These Aren’t The Droids You Were Looking For - all previously released on what are now rare and limited splits. The latter two were recorded during pre-production for the original QOTSA sessions and previously released on the split with Netherlands-based stoner rock act Beaver in 1998, a few months before the album dropped. Rather than merely tacking the additional songs on at the end of the album, as is often the case with reissues, the songs have been placed in a reworked track listing, a bonus not least of all because the album still concludes with the eerie and sadistically jazz/pop I Was A Teenage Hand Model. The menacing tribal rhythms and exotic guitar loops of Spiders are the perfect prequel to this. While any difference the ‘remastering’ may have made to the sound is indiscernible, the addition of these tracks works brilliantly. The sickly siren guitars of The Bronze in particular sit as a great mid-point to the album. The circus side show raucousness that dictates the instrumental jam, Droids, continues the spazzy chaos that concludes You Can’t Quit Me Baby for another three glorious noise-filled minutes.

Lou Barlow’s (of Dinosaur Jr fame) side project Sebadoh was always a little grittier and focused primarily on trashy discordant pop tunes, and in doing so became the epitome of cool. From Barlow’s total lack of vocal control on Not A Friend to the produced vocal tones on Skull, Sebadoh successfully created a fragile musical tonality to each track that is both endearing and so indie chic.

Barlow’s writing style has always been indie shoe-gazing slacker rock, and Bakesale is a perfect example of his self-effacing attitude, which he blatantly instills in each song. This was a great record, and still is.

As well as a digital remastering, which does give some richness and depth through it, this latest of the reissue series comes with a second disc of demos, out-takes, B-sides and a couple of acoustic reworkings. Nothing really imperative, but worth a listen to get some concept of where various ideas come and go.

Dave Drayton

James Dawson

Ross Clelland

With the re-release of Bakesale, the original CD now comes complete with a monster 25-track bonus disc that has a bunch of acoustic renditions and B-sides aplenty. However 17 years after its release, Bakesale is still relevant in today’s musical climate. The songs are raw, sometimes to a fault, but it was this lo-fi approach to the recording process that initially garnered the band some much lauded attention with its first couple of albums, and by the time Bakesale was released it was a comparatively slickly produced record to these earlier efforts. Released in 1994 when slickly produced grunge albums were being thrust into the market place, it was albums like this that held true to the DIY grunge ethos. The pop rock is rife here, with the tracks like Rebound, a straightforward melody-driven number, Magnets Coil where a fuzzed-out bass dominates over an oh so cool out of tune guitar, and the frenetic opening track, Licence To Confuse.

twitter.com/drummedia

The band wanted the album to feel like a live recording, the hired guns – and those paying for it – wanted it bright and radio-friendly. Typically, no one was quite happy. There are high points in it; the opening Destination lulling you into the atmosphere and mood of what follows. The rush of Spark is one of WillsonPiper’s most noted song contributions to The Church proper, his straining vocals a good contrast to Kilbey’s snarky or lugubrious tones. Meantime North, South, East And West, and the closing Hotel Womb unfold with some hint of the layered guitar intertwining WillsonPiper and Koppes can build. But, of course, Starfish’s quality is often distilled to the one ‘perfect’ song. “The most popular Australian tune of the last three million years,” as Kilbey half-jokingly introduced it at the Opera House the other week. There is something – perhaps many things – which lets people find something for themselves in Under The Milky Way. It’s a memory, a dream, which somehow gets in your head. Co-written with his then-girlfriend, Karin Jansson, ostensibly taking its name from an Amsterdam dope café, it conjures emotions even its singer can’t quite explain. Throw in the distinctive reversed bagpipe solo and it’s immediately identifiable – and still affecting.


“AN UNFORGETTABLE, RAMBUNCTIOUS, THEATRICAL EVENT... IT’S POWERFUL, SEXY AND DESTRUCTIVE.” AUSTRALIAN STAGE

Photo: Terence Chin

BRECHT’S FIRST PLAY SCREAMS INTO THE 21ST CENTURY

BAAL by Bertolt Brecht

Translated by Simon Stone & Tom Wright

7 MAY – 11 JUNE WHARF 1 SYDNEY THEATRE COMPANY

UNDER 30s TIX $30* STC BOX OFFICE (02) 9250 1777 SYDNEYTHEATRE.COM.AU/BAAL

Baal is presented in association with the exhibition The mad square: modernity in German art 1910 - 37 at the Art Gallery of New South Wales Aug-Nov 2011 Director Simon Stone Set & Lighting Designer Nick Schlieper Costume Designer Mel Page Composer & Sound Designer Stefan Gregory With Brigid Gallacher Geraldine Hakewill Louisa Hastings Edge Shelly Lauman Oscar Redding Chris Ryan Lotte St Clair Katherine Tonkin Thomas M Wright WARNING: Contains adult themes, nudity, violence, simulated sex scenes, drug references and very coarse language. A co-production of Sydney Theatre Company and Malthouse Melbourne

*transaction fees may apply

THE DRUM MEDIA 26 APRIL 2011 • 45 •


METAL AND HARD ROCK WITH CHRIS MARIC Hope you all had a good break and like the great Mr Hetfield USED to say, are back and ‘ready to sing loud as a motherfuck’.

THE AMENTA

FILLING THE VOID Sydney metallers The Amenta have their mammoth multimedia release, V01D – including music as well as new live footage – under their collective belt and take it to Club Led on Friday and The Gaelic on Saturday. Drum sat band member Timothy Pope down to talk about the release.

What prompted the non-traditional release? We are writing and recording our third album and we tend to disappear from public view during recording periods. We wanted to release something to let people know we were still around and to experiment with different forms. The first idea was to release it as a thumb drive but in order to contain all the content it would have had to be a huge drive and therefore too expensive. Both content and format came from our discussions about the music industry. In an age where everyone can download almost any album almost immediately, it doesn’t make sense to tie yourself to a physical release… We wanted to regain control of our material and release it in the quality and medium of our choice.

Why release VO1D free and online? I remember, when our second album n0n came out, that Listenable Records (our label) sent us our copies at the same time as they sent out promo copies for review. Before I even had my album in my hand I could download it illegally. Scumbag “reviewers” get it and upload it immediately so they can get internet kudos. It’s fucking sickening. But we realised that, while those people should get cancer, the people downloading the albums were doing exactly what we used to do with blank tapes and then CD-Rs. By offering fans a free product we could control how it was received, so we could make sure they were getting a good quality download, with all artwork and we could also open up a direct line of communication.

• 46 • THE DRUM MEDIA 26 APRIL 2011

Amenta and Ruins will be blasting some serious unholy noise at the locals.

SATURDAY

I mentioned this in the last column but that seriously funny bastard Steve Hughes will be holed up at The Factory in Marrickville from Wednesday to Saturday this week. I suggest you pick a night, grab a buddy and head down there. You won’t be disappointed. His Heavy Metal Comedy CD never gets old. Awesome stuff. In what could very well become an annual event, the second BastardFest has been announced. The Sydney leg will be on Saturday 10 September at the Sandringham Hotel. The first round of heaviness has been locked in and leading the pack at every Fest around the country are those globetrotting Bastards from Tasmania, Psycroptic in their first full nationwide appearance for well over a year. Joining them will be I Exist, Pod People, Bane Of Isildur, Ouroboros and Chaos Divine with much more to come. Expect each show to be littered with a smattering of interstate and local bands glorifying the tremendous talent heavy music in Australia has to offer. Tickets are on sale this Thursday. Those madcap blokes in Frenzal Rhomb are hitting the road for the first time in a while and are treating their fellow statesmen to a trio of gigs. Thursday sees them at Bar On The Hill along with The Optionals and Local Resident Failure. After a day off at home they head to the Wollongong Unibar again with The Optionals and Totally Unicorn, before finishing up on Sunday at the Annandale with once again, you guessed it, The Optionals. The triple bill of pure ‘80s cock rock starring Quiet Riot, Warrant and LA Guns has been cancelled. According to Quiet Riot’s drummer it’s due to a breach of contract by the promoter. No comment on that one! I guess you can always dress up like someone out of The Decline Of Western Civilization (part 2 of course) in a trial run for whenever the next bunch of old glammers try and strut through town… Yes, I can be such a prick sometimes… This week around town we have….

FRIDAY Darker Half will play their last headline show before the release of their new slab called Desensitized hits

www.utopia.com.au

The Amenta plays the final gig of their 10-date tour at The Gaelic tonight and will be joined once again by Ruins. If you haven’t got The Amenta’s digital only V01D release, head over to their dot com straight away and register for the download.

STEVE HUGHES the shelves (and/or cyberspace) at the Bald Faced Stag tonight – well, Live @ The Wall, but it’s the same thing! They will be focusing on material from their first album Duality before putting them to bed for a while. Joining them will be five-piece local prog-metal outfit Hemina, who have caused a stir in the local scene since the release of their debut EP As We Know It and have since been booked on shows all over Sydney delivering an epic live performance coupled with a high level of musicianship and songwriting. Before the prog out, expect some kick ass thrash from local crew Teratornis who have just released an EP, Back From Extinction, and before the thrash gives way to prog which gives way to the evening’s headliners, Wollongong’s Troldhaugen will get every toe a-tappin’ and head a-bangin’ with their brand of Celtic Folk Metal. Expect swords, expect ale, expect bloodshed. And after the show, the party will head to Rock Bar @ The Gaff where the official afterparty will be held. It will be half price entry ($5) for you too if you were at the gig.

If you feel like backing up at The Stag once more, those tireless dudes in Our Last Enemy will be playing for the last time in a while, unless they have new shows they haven’t told me about? Otherwise, the email they sent me weeks ago with all the tour dates ends with this show. You’ve had plenty of chances to catch their melodic goodness (their album was produced by ex Fear Factorian Christian Olde Wolbers) but if you are yet to catch them in the act, now is your chance. Seen them before but still wanna go out? Then head into Broadway because Venom will be hosting the official tour party for both The Amenta, who just played and The Haunted. The angry Swedes aren’t here until the end of May but Venom is dedicating the night to them. Lockdown, Bridges and Get Real will be wrecking the PA in the basement and they also have a bunch of cool albums being launched from Between The Buried And Me, Winds Of Plague and Hollywood Undead.

SUNDAY It’s been a little while since the Lucky Australian Tavern was featured here but it’s good to see them put on another afternoon of All Ages heaviness. For 10 bucks, you can see Tear Down The Skies open the gates from 1pm, followed by Villa Rise, To Our Forefathers and Caulfield. Perth’s Make The Suffer are up next with Pledge This having everything wrapped up by 5.15pm. Rock out and then be home in time for dinner! Sounds cool to me.

It you want to rock instead of troll (geddit, oh fark off), head up to the Town Hall Hotel in Newtown for Firearm’s very first show. They will be sharing the stage with Blacklevel Embassy, Hira Hira and Homeward Bound.

If you liked the Arnie meets metal of Austrian Death Machine, then you might like to check out pointbreakdown.bandcamp.Com where a bunch of Sydney guys have probably done serious copyright damage by metallising all the cool soundbites you know and love from that most bodacious of early ‘90s flicks, Point Break. You can score it as a free download when you click Buy Now and put in $0.

If you’re up in Newcastle, head to Club Led where The

heavy@drummedia.com.au

twitter.com/drummedia


PUNK AND HARDCORE WITH SARAH PETCHELL First up this week is the announcement that Maine’s hardest hitting sons, Cruel Hand, will be hitting Australia for the first time since 2009, in support of 2010’s Lock And Key. If you haven’t heard them, Cruel Hand takes equal influence from across all eras of hardcore, throwing in some thrash metal elements for good measure. Joining them on this tour with be Sydney’s Phantoms, who are continuing to impress while simultaneously decimating audiences across the country. Tickets for selected shows go on sale Monday, and you can catch this furious hardcore double-header on Saturday 18 June at Hermann’s Bar in Sydney for an 18+ show, and then on Sunday 19 there is an all ages show at the Masonic Centre in Blacktown. Canberra, you guys get an 18+ show on Wednesday 22 at Bar 32 with tickets on sale at the door. The Soundwave Revolution puzzle pieces are coming together with a few key pieces being put in place this week. Firstly, a number of excellent bands have been added to the bill including Yellowcard and the INCREDIBLE Kvelertak. And if you missed my somewhat cryptic clue about the leak on Short.Fast. Loud the other week, it was in fact Geoff Rickly from Thursday who basically said, “Yes, we will be here for Soundwave Revolution.” So, there are three more reasons for everyone to be on the edge of their seat with anticipation. Especially now that we know when the official announcement is going to be – AJ Maddah has also announced through his Twitter feed that it’s officially announced on Thursday. So there isn’t that long to wait before we’re finally all put out of our misery and can know what all the secrecy is about! Also last week, we were told that the Sydney Soundwave Revolution will be held on Sunday 25 September, and will not be held at the same venue as Soundwave. I’m not sure whether that means that it will not be at the same venue as Soundwave this year (so not at Olympic Park) or whether it will not be the same venue as previous years (Sydney Park or Eastern Creek Raceway) or whether it will be at neither of these three venues, but I guess we’ll just have to wait for Thursday to find out! Melbourne’s Confession is currently in the studio to record their follow-up full-length to 2009’s Cancer. The band is in Gothenburg, Sweden following a writing session in Byron Bay at the Parkway house, to record with Fredrik Nordstrom. For those who don’t know, Nordstrom’s production credits include the likes of Bring Me The Horizon, I Killed The Prom Queen and In

UNDEROATH

KEN OATH YELLOWCARD Flames. No word on a date when the album will hit store shelves, except that it will be out in the coming months. I guess it is more metal, but with the bands they’re hanging out with there’s crossover into the punk and hardcore realms. Brisbane’s Ironhide has just released its debut album Create/Collapse/Repeat and it’s pretty damn good. Essentially this is technical metal, but it is done really well. If this sounds up your alley, then you can head to the band’s Bandcamp page (ironhide. bandcamp.com) and download the album either for free or with the option to make a donation to the band. The final track on the album is especially great, featuring some amazing guest vocals like Nathan Wyner from A Secret Death, Mike Deslandes from Coerce, Cam Gillard of To The North, Robert Allen of The Abandonment/In Trenches and Matt Cook from Marathon. You can head to the same Bandcamp page to hear that track.

playing host to an event called An Acoustic Affair. It features some of the best acoustic acts Sydney has to offer including Jen Buxton, Isaac Graham, Jonny Optional, Dave Drayton and Jemima Kate. It’s to be held at Black Wire on Saturday 14 May, starting at 1pm. Head on down, check out some good tunes and perhaps even buy some records.

If you haven’t heard anything about them, Life & Limb is a veritable supergroup of previous Canberra bands, including (but in no way limited to) members of bands such as Hard Luck, Repoman, A Stab In The Dark, Brisk, Moments and I Exist. Last year, the group hit the studio to record songs that have made their way onto the debut 10-inch EP titled Four Islands. The EP will be available online and at shows when they hit the road next month, including a show at Black Wire Records on Saturday 7 May, starting at 7pm. In the meantime, check them out online and give them a listen. There’s a strong Fugazi influence going on there, which isn’t a bad thing at all.

UNFD has announced that a couple of I Killed The Prom Queen’s titles will be re-released to coincide with the band’s appearance on the Destroy Music tour. Sleepless Nights And City Lights is the band’s first ever DVD and it captures them in front of a rapturous hometown crowd at HQ in Adelaide, as they rip through a set of songs from their entire back catalogue. It also features in-depth interviews with each member of the band as they discuss their rise, break-up and the future of the band. The second release will be the band’s final album Music For The Recently Deceased. There has been heated debate among fans about whether Michael Crafter’s vocals for this album were better than the released vocals of Ed Butcher. The re-release of the album will be a deluxe, two disc version of the album, which features both the Ed Butcher and Michael Crafter versions of the album. Both of these releases will hit record store shelves on Friday 20 May, and you can catch the Destroy Music tour in Sydney the next week on Friday 27 at UNSW Roundhouse, with tickets on sale now. Get in quick, as the first Sydney show of this tour has already sold out.

While we’re on the topic of Black Wire, the store is

wakethedead@drummedia.com.au

twitter.com/drummedia

Formed in 1997, Florida-based metalcore sextet Underoath is touring Australia with A Day To Remember. Their first show, Friday 13 May at Luna Park’s Big Top, has already sold out, with a second added on the following day at the same venue. Drum talks to the band about the tour and their most recent release.

After a lot of line up changes, what defines the current collection of musicians as Underoath? We are six friends that actually get along, enjoy writing and playing music together, and we are all on the same page. Before there was a big division in the vision of this band. I feel like today we are honest and write honest music and to me that’s what it’s all about. What was your intention recording Ø (Disambiguation)? To write and record the best album we have written to date. Whether it’s your genre choice or not, we like to make sure we improve as songwriters and players on every album. So that’s what we did. Any plans for the follow up? About every two years we release a new record, but this one is still new so we gotta get out there and play it for people. What are you looking forward to most about sharing stages with A Day To Remember? Well, we did a tour together in the States and it was unreal, so I’m sure Australia will be nothing short of amazing. We had a great time on that tour so I’m looking forward to doing that again in one of my favourite countries.

THE DRUM MEDIA 26 APRIL 2011 • 47 •


HIP HOP WITH VIKTOR KRUM Pegz is touring his new album Bombs Away around the nation! On Thursday 26 May he’s playing The Harp in Wollongong, and on Friday 27 he’s at the Cambridge Hotel in Newcastle. Then on Saturday 28 he’s playing at the Annandale. Pegz’s live set will also feature Eloquor with DJ 2Buck on the turntables. Supports will include Dialectrix who’ll be playing live with Joe New and the hard-working, multi-tasker 2Buck. It will be interesting to see how Bombs Away is received. In 2005 Pegz released what was for some at the time the best album ever made by an Australian rapper, Axis (I say it was bested by Urthboy’s The Signal in 2007, but that’s arguable). The beats were amazing and the guests were solid but it was Pegz who shone brightest. He was witty, intelligent, abrasive, insightful, humble, honest and confident; a joy to listen to. Anyone who has made an album that good (and a song like Chechen Guerilla) deserves our attention whenever he puts some new music out. I haven’t heard Bombs Away yet. Have you? Let’s talk about it soon. Maybe at the show? New Vents. No bullshit. No tricks. There is some new Vents shit just around the corner for you. Friday 13 May the album Marked For Death is out. You may have already heard the lead single History Of The World. Shock! It’s a well-informed, engaging minimanifesto (and it’s not pop-politics. Proper research and presenting a cogent argument is the difference). Plus in the clip you get to see a newly skinny, bearded and newly long-haired Trials. That Vents is back is reason to celebrate. Come mid-May we’ll see just how hard we should be partying about it. The world would be a very boring place if we only had space for one or two types of people. It takes a village, if everybody looked the same, don’t judge a book and all that. That said, our natural position is almost always about maintaining the status quo – embracing the new things that remind us of old things. I say (and I have little doubt that you agree) that we should all try to be a little bit more open minded. There may be something new out there that we would love but that is different. I was equipped with that attitude as I headed to sykomusic.com… Syko is a terrible Australian rapper who rocks a fake accent that fades in and out. He is unimaginative, derivative and is marketed oddly. His video clip for Just Me And You is fascinating. The cinematography is solid

ALL AGES WITH DAVE DRAYTON If you can get yourself to the Hunter Valley (and it will be worth the trip), the seventh Gum Ball Music & Arts Festival is running over Friday and Saturday, and with a family orientated vibe there’s no restrictions for under 18s – though as you’ll see, that in no way affects the great line up, which covers blues and folk right through to indie rock. Alongside camping facilities, market stalls, fires and BBQs, there is a line up of live music featuring Chase The Sun, Papa Vs Pretty, Sticky Fingers, Lanie Lane, Cheap Fakes, C.W Stoneking, Bonjah, The Vasco Era and heaps more. It’s over a weekend so it’s almost an obligation to go camping, and you may as well see some awesome bands while you’re at it. For more details check out thegumball.com.au.

PEGZ and the extras are cute. So, clearly there’s some money being spent. It’s Syko who’s the strangest element. He avoids making eye contact with the camera. He wears glasses in some shots but not others. He keeps folding his arms and tucking his hands under his armpits. It’s a disconcerting experience. It’s not really worthy of a Bangs-ian internet meme but certainly worth a quick perusal. Funny thing is the beat is OK and the hook is neat; it’s how good pop music sounded in 2008 (the year Whatever You Like came out so, you know, producer ID Labs is doing something right). If you’ve checked the clip and you’re as intrigued as I was, you can head to Syko’s Twitter feed. He’s disarmingly earnest. Check it: “Had a dream I met Jay Z... Was talking with him for ages, I learnt alot... Let’s go shoot this video.” OK… Syko, your name is inaccurate. You seem lovely and I’m pleased that you’re all about respecting women. My only thing is that you’re not a very good rapper at all. Please make less music. Xo. New Del Tha Funky Homosapien out soon. It’s a triple album. 34 tracks. In the age of singles, and free downloads, and snippets, and Vevo, it will be interesting to see if we have the attention span to cope with it. A gamble, certainly, but it could be genius. getittogether@drummedia.com.au

For something a little closer to the city, Festival On The Green is taking place at St Ives Village Green, right next to the skate park, on Sunday from 10am-4pm. While the program is a little heavy on the Zumba, towards the end of the afternoon there will be some great folk, jazz and pop from Mark Cashin & The Lil Hussies, Michelle Lee Band and Sam’s Trio. They’ve also lined up some amusement rides and a batting cage, so you can swing away your frustration at the prevalence of Zumba. Chris Brown is in town on Tuesday at Acer Arena with Jessica Mauboy, Justice Crew and Havana Brown. This a huge R&B/hip hop line up and even though tickets are pricey – starting at $99 – Brown is notorious for putting on a big show. If the Acer survives Tuesday then it will surely cease to exist by Saturday morning – Justin Bieber descends upon the venue for back to back shows on Thursday and Friday. I don’t know how many of you are Biebernites or whatever they may be called, but I only saw him drum the other day, pretty impressive stuff, he has a few solos in his stage show too from what I’ve been told… Acoustic indie pop songstress Jade Gannon is gracing the stage of the Sugar Lounge in Manly on Wednesday night from 7pm. Best of all it’s free entry. Wrapping up the week in all ages shows is a huge affair at the Annandale called Unsigned Wonders, bringing together more than 10 of the best unsigned young bands nationwide for an arvo show that costs just $15. Doors open at 11am and the gig is headlined by Queensland’s Skyway! and Finbah alongside The Never Ever, Call The Shots, Ghosts On Broadway and more.

POP CULTURE THERAPY WITH ADAM CURLEY Behind the diner window, above the field of sedans, Justin Bieber’s hair-helmeted head is the size of a small apartment block. Soon, on the giant drive-in screen, he’ll be making a group of teenage girls cry as they stare at him from the side of a stage on which he’s artfully gesticulating. Following that, he’ll board a steel rig shaped like a love heart, which will dangle him over his audience like a skate-brand-clad carrot with an acoustic guitar. Assumedly, this is all being done to the sounds of Bieber’s mega-hits, but we can’t hear a thing. Even outside the diner, the only sounds that can be heard come from the occasional car with a window wound down or its boot open to facilitate reverse-parked lounge-viewing. Yet there he is in all his dimpled glory – smiling, making puppy-dog face and occasionally pulling a ‘wacky’ pose in front of his minders, the kind of ‘jokester’ device often included in pop-star documentaries to show that the famous millionaire on the screen is, in fact, just the same as you and me. The film showing outside the window of the hyper1950s-style booth we’re populating, grazing on premovie fish’n’chips (both of which taste appropriately like they’ve been on an activities-heavy tour of the world’s factories since packing up and departing the sea and the farm), is Never Say Never, the Justin Bieber ‘doco’ about his rise to celebrity status. For all of Bieber’s connectedness to new social media technologies – his narrative of becoming a ‘YouTube sensation’; his army of Twitter followers who track his whereabouts and scheme concert-door campouts; his general, tiresome being-everywhere-all-the-time-ness – here, at the drive-in, he’s just the latest in a long line of teen pop stars to be swooned at on a big screen in a car park. Looking out at his huge creamy-faced mug and picturing the young families curled up with blankets and popcorn behind the rows of windscreens, heartthrobs from the golden era of the American drive-in come to mind: the delinquents and rebels and Gidget lookalikes. If anyone here had been old enough to go to the drive-in in those times, there’d almost be a nostalgia at work, save for the fact that these kinds of pop-star personality/concert films have only recently become box-office draws as cinemas and musical acts look for new revenue streams. If nostalgia is to be found anywhere tonight, it’s at our • 48 • THE DRUM MEDIA 26 APRIL 2011

JUSTIN BIEBER own table. We’ve come to see Scream 4, the ten-yearslater sign that the age bracket that experienced its teen years directly prior to the Web 2.0 boom is going to rival the Boomers’ desire to look back on rose-tinted times. Yet it’s that divide that Scream 4 seeks to address. Like Never Say Never, the latest Scream film is about fame in the digital age. It’s also about updating horror-film devices to take new technologies into consideration. It might seem a misguided step to 2.0-ify a film franchise whose original audience is in no small part there to be reminded of its teen years, but Scream 4’s writing works on a few levels: it knows that ‘90s teens who are now adults live in a digitised world while addressing even marginal generational tech divides, but essentially it bypasses the consequences of new technologies to go back to a classic horror format. That, too, is why we’re at the drive-in. We were never part of the 1970s drive-in horror trend, but it’s that old, ever so slightly cheesy, out-in-the-dark thrill we’re after. And we do get it, though the film itself seems to forget that young people, while being down with the media and iPhones, would also be old-school terrified when presented with a serial killer. (Instead, they kind of just raise their eyebrows before they get placed over the walls.) We get it in a more real sense: a look into the rear-view mirror on the way home reveals the word ‘HELP!’ freshly scrawled into the frost on the back windscreen, and no one in the car is owning up. It’s a reminder that fear will always be fear, teen longing will always be longing and drive-ins will always be filled with weirdos. breakdown@drummedia.com.au

PAPA VS PRETTY Remember seeing the likes of Operator Please, Tim & Jean and Stonefield start to make it big and wonder how on earth someone so young had managed such an impressive career in music? Well, Get Your Break! Recording Artists may just answer your questions. Featuring interviews with musicians like Darren Cordeaux (Kisschasy), Patience Hodgson (The Grates), Tim Levinson (Urthboy/The Herd) and more alongside in depth discussions with industry experts like triple j Music Director Richard Kingsmill and Michael Taylor, head of Island Records Australia, the book covers all angles from booking gigs to recording. Even the nitty gritty stuff – finances, single selection and legal documents – get coverage. If it sounds interesting, there are a few more Get Your Break! books with a similar aim, giving insight and advice to young people looking to establish a career in fashion design and television. After the announcement of last week’s East Coast Carnage tour, the good news keeps coming for young hardcore fans. East Coast thrashers Cruel Hand have announced an Australian tour in support of their Lock And Key album. Along for the ride are Slayerworshipping locals Phantoms. Lock away the only Sydney AA date in your diary: Sunday 19 June at Masonic Hall, Blacktown. allages@drummedia.com.au

OTHER MUSIC FROM THE OTHER SIDE WITH BOB BAKER FISH In 1971, a 28-year-old double bass player and free jazz enthusiast called Gavin was working on a documentary film about people sleeping rough in London. Trawling the streets, they came across a bunch of winos and bums. So they began filming. At one point they broke into a drunken song, which was duly recorded for the film. Another tramp who didn’t drink also started warbling. This song was never used in the film, though somehow Gavin ended up with the recordings. When he got home he quickly realised both the emotional depth of the music and, more importantly, that this particular song was in tune. So he decided to orchestrate it. The song is Jesus Blood Never Failed Me Yet, and Gavin is of course Gavin Bryars. Repeatedly looping a couple of verses, he extended the tune to almost 26 minutes, slowly and subtly bringing in the orchestration, which actually added an additional (almost cinematic) gravity to the song, but really it served to highlight the fragility and damage of the singer. Yet despite the trials and tribulations there’s a real sense of hope and optimism here, and it’s made all the more poignant by the almost naive hopelessness of the singer. With material so raw, there was a real danger that Bryars could have overcooked it, sensationalising the material, yet as we cycle through the waves of the song, he builds density slowly, gracefully, highlighting the pathos of the singer and the song, without ever feeling like he is competing. Bryars of course had form – a couple of years earlier he produced The Sinking Of The Titanic, a modern classical piece that is based on accounts that the final tune the band played before they drowned was a hymn. The tune at about 25 minutes feels like it is sinking under water, descending into washed out drones and submerged strings. The effect is uncanny.

GAVIN BRYARS This year marks the 40th anniversary of the premiere of Bryars’ Jesus Blood Never Failed Me Yet. Musician Barnaby Oliver of Infinite Decimals, who is co-presenting a live performance of the piece in Melbourne to commemorate the occasion, says of its length, which he’s extending for the tribute: “I’ve always been interested in long-duration performances; impractical as they are, they can take you to places that are otherwise unreachable.” The musicians participating have each been given a chart of the original accompaniment to the piece and are all working alone to create their interpretation, meaning that when it all comes together, performers may not be on stage the whole time as the loop continues to play, and will also be spread throughout the space, unamplified, so as to mark no clear delineation between performer and listener.

Novelist Michael Ondaatje (The English Painter) speaks of Bryars’ ability to put ‘slapstick’ and ‘primal emotion’ alongside each other, his ability to make the listener approach sound from a completely new angle, with a ‘third ear’.

Musically Oliver was attracted to the minimalist approach of the work, “combining very simple ideas to create something very complex”, though there’s clearly a lot more going on. He suggests it’s about “taking someone who’s ended up at the very bottom of society’s heap, and then placing him at the centre of a piece of ‘high art’, where the performers are obliged to follow his irregular and idiosyncratic beat.”

And you would need one when listening to Portsmouth Sinfonia, an ensemble he founded that mixes professional musicians like Brian Eno playing unfamiliar instruments with complete novices. They have a few LPs out, murdering popular rock or well-known classical tunes. They’re both despairingly hilarious and very slapstick.

“We all rely on something to get us through the tough times, be it alcohol, religion or whatever. In that way we’re all the same. The piece is perhaps about celebrating this common humanity – which is both strength and weakness – in an ambivalent and nonjudgmental way. That realisation was what made me want to do something with the piece.”

twitter.com/drummedia


DEAD SET BLUES AND ROOTS WITH DAN CONDON this good vibe to it,” he says. “Even though I play a lot I still love listening to music all the same and they always have some good acts I look forward to seeing.”

The Gum Ball Festival is hitting the beautiful Hunter Valley this weekend boasting some of our country’s finest blues, roots, funk, reggae and seemingly everything in between. I caught up with Blue Mountains based one man band Claude Hay to chat about his recent successes and the weekend ahead of his performance at the festival on Saturday.

Given the sheer number of both club shows and festivals this artist has played around the world, it’s interesting to get his perspective on the respective pros and cons of both. “I must say when a festival is buzzing, and you play to a pumped crowed there’s nothing like it, especially if it’s your first time at a fest at some new town you’ve never been before so you have to work it to win them over – when it goes off it does feel self gratifying,” he begins. “But at the same time I do like playing small intimate venues as well – you can get a bit more personal with your audience and generally the sound from an audio point of view sounds better, you have more time for sound checking and so on.”

Recent times have seen Hay touring incessantly both in Australia and in the US. In fact, he has recently found quite a deal of success Stateside, appearing on the Billboard blues charts late last year, selling a decent number of copies of his Deep Fried Satisfied record and garnering some impressive reviews. Despite this, Hay can’t see himself relocating any time soon. “As they say, there’s no place like home, although I have contemplated moving there, but when you do a tour up the east coast of Oz you realize how good we have it here,” he says. “One of my favourite things to do is wake up by the beach in some coastal town that you’ve just played at in my motor home whipping up some bacon and eggs for brekky.” The constant touring provides plenty of inspiration for his music and Hay is one of the few artists who does the majority of his writing while on tour. “I do love being on the road, it’s like everything in life: you have to find the balance, too long on the road and you go mad and vice versa when you’re at home,” he explains. “I do around 70,000 km a year so I get to see

CLAUDE HAY a good chunk of this country and being in a new place somewhere different from home is very inspirational. I probably do most of my writing on the road; sing it in my mobile phone mostly to remember new ideas.” This weekend’s Gum Ball Festival is one particular show that Hay has been looking forward to. It is not his first time there and by the sounds of things it won’t be his last. “Gum Ball is a great fest, it’s very down to earth. It’s like the difference between a good home cooked meal and some takeaway joint, it’s very communal and just has

Hay has always been the kind of guy who does everything himself, and we mean everything. He says there are so many pros to being living life in a DIY fashion. “My motor home is probably my favourite thing. I’ve put a shower, toilet, kitchen and recording studio in there,” he tells. “When I went to America one of the radio stations really talked about the van a lot and this radio had 14.5 million listeners, I have had people turn up to my gig and hung around to the end when I’m loading out so they can have a look at the van. I have quite a few after parties in there now; it’s a lot of fun…”

Local rootsmen Mark Lucas & The Dead Setters launch their fourth album, Putting On The Dog, Thursday at The Vanguard. Mr Lucas himself took the Drum hot seat.

Where do you get inspiration for the stories that you tell in your songs? Are they imagined or based on real experience? I think songwriting is nearly always something of a collision between the real and the imagined. That said, I do tend to take my inspiration from everyday life – hence the appearance, on this album, of characters as diverse as a long dead movie star (Until She’s Mine) and the proprietor of a somewhat legendary milk bar in Petersham (Shopping Town). In contemporary white urban society we’ve lost much of the oral tradition that gives culture life and meaning in a wider context – I think that songwriters can make a real difference in keeping those traditions alive and carrying them forward. My own experiences are always lurking there somewhere. How does the album title – which generally means to fancy up – relate to this collection of songs? The last three albums have been “budget” jobs – either recorded largely live in the studio or absolutely live at shows – pretty much with few overdubs. This is the first time since 2001’s Ghost Of Lost Creek Road that I went all out in the studio and took the time to get the material, comparatively speaking, “gussied up” – hence the title. Also, being a Dead Setter, can’t go past a good dog pun.

rootsdown@drummedia.com.au

IT’S NATURAL JAZZ/WORLD WITH MICHAEL SMITH WEDNESDAY

St. Luke’s in Enmore hosts three days of the Kinetic Energy Jazz Festival Friday, Saturday and Sunday, the program including British composer and orchestrator Mike Gibbs steering the Kinetic Jazz Orchestra; My Goodness, McGuiness!, the Jackson Harrison/ Jeremy Rose Quartet, Amphibious, Tim Clarkson, Ben Pannucci, The Alex Masso Project, Roger Dean and more. While he was in the US last year, vibraphonist James Whiting took the opportunity to cut his debut album, Burbank, with a crack quintet that included American and Australasian players, and Monday he launches that album at The Basement Circular Quay. Members of the Australian Chamber Orchestra, percussion troupe TaikOz and the Sawai Koto Ensemble are pooling their talents to raise funds for the Red Cross Japan Earthquake & Tsunami Relief Wednesday 4 May in Verbrugghen Hall, Sydney Conservatorium of Music. The nominees for this year’s Australian Jazz Awards, popularly known as The Bells, have been announced and include Vince Jones, Elly Hoyt and Hayden Jones the nominees for Best Australian Jazz Vocal Album, The Subterraneans, Mark Isaacs Resurgence Band and Baz for Best Australian Jazz Blend Album, Mike Nock Trio, Misinterpretato and Joe Chindamo for Best Australian Contemporary Album, Stephen Grant, Leigh Barker and Hot Licks Jazz Band for Best Australian Traditional Jazz Album, Andrea

John Hardaker Direction with Rebecca Barrett – Kudu Lounge Jason Bruer Duo – MosCafé

THURSDAY Oscar Jiminez – 505

FRIDAY

MIKE NOCK TRIO

Andrew Dickeson Quintet in A Night Of Swing – 505

Keller, Johannes Luebbers Dectet and Eugene Ball for Australian Jazz Song of the Year, Casey Golden, Johannes Luebbers and Eamon Dilworth for Young Australian Jazz Artist of the Year and Australian Art Orchestra/Young Wagilak Group, Mark Isaacs Resurgence Band and Andrea Keller Quartet for Best Australian Jazz Ensemble. The winners will be announced Thursday 5 May in Melbourne’s Regent Plaza Ballroom. Luebbers is also in contention for the Jazz Work of the Year in the inaugural Art Music Awards, being presented at Sydney Theatre, Walsh Bay Tuesday 3 May, an initiative of APRA and the Australian Music Centre. Also nominated are Sean Foran and Stuart Hunter.

Cameron Jones – Vivo Café

TUESDAY

Brendan Gallagher – Clovelly RSL

Motion Band (VIC) + Matt McMahon Trio – 505

The Leonie Cohen Trio – North Shore Temple Emmanuel, Chatswood

James Valentine Quartet + Dan Barnett – Golden Sheaf

James Morrison & His Jazz Band with Ian Cooper – Springwood Civic Centre

SATURDAY Tina Harrod – 505 Paul Sun – Larrikin’s Café, Walsh Bay Susan Gai Dowling – Jazushi

SUNDAY Herbie Hancock – Concert Hall, Sydney Opera House The Swinging Blades – Marrickville Bowling Club

blow@drummedia.com.au

ROCKABILLY/PSYCHOBILLY/ALT.COUNTRY WITH PEDRO MANOY It’s probably a little premature to nominate my gig of the year, but Raul Malo’s show at The Basement Circular Quay about 10 days ago will take some beating. Out here for Bluesfest, Raul’s soaring, soul drenched and mesmerising voice is a true gift from God and had punters pounding the tables for more – I counted no less than seven songs in the encore! Backed by a superb band Raul demonstrated why he is a true Tex-Mex superstar and hopefully somebody we will see in Australia time and time again. There’s certainly been some amazing music on offer over the long weekend with Bluesfest at Byron and the week of sideshows that preceded it in Sydney. If you think that it’s all over for the time being then think again, because tomorrow night at the Cat & Fiddle Keith Donnelly from the UK and Flossie Malavialle combine as Dark Horses in what promises to be a unique and highly entertaining show. The duo was recently invited to join a massive UK tour with folk legends Fairport Convention and spent most of 2010 astounding festivals with their songs and witty banter. With a history as both very successful, larger-than-life solo performers, Flossie and Keith produce some real magic when their two talents meet and this is a show not to be missed regardless of your monetary hangover from Easter. Community radio is the backbone of the roots and alternative music scene in Sydney with numerous blues, rockabilly and country shows carrying the torch for a variety of genres that often receive scant mention in the mainstream press. The Stormy Monday program

and the rambunctious fellas in The Rumjacks.

TUESDAY Adam Pringle & Friends get all bluesy at the Sandringham Hotel from 8pm.

WEDNESDAY The Continental Blues Trio continue their regular spots at the reborn Rose Hotel in Chippendale.

THURSDAY

DARK HORSES on 2MBSFM has been an institution in Sydney since the late ‘70s and fans will be chuffed to learn that stalwart presenter Austin Harrison is getting hitched to another great music fan in Helen Shields. There’s a pre-wedding celebration and knees-up at the Marrickville Bowlo this coming Sunday from 3pm, along with the Chris Flynn Band, and all are invited. And if you are up early that day you might like to tune into the long running The Country Roads Program on 2RRR-FM with the inimitable Ronnieboy spinning the best country sounds in town from 8 am to 9am. Look out for a new club night in May at Hermanns Bar in Sydney Uni under the banner of The Rhythm Cellar, showcasing the very best in local and interstate bands and DJs hosted by regular record selectors, The Crimplenes and DJ Key-star. R’n’b, freakbeat and rocksteady are just a few of the sounds to ignite the dance floor with the opening night scheduled for Saturday 21 May with frenetic live sounds from The Special Guests

Perth’s international astral travellers Rocket To Memphis launch their third album Jungle Juice with a special instore at Mojo Music, now at their new home at 28 York Street in the CBD. Tony Joe White is a regular visitor to our shores and takes his classic swamp sounds to the Canterbury Hurlstone Park RSL from 8pm.

FRIDAY Eric Bibb and Staffan Astner play the Blackheath Community Hall.

SATURDAY Shane Pacey Blues Trio play it stripped back style at the Bald Rock Hotel from 8pm.

SUNDAY Wards Xpress play one of their favourite haunts, the Tudor Hall Hotel in Redfern, whilst The El Caminos hit the street level bar of the Sandringham, both gigs from 4pm. swampshack@drummedia.com.au

twitter.com/drummedia

American “vocal play” group Naturally 7, with music created with the human voice alone, brings those unique sounds to the State Theatre on Friday. Before they hit the stage, they fielded a few questions from us ever-curious folk at Drum.

Are people surprised to find out that all sounds on your recording are created using only the human voice? People that listen to the CD usually say “I’m sure I hear real instruments, the human voice can’t possibly do all that” and we’ll tell them sure it can – if you take the time to study the way each instrument moves, slides or hits you can get pretty close. What’s the most obscure instrument emulated by a member of the band? We have a few that I’m not sure if we’ve got them completely down but we always try things like the oboe and the recorder. The stadium venues you will perform at in April are much larger than the more intimate settings of your last tour; what kind of shows do you prefer? Stadiums are always fun because there’s so much energy with that many people, we did a few already but in smaller venues you can get that real personal feel and really get to know the audience so I guess for me it depends on my mood. Are there any plans in the works for the follow-up to Vocal Play? We have a few new things that we’re working on but you’ll have to wait until we pull the sheets off.

NEIL YOUNG LIVE ALBUM One of the most beloved folk rockers of all time, Neil Young, will release a new live album mid-year. Titled A Treasure, the album is set to drop through Reprise Records on Friday 10 June. It was recorded with his band at the time, The International Harvesters, while on a US tour that spanned 1984 and 1985. There are 12 songs on the album, including five that have never been released, It will be available in multiple formats, including CD, a CD/Blu-ray deluxe pack featuring extra video, and pre-orders are being taken through iTunes now for a digital version. There will also be a limited edition vinyl pressing on 180 gram double disc, and the fourth side of the vinyl will have special artwork etched into it. The vinyl will only be available through the official Neil Young website. There are also new items available on the website in the official merch store, including new tour items and Archives-related goodies.

RASCALS SUED Turner Nichols & Associates, the former managers of country heavyweights Rascal Flatts, are suing the band and asking for a 15 per cent commission on the band’s tour dates until June 2013. The management group filed the claim Monday 11 April, claiming that the band agreed to pay a tour commission each month but ceased to do so upon choosing new management. Rascal Flatts and Turner Nichols & Associates had been in business together for over 10 years when they parted in February. The management firm is also asking for compensation for TV appearances and DVDs that it negotiated. THE DRUM MEDIA 26 APRIL 2011 • 49 •


frontrow@drumperth.com.au

THIS WEEK IN

ARTS

SPANISH FESTIVAL (JULIA’S EYES)

XXXXXX

MARK WATSON

TUESDAY 26 Sydney Comedy Festival – shows tonight: Mark Watson at York Theatre, Seymour Centre (7:30pm, until Thursday 28); Bo Burnham Live! at Metro Theatre (7:30pm); Michael Workman: Humans Are Beautiful at Corridor, Newtown (8:15pm, until Saturday 30, then Tuesday 3 May to Saturday 7); Guy Pratt’s Wake Up Call at Factory Theatre (9:15pm, until Saturday 30); Steve Hughes: Conspiracy Realist at Factory Theatre (7:30pm, until Saturday 30). See sydneycomedyfest.com.au for more information.

WEDNESDAY 27 Sydney Comedy Festival – shows tonight: Julia Wilson & Greg Parker: Artsie Fartsie: Funny Art at Parade Studio, Parade Theatres (7:30pm, until Saturday 30); Sarah Quinn: Other People’s Problems at Downstairs Theatre, Seymour Centre (7:30pm, until Saturday 30, then Wednesday 4 May to Saturday 7); Smart Casual: The Story Of Captain Entrée in The Sound Lounge, Seymour Centre (7:30pm, until Saturday 30); CarlEinar Häckner: Swedish Meatballs at Factory Theatre (7:45pm, until Saturday 30, then Tuesday 3 May to Saturday 7); Bulmer’s Best Of The Edinburgh Fest at Factory Theatre (9pm, until Saturday 30, then Tuesday 3 May to Saturday 7, Sunday 8 at 8pm); Chris Radburn: Stand Up Dad at Parade Studio, Parade Theatres (9pm, until Saturday 30); John Robertson: Dragon Punch! at Downstairs Theatre, Seymour Centre (9pm, until Saturday 30); Marcel Lucont: Encore at Factory Theatre (9pm, until Sunday 1 May). See sydneycomedyfest.com.au for more information.

THURSDAY 28 Sydney Comedy Festival – shows

SAMMY J • 50 • THE DRUM MEDIA 26 APRIL 2011

tonight: Felicity Ward: Honestly at Factory Theatre (7:30pm, until Sunday 1 May); Hing & Magee: Orientalism at Sound Lounge, Seymour Centre (9pm, until Saturday 30); Dead Cat Bounce: Caged Heat at Metro Theatre (9:15pm, then Saturday 30 to Sunday 1 May). See sydneycomedyfest.com.au for more information.

FRIDAY 29 Sydney Comedy Festival – shows tonight: RocKwiz Live at Enmore Theatre (8pm, until Saturday 30); A Royal Wedding Party! at Factory Theatre (10:30pm); That One Story at Factory Theatre (10:30pm, until Saturday 30, then Friday 6 May and Saturday 7). See sydneycomedyfest. com.au for more information.

SATURDAY 30 Happy Endings Comedy Club – tonight: Comedy Festival star Dave Eastgate, Stand Up Australia host Cam Knight, and Raw Comedy finalist Sam Bowring. Happy Endings Comedy Club, Kings Cross. Sydney Comedy Festival – shows tonight: Sammy J & Randy in Bin Night at Metro Theatre (7:30pm, until Sunday 1 May). See sydneycomedyfest.com.au for more information.

SUNDAY 1 Sydney Comedy Festival – shows tonight: Andres Lopez: La Pelota de Letras at Enmore Theatre (5pm). Finishing tonight: Dead Cat Bounce: Caged Heat at Metro Theatre (9:15pm). See sydneycomedyfest. com.au for more information.

MONDAY 2 Sydney Comedy Festival – shows tonight: Oasis Africa Australia Charity Showcase at The Comedy Store (8:30pm). See sydneycomedyfest. com.au for more information.

SPANISH FILM FESTIVAL ANNOUNCES PROGRAMME The Spanish Film Festival is gearing up for its 2011 season, showcasing the latest hits from Spain and Spanish-speaking Latin America. This year will mark the long-running Festival’s 14th instalment, which will also extend its national Australian tour to play on New Zealand screens. The festival looks to expand audiences’ horizons and introduce them to the passionate cinema of Argentina, Bolivia, Chilie, Mexico, Panama, Peru and Venezuela. Screening over 36 films, it kicks off with the Australian Premiere of The Last Circus, a darkly comic tale of two clowns competing for a beautiful woman’s love. The Cine Contemporaneo strand showcases the best in contemporary Spanish cinema, with Life Starts Today, a social satire about old people going to sex education classes, and For 80 Days, where two women reunite after 50 years to rediscover love. Provocative documentary, Fake Orgasm, follows an erotic performance artist seeking to untwist the riddle of the lady climax, while To Hell With The Ugly sees an unattractive farmer looking for love. The Guillermo Del Toro-produced thriller, Rage, will also screen at the fest, along with Kidnapped, a terrifying home invasion film that won Best Film at Fantastic Fest. Closing night film is Julia’s Eyes, an edge-of-your-seat mystery about blindness and murder. Along with countless guests and many more films, the Spanish Film Festival

2011 tours nationally throughout May and hits Sydney to play Palace Norton Street and Chauvel Cinemas Wednesday 11 May to Sunday 22.

MORE SYDNEY WRITERS FESTIVAL NEWS All the big thinkers will be lighting up Sydney with conversation, talks and debates at the upcoming Sydney Writers’ Festival. Held at various CBD venues, the festival kicks off with Fatima Bhutto’s talk on Pakistan, Nation on the Verge of a Nervous Breakdown. Other highlights at the event include Howard Jacobson discussing his latest novel, The Finkler Question, Ingrid Betancourt relaying her terrifying experience as a hostage in the Columbian jungle, Erotic Fan Fiction and Ghost Story readings, Kerry O’Brien moderating a discussion with political leaders, and a debate on WikiLeaks, which sounds more electrifying than an eel in a bathtub. It happens Friday 17 May to Tuesday 21, check out swf.org.au for complete listing of all the shows.

with comedians Kitty Flanagan and Doc Brown. As if that wasn’t enough, the fun and games continue with the heavy hitters of the music trivia/comedy scene, including Dave O’Neil, Pete Helliar, Dave Callan, Felicity Ward, Tom Ballard, Greg Fleet, Sammy J, Denise Drysdale, Adam Rozenbachs and a snake.

MISS BURLESQUE COMES TO SYDNEY Miss Burlesque Australia 2010 is currently having a fabulous time in Paris, enjoying part of her title prize. Very soon her crown will be WRITERS FESTIVAL (FATIMA BHUTTO)

SPICKS AND SPECKS RETURNS, WITH COMEDY SPECIAL Spicks And Specks is set to return to the tube with a comedy special that will have you and your pet cat rolling in the floor with laughter. Returning Wednesday 4 May at 8:30pm on ABC1, it will be an hourlong Comedy Special, jam-packed with the musical silliness and witty retorts you’ve come to love. Special guest panelists include Stephen K Amos and king of the miniature keyboard David O’Doherty, along

QUOTE

THEATRE DIRTYLAND

ROY: [SINGING] WE DON’T NEED NO EDUCATION. MOSS: YES YOU DO. YOU’VE JUST USED A DOUBLE NEGATIVE. - THE IT CROWD

up for grabs, with the finest dancers battling it out to steal her crown. Last year over 300 performers applied for the chance, with 60 state finalists donning the feathers and sequins to showcase their buxom bodies and their sultry moves. Miss Burlesque International was the first competition in Australia to combine all feature elements of burlesque and is open to both seasoned professionals and amateurs. For more information about how to enter your good-looking sister, or where to purchase tickets, please head to missburlesqueinternational.com.

New Theatre The first production programmed for New Theatre’s independent Spare Room project, Dirtyland is just that, filthy. In the midst of the vast stage sits an impressive mound of dirt six inches deep, engulfing a forgotten mattress and a kitchen set, loosely packed so as to make every movement stir a cloud and dust the light. You can smell the dirt too, taste it even, as Dirtyland kicks and bucks between all manner of seediness – incest, murder and lies – playing out like a twisted theatrical rodeo. The grit of David Fleischer’s design cannot be understated. Elise Hearst has populated a postmassacre town with the dregs of humanity, all seven of the script’s characters succinctly realised and

REVIEW coloured. Gabriel Fancourt’s Harry is a juvenile sexual delinquent, disturbed and energetic. Marcus McKenzie is the dark horse as Moses, initially unassuming but quiet and steadily ploughing towards understated moments of brilliance. As the oracleesque Mrs Brown, Netta Yashchin is suitably disconcerting and unwieldy and despite owing a lot to Jacki Weaver’s performance in Animal Kingdom, Lucy Miller as Harry’s uninhibited mother is powerful. Someone in the audience opened a can of beer mid play – that unmistakable psschk cutting through the sound on stage – and not for one moment did it seem out of place in the world director Paige Rattray has created. Impressive, girt by girt Australiana theatre. Until May 7 DAVE DRAYTON


frontrow@drumperth.com.au

CLOWNING

AROUND

“When I called it that, I thought, ‘Oh fuck, I’d better put more circus stuff in it,’” he admits.

And this year, Byrne has stimulated the audience’s creativity by appealing for them to bring him crazy gifts.

him the hearts and minds of fans all over the world. “There’s loads going on with this show. When people come in there’s like six aerobics steps on the stage with skipping ropes beside them and you can just hear people coming in talking about it... ‘What the fuck? What’s that? Why is there six of them and there’s only one of him?’ So I come straight on and get five people

up on stage, and doing step aerobics and skipping to music is fuckin’ hilarious. I try to pick guys because they’re so shit at it — fellas that have had a good few beers before they come in, you know? And if there’s any latecomers they have to get up and do the whole thing again!” This year’s show is called Cirque Du Byrne — quite fitting as the comic

“I don’t want to push that too much because I don’t want 800 people bringing fuckin’ gifts to a show, but the weirdest one so far, and still the winner for me, is a hand-knit Santa Claus from Mexico, but apparently in Mexico Santa is the devil? It was like ‘fuckin’ what?’ It’s this sort of stuff I want to see. I don’t want somebody putting their shoes on the stage and going, ‘They’re my favourite shoes.’ It’d be brilliant if someone put their granny on the stage. That’d be fuckin’ brilliant. People will come away from the [show] going ‘Holy fuck, what the fuck was all that about?’” WHAT: Jason Byrne: Cirque Du Byrne WHERE & WHEN: Enmore Theatre Friday 6 May to Saturday 7

REGION - FREE DVD RELEASES BEYOND AUSTRALIA in the background. In De Palma’s hands, these are all very good things indeed. The Criterion edition should provide a great primer on this titan of pop-art cinema: among its special features are an hour-long interview between De Palma and (weirdly enough) Noah Baumbach, De Palma’s 1967 feature, Murder a la Mod, and the original New Yorker review from Pauline Kael, his most eloquent cheerleader.

BLOW OUT

WITH IAN BARR Note: This is a new column dedicated to overseas releases, which are available online. There are two types of cinephiles: Those who dig at least a fraction of Brian De Palma’s filmography, and those dead to the pleasures of moviegoing. Perhaps the quintessential De Palma film is neither Scarface nor The Untouchables, but rather Blow Out, which fittingly marks the maestro’s belated entrance into the Criterion collection. Like Francis Ford Coppola’s The Conversation, De

Palma’s 1980 film uses Antonioni’s art-film uber-touchstone Blow Up as its point of departure. But whereas Coppola and Gene Hackman combined creative forces for one of the most in-depth character studies in American cinema, Blow Out is all about surface. Starring John Travolta as a sound technician who thinks he may have recorded a murder, the film features showy camerawork, homages that verge on plagiarism, cardboard characters, John Lithgow and a climatic action sequence with a fireworks display

Also released by Criterion in 2003 but now getting a release on the wonderful British label Mr. Bongo is Il Posto, Ermanno Olmi’s 1961 neo-realist masterpiece. Up there with Pump Up The Volume and The 400 Blows at the top of the coming-of-age film canon, there’s simply no film that better captures the twin poles of the giddy excitement of young love and the outright terror of induction into a life of routine employment. No special features on this one, but at £8 (and region-free – playable on all players) it’s a mighty fine alternative to taking a chance on the Criterion. Asian art cinema has tended to get short shrift by Australian distributors, even from valiant ones like Madman. Among the most egregious examples of this are Taiwan’s Tsai Ming-Liang and Thailand’s Apichatpong Weerasethakul – two of contemporary cinema’s foremost auteurs, among the most intuitively

C U LT U R A L

CRINGE

And so he did. Expect the skipping. Expect plate-spinning. In fact, Byrne divulges a lot more about what’s in his show during this interview, but trust us — it’s best kept under wraps. “This kind of thing, it’s what my comedy’s all about. It’s like a teacher’s out of the classroom and we’re all just taking the piss, we can do whatever we want,” he says mischievously. “I work out a lot of these routines there on stage for the first time. Often, when I get up, I have no fuckin’ idea what I’m gonna do. If I sat there and wrote some of these things down on paper I’d just throw it in the bin. ‘What? Get a bloke up and do what? That’s not gonna work.’ But because the audience are with me we can do anything.”

EVERYONE’S FAVOURITE MAD IRISH BASTARD JASON BYRNE IS IN AUSTRALIA WITH HIS NEW SHOW, CIRQUE DU BYRNE, WHICH HE TELLS BAZ MCALISTER IS GOING TO BE A WHIRLWIND, CHAOTIC AFFAIR. “People say to me, ‘Why don’t you just do a straight stand-up show? Why do you make your life so fuckin’ difficult?’” Jason Byrne muses. “But you know, people are paying to see a show, and they want that little bit extra.” The lovable Irish rogue’s philosophy of comedy as much as his outrageous stage antics - into which he often co-opts audience members - has won

often casts himself in the role of ringmaster.

talented filmmakers anywhere in the world and both completely neglected by local distributors. For Weerasethakul, the Palme D’or win for his Uncle Boonmee Who Can Recall His Past Lives (just released in the UK on DVD/Blu-ray) should change things, but with Tsai’s falling stock, Aussie cinephiles’ll have to keep looking beyond local sites and stores. Fortunately, Tsai’s filmography – the achingly melancholic What Time Is It There? and the delirious porno-musical, The Wayward Cloud, among his masterpieces – are well-represented elsewhere, and his 1994 Venice winner, Vive L’Amour, gets a rather lavish Blu-ray + DVD edition available to buy on Yesasia.com. His films are strange concoctions, which blend deadpan physical comedy with stories of urban isolation and alienation, under a highly formal directorial approach, chiefly the use of little-to-zero camera movement, super-long takes and off-screen space generated by rich sound design. The contradictory sensibilities on display often mean that it takes a while afterwards for the profound sadness of his films to hit you, though Vive L’Amour’s ending is pretty immediate in its emotional punch – a study of the human face as lingering (literally) as anything in Bergman, Mike Leigh or that long shot of Marky Mark near the end of Boogie Nights.

JAMES CAMERON

WITH JAMELLE WELLS This year’s Archibald Prize winner, Ben Quilty, says when he asked legendary painter Margaret Olley to pose for him she refused because she’s so modest. But he says he persisted because she had such a big influence on his career. Quilty met Olley when she was a guest judge for the 2002 Brett Whitely Travelling Art Scholarship, which he won. Born in Lismore in 1923, Olley was awarded the Order of Australia in 1991 for service as an artist and to the promotion of art. In 1996, she was given the Companion of the Order of Australia. Filmmaker Jane Campion was among members of the arts community in court last week to see Sydney man Anthony Waterlow acquitted of the stabbing murders of his father, the art curator Nick Waterlow, and sister Chloe Heuston due to mental illness. Nick Waterlow curated several Biennales and was well known for his work at the Ivan Doherty Gallery in Darlinghurst. He also taught at the NSW College of Fine Arts. Chloe Heuston was an author and former ABC television publicist. Outside court Campion said more needs to be done to monitor people with mental illnesses. Anthony Waterlow had been diagnosed with schizophrenia but wasn’t taking any medication. Avatar director James Cameron is expanding his 3D vision to the small screen. At a National Association of Broadcasters conference in Las Vegas he revealed plans to work with cameraman Vince Pace to use 3D technology in television, sports and advertising. Sales of 3D TV sets

THEATRE MUCH ADO ABOUT NOTHING Drama Theatre, Sydney Opera House Bell Shakespeare’s production of ‘the original rom-com’ Much Ado About Nothing takes place in 1950s Sicily, a moment and place in time that is not only beautifully captured in the costumes – Mediterranean sun dresses and silk suits abound amidst the military garb – but also commands an Italian flambuoyancy and lust for life from the cast. Yhey rise to the occasion in an endearing battle of the sexes, Sean O’Shea especially, a connivingly camp and melodramatic Don John. As the deceived Claudio Sean Hawkins allows himself the madness that comes with infatuation, his love for Hero visibly absorbing him despite its many complications. The night,

are still apparently slow because of their high price and the need to buy 3D glasses. But Cameron says the development of lighter, less expensive glasses will help change that. Inner-west filmmaker Leslie Marsh must be the busiest creative director in Sydney. The Marrickville producer has more than a dozen projects on the boil, including videos on parenting for inner-city Indigenous families and a couple of films about suicide. He’s producing a Metro Screen-funded film called Money Tree about Sierra Leone refugee and Marrickville resident Hawantatu Bangura on her experiences growing up in Africa. Marsh is also tutoring young Bankstown Indigenous kids in the art of documentary filmmaking. His video clip for blues/pop star and triple j poster girl Lanie Lane was a recent Indie Clip of the Week on ABC TV’s Rage. He’s shooting her next clip (featuring burlesque star Kelly-Ann Doll) and also finds time to play drums in two bands. The Australian Ballet’s triple-bill British Liaisons features three big names in British choreography: Royal Ballet founder Ninette de Valois, Sir Kenneth MacMillan and contemporary ballet legend Christopher Wheeldon. Opening in Sydney next month, de Valois’ Checkmate and MacMillan’s Concerto are back after a long break from the company’s repertoire. Wheeldon’s modern masterpiece, After The Rain, returns after its acclaimed 2007 premiere. Artistic director David McAllister tells us he’s picked the works in recognition of the important role British choreographers have played in shaping The Australian Ballet.

REVIEW however, belongs to the leading and unwitting couple Benedick (Toby Schmitz) and Beatrice (Blazey Best). Schmitz is a larrikin, his denial of love wonderfully transparent and his delivery liberal, while Best is saucy and outspoken. Bell’s direction is fantastic; the comedy is conspiratorial and surprisingly physical - at times zany and obvious, truly ‘feel good’ - and the pace is swift despite the three-hour running time, with fluid transitions between the chaos and comedy. He shows us, albeit with a hyperbolic insistence, that love reduces the sharpest of us to buffoonery and juvenile tendencies; Bell presents as Benedick observes in Act V, “Man is a giddy thing. You will fall head over heels for Much Ado About Nothing.” Until 14 May DAVE DRAYTON THE DRUM MEDIA 26 APRIL 2011 • 51 •


frontrow@drumperth.com.au

GUY DAVIS SITS DOWN WITH THOR HIMSELF, AUSTRALIAN ACTOR CHRIS HEMSWORTH.

GOD

ALMIGHTY

It’s a fairly sizeable suite in a swanky Melbourne hotel, but when Chris Hemsworth walks in my first impression is that this room ain’t big enough for the both of us. Sure, the Australian actor has stripped away some of the 10 or so kilos of muscle he strapped on to play Thor, the Norse god of thunder, in the big-budget comic-book adaptation of the same

old feud with an ancient enemy and subsequently banished to Earth by his imperious father, Odin (played by the imperious Anthony Hopkins). Stripped of his powers – and his weapon of choice, the bad-arse hammer Mjolnir – Thor must learn humility if he is to become the ruler Asgard needs. And the stakes are raised even higher when his cunning

name, but he remains a tall, broad and kinda intimidating presence nevertheless. Happily, that presence is offset by a friendly manner and easygoing charm that is just as apparent off-screen as it is in his performance as Thor, the charismatic, headstrong prince of Asgard whose hot temper and flair for warfare sees him reignite an

MARY TOBIN PRESENTS THREE OUTSTANDING UK COMEDIANS IN

S SEANN TOM CARL WALSH W H ALLEN A N DONNELLY ALL 3

FOR THE PRICE OF

1

““Walsh is thiss generation’s r with the looks, s, Dylan Mor Moran, gags andd charm to becomee somethi something quite special” TIME OUT

“impossible not to fall in love with him and his brilliantly entertaining life... clever, thought out comedy.. an absolute must see” THREEWEEKS.CO.UK

“Excellent, fast-rising comic with pacy anecdotal routines” The Sunday Times

FACTORY THEATRE 105 VICTORIA ST, MARRICKVILLE 27 APR-8 MAY 9PM (8PM SUN 8 MAY)

“Proof that laughter really is the best medicine.”

★★★★ ★ ★★★

THREEE WEEKS THRE WEEKS 201 20100

ENMORE THEATRE 130 ENMORE RD. NEWTOWN

MON 25 & TUE 26 APRIL BOOK NOW! 9020 6966 OR WWW WWW.SYDNEYCOMEDYFEST.COM.AU SYDNEY • 52 • THE DRUM MEDIA 26 APRIL 2011

brother Loki (Tom Hiddleston) makes a play for the mythical kingdom’s throne. Best known for his role as Kim Hyde on the long-running Seven soapie, Home And Away, prior to taking a crack at Hollywood, Hemsworth slowly rose through the ranks with supporting roles (such as his brief but memorable turn as Captain Kirk’s doomed dad in the opening scene of J.J. Abrams’ Star Trek) before getting a shot at playing the Marvel Comics superhero for director Kenneth Branagh. But the role of Thor was a much sought-after one, and Hemsworth admits that he nearly stymied his chances in the early stages. “I’d always loved Viking mythology and its sense of adventure, and early on I had that feeling of ‘Yeah, I understand this.’ But I actually had a few bad auditions at the beginning, so I guess I was wrong! By the time I came back in for the final audition, I’d read some of the comics and discussed things with Ken. But it wasn’t until I got on the set for that audition and put the costume on that it really felt like ‘Yeah, this is good. Now I feel like it, now I can do it.’” The process of landing the role actually became a bit of a family affair for Hemsworth. His younger brother Liam was vying for the part early on but was ruled out and the two brothers would discuss what Branagh might be looking for in a portrayal of Thor. “When Liam was no longer in the mix, I got another phone call for an audition,” says Hemsworth. “And my mum was actually visiting me at the time, so she held the camera for my audition and read Anthony Hopkins’ lines!” Working with Branagh, the actor and

filmmaker best known for robust Shakespeare adaptations like Henry V and Much Ado About Nothing, Hemsworth was given a crash course in the history of Thor – both from the Marvel Comics adventures released since the early ‘60s and the Norse mythology from considerably before that – as well as an unofficial curriculum that the director might offer as some insight into the character. “Ken gave me The Art of War, the Hermann Hesse book, Siddhartha, and various others,” Hemsworth recalls. “He said it wasn’t a test or anything but if I wanted to read them, well, great. And I did find them useful, even just on a personal level. I mean, Siddhartha is a very philosophical journey, a man asking big questions and trying to find his place in the world and the meaning of it all. And while it’s under different circumstances, Thor undertakes a similar journey, one that teaches him humility and shapes who he is.” In the end, however, Hemsworth’s biggest task was making the story seem real, even when it involves a hammer-wielding Norse thunder god cast out of his magical kingdom. “There’s this fatalistic attitude in Norse mythology – everything was pre-ordained for them so there was no fear about doing anything. That influenced a lot of my performance as Thor but really I was just looking for the truth in the scenes and making it relatable. The costumes tell us something, the sets tell us another thing, the attitudes displayed by the other actors tell us something more – from there, it became a matter of ‘Well, it’s a scene between a father and son,’ or ‘It’s a confrontation

between two brothers,’ so you find your motivation and you make it real.” It was made easier, he says, by the presence of collaborators like Branagh, Hopkins and Natalie Portman, who plays Jane Foster, the astrophysicist who discovers Thor when he literally falls to Earth in the New Mexico desert. “From Ken, it was all about learning the truth of things, not just playing a role. You’re simplifying things, really, humanising this god and making him relatable. And also challenging your own interpretations and sending your performance in different directions. I picked up on Hopkins’ enthusiasm and appreciation for the whole process. One hundred and twelve films on and he’s still saying ‘How much fun is this? Isn’t Ken wonderful?’ And Natalie is as sweet and wonderful as you’d imagine – very collaborative, very funny and plenty of integrity about what she wanted to do with the character. It just elevated the whole process.” Having signed a six-picture deal, Hemsworth is well and truly in the Thor business now – he’ll reprise his role opposite Robert Downey, Jr (as Iron Man), Mark Ruffalo (as the Hulk) and Chris Evans (as Captain America) in the upcoming superhero-ensemble adventure, The Avengers, which begins filming in a few weeks under director Joss Whedon. “Working with those guys is just hugely exciting,” he enthusiasticall admits. WHAT: Thor WHERE & WHEN: Screening in cinemas now


frontrow@drumperth.com.au guess the kind of work that excites us sometimes falls into one of those categories or sometimes falls into several.� Looking at Tiny Stadiums’ eclectic programme, you get the feeling it’s more often than not the latter.

DAVE DRAYTON TALKS TO MISH GRIGOR FROM QUARTERBREED, WHO ARE CURATING THE UPCOMING TINY STADIUMS FESTIVAL AT PACT.

“I don’t think for us it feels like part fringe, part visual arts show. It’s just like, these are the artists that we are really excited about and we asked them to do a project that would fit in Erskineville for this festival,� she says unapologetically. “Even the works that are in the theatre, they’re not your traditional text-based, narrativebased theatre works. They’re works that are drawing on different things like live art or contemporary performance.�

A PACT

STADIUM SEXY NEW URBAN DESIGN TEAM BY APPLESPIEL. PHOTO BY MATTHEW KNEALE

Across the first two weeks of May parts of Erskineville will be quite literally transformed as the Tiny Stadiums festival, presented by PACT centre for emerging artists and curated by the Quarterbed collective, brings a range of perfomance, installation and live art to the Inner West suburb intent on looking at art’s social relationship to public space. Now in its third year, the curators of

Tiny Stadium – Melbourne-based project director Matthew Kneale, interactive new media artist Lara Thoms and performer and crossdisciplinary artist Mish Grigor – were allowed a more traditional selection process for the works. “The first year was by application,� says Grigor, “the second year was by invited application, and this year was by more traditional curation. We

basically just had a whole bunch of brainstorming meetings about artists who we thought were really doing stuff that was exciting and then we asked them what they might do for the festival. “For all of us that curate the programme, we work in different forms anyway; sometimes we’ll make theatre shows, sometimes we’ll create visual art shows, so I

Bringing together a collection of their favourite artists with a focus on debuting works means that even the curators are a little uncertain of how things will pan out. “Most of the works in the festival haven’t happened anywhere yet. One of the big things that we say is that we really like to use new works, or new versions of works. A lot of the time we’re describing what the artists have told us, what the situation is going to be and the set-up but we don’t actually know what’s going to happen on the day because it’s a new work that may never happen except for in this festival.� If it weren’t for the impressive and varied taste of the curators, the somewhat self-indulgent selection process could fall flat, an odd collection of niche interests. As it stands, a thematic undercurrent for all works began to emerge naturally through the process.

“We don’t create it around a theme but something ends up emerging all the time that we noticed in all the projects. There’s something about this year that’s got a relationship to space. Without sounding too wanky, it’s like all of the works either reconsider public space or they’re investigating what it is to be out in public spaces. Bennet Miller from WA is creating a kind of space that he is hoping ibises will come to, so he’s making ‘a space’ or Keg De Souza is going to have a blow-up gig space that’s like a miniature gig that people can go to in the afternoon. So they’re all these experiences that have some relationship to, or some interrogation around space. That’s something we’ve noticed this year. “It sounds like a wank,� she concludes with bitter humour. Though it is not far-fetched and Grigor’s reluctance to speak in art tongues and jargon speaks volumes about the nature of the festival, which seems to be posited more as a celebration of Erskineville and a budding young art community than a convoluted exploration of a particular theme. As was evident in the curatorial process, put simply, this is a collection of new works that could be linked by little more than the invigorating effect that the artists have had on the three creatives that asked them to be involved. The programme is certainly multifarious. Victorian artist Dan Koop will be running Wish You Were Here, a booth where people can write messages on postcards and give them to Koop to hand-deliver within a five-kilometre radius of Erskineville, while Nat Randall will be performing Cheer Up Kid, a

one-woman tragi-comedy about childhood anxieties, parenting failures and disturbing matriarchal figures in film, during the free live art weekend on 14-15 May. Endurance artist Jen Jamieson will be exploring the mystical ceremonial powers of pop music in her work Pop Channel. Beth Arnold will be transforming urban surfaces through fragmented transplants on walls, ground space and objects with in the suburb. Such is the nature of the festival that you may not know you are there until Koop delivers you a postcard, or you bump into Arnold mid-construction in a suburban street. “One of the things that we weren’t expecting in the first year of the festival was half of our audience – because the works, on the live art weekend especially, are outside or are free – are people just in Erskineville and they just sort of stumble upon them and they’re not even there for the festival necessarily, but they’re just having their Saturdays. It feels very specifically ‘Erskineville’ because the audience is just like people going to the shops who find one work and go ‘What’s going on here? Oh, it’s a whole series of events.’ Then they make their way around the whole festival and you lampoon their whole day. There’s something specific about that area that is both in the works and in the audience.� WHAT: Tiny Stadiums festival WHERE & WHEN: PACT, Erskineville Monday 2 May to Sunday 15

              

 

 

     

BOOKINGS: 132 849 WWW.TICKETEK.COM.AU

THE DRUM MEDIA 26 APRIL 2011 • 53 •


frontrow@drumperth.com.au

MADE YOU

LOOK

VERTIGO

WITH BETHANY SMALL I can’t deny that I have been known to act weirdly in galleries. Like actually caring about the art. Yeah, Sydney, you heard me. But odd behaviours for real: a lot of spy-film style ducking around corners to avoid people, every so often an impromptu delivery of a guided-tour/mini-lecture experience, making notes on a room sheet with shimmery eye makeup because it’s important that I remember something about a particular piece but I’m too vapid to have a pen with me… Pretty harmless stuff, really. Fine, not being able to look at anything with a reflective surface without wondering ‘Um why is my hair doing that?’ or ‘How did I get so great at outfits?’ and other dazzling gems of soliloquy kinda makes me a bad person. But! I am 90 percent of the time able to repress my primal lipstick reapplication urges and they end up working in my favour because I can look at some abstract colour block post-minimal thing for even longer than I would without the narcissistic subtext and go through a more abstract-seeming range of emotional response (especially when they’re curved surfaces, because that’s some traumatic funhouse mirror shit with which I do not have nearly enough self esteem to deal). That sort of thing gets me to the ‘eccentrically intense’ point on the weirdo scale, a sometimes respected and or/ rewarded position. What tips me over into full-on pointed-out-topeople, mocked-on-the-internet strangeness is my apparently

THEATRE CUT Downstairs, Belvoir St Theatre Duncan Graham’s Cut seems steeped in the creations of Japanese novelist Haruki Murakami; there is no definition between public and private, reality or dreamlike scapes, each is saturated and bled out amongst the others, a hyper-reality nightmare exploring loneliness and the mind. In this sense it is well suited to the opening of the new Belvoir Downstairs season, director Sarah John’s vision of Cut realised in bleak and bare-staged confrontation. The extensive blackouts and severe use of shadow in Danny Pettingil’s well-designed lighting elicit noir sensibilities, the surreal. And occupying the surreal? The downright scary Anita Hegh. She appears as a • 54 • THE DRUM MEDIA 26 APRIL 2011

deeply amusing yet also creepy compulsion to smell artworks. Not all of them, no, but oil paint smells so good drying, and weird solvents go well with gallery wine, and anything copper gives you that somehow slightly pleasurable nosebleed frisson, and the smell of chalk helps you learn, and… Okay it seems like either you get this or you don’t, so if you don’t, the olfactory urge is much like the tactile one. Smellers are just a more discreet group than all the would-be fondlers who have to have signs up in museums to dissuade you, and our interactions with the work are less damaging should they be fragile. I want to touch things too, quite a lot sometimes, but that seems like a lessmaligned desire and shouldn’t we all try to understand diversity? Adequate representation for all senses! Social responsibility and so on! We’ve given smell and touch their turns, so what about the others? Well, the desire to look at art is usually fairly well-received so I think sight’s home free. Hearing? Paying attention to the audio component of a work that has one, also good, as is listening to the opinions of people talking about a show. A tick for hearing, then. Thus, lucky last, taste. As a notion, metaphorically, taste is totally up there: having good taste is one of the best things an art-interactor can do. But literal tasting is a pretty big no-no. Even I, with my toddler-equivalent levels of self-control, have never gone so far as to lick an artwork or put it in my mouth. (Until I owned it.)

REVIEW calculated emotional void, one that has felt too much to feel again until it is too late, until – GASP – her time has come. She has perfected the cautious, courteous and overtly polite manner of speaking that defines the delivery by female characters in horror movies. Almost infantile, and with heavily effected vocals she teeters on the edge of sanity. But there is little else for her to do here; a few choice poses struck between blackouts, a single prop and the task of inciting confusion – things begin to feel one-dimensional, despite lasting just 40 minutes. But perhaps that is necessary for a script so boldly diving into mnemonics and psychology. Perhaps we must feel that discomfort. Until 1 May DAVE DRAYTON

OFF THE

the company’s latest show is British Liaisons, a programme of three British works from across the last 100 years; Checkmate choreographed by Ninette De Valois was created in 1937, Sir Kenneth MacMillan’s Concerto from 1966, and Christopher Wheeldon’s 2005 piece, After The Rain.

AUSTRALIAN BALLET DANCER TY KING-WALL TELLS DANIELLE O’DONOHUE HE’S PRETTY GOOD AT JUGGLING BALLETS RATHER THAN MACHETES.

“The interesting thing for me, is when people think of British ballet you think of this sort of purity and classicism but one of the really interesting things I’ve found with doing these three works is I haven’t noticed that so much. Each one of them has these quirky little idiosyncrasies that are unique to each one. They’re very different stylistically. You’re going to see three works that are very different.

WALL

Being a senior artist with The Australian Ballet is probably a fairly exhausting task at the best of times, but at the moment it’s a wonder Ty King-Wall can form coherent sentences at all. The dancer is currently working on not one, not two, not even three ballets for the company. No, currently King-Wall is working on seven different works. The hectic nature of the company’s 2011 means the dancers have to work perfecting Madame Butterfly, the three different works in British Liaisons, two in Elegy and finally The Merry Widow all in the first half of the year. “To have time to rehearse everything we had to have them all up and going at the same time,” King-Wall

explains. “There’s not much room left in the head. It’s hard to keep all that material in. You kind of consciously have to think walking into rehearsal, ‘Okay, which one am I doing again,’ and not start doing another random ballet you’re not supposed to.” Despite this heavy workload, King-Wall is an articulate interview subject, a career dancer who moved to Australia from New Zealand nine years ago to attend the Australian Ballet School. In the years since he’s not only been promoted through the ranks of The Australian Ballet, but has headed off overseas several times to study under numerous international choreographers through a series of scholarships, and last year was even crowned the prestigious Telstra Ballet Dancer of 2010.

MAKING THE

CALL

Columbian writer Gabriel García Márquez has long been the poster boy for magic realism, a genre in which the surreal, the fantastical or the mysterious is presented in plenty against a backdrop of the everyday, winning a Nobel Prize for literature in 1982. In 1992 he published Strange Pilgrims, a collection of short stories written through the ’70s and ’80s that are linked through themes of dislocation and the concept of the ‘foreign’. I Only Came To Use The Phone, the story of a woman unwittingly being admitted to a mental institution after her car breaks down, was part of the collection. “I originally read it in Israel” says Netta Yashchin, the director who first brought the story to the stage in Adelaide in 2008 after travelling here by way of Lithuania and Israel. “My friend gave it to me before I came to Australia – which was a strange

King-Wall believes it’s important for Australian dancers to experience the dance world internationally and not just at home. “I think we’re quite detached from the rest of the dance community. We’re quite far away from everything. Even today there’s still that distance. You imagine things overseas as being an ideal. We work harder because of that. “Things like YouTube have been great in the last few years because we do get to see what’s out there. But it’s not the same as having people there readily accessible and watching things live. It definitely opened my mind going overseas.” To pay tribute to the impact overseas choreographers continue to have,

“Personally I love MacMillan’s ballets so I’m really looking forward to doing Concerto, and After The Rain is the only ballet [of the three] I’ve seen before. The company did it three years ago but I didn’t get the opportunity to do it. I’ve really enjoyed rehearsing that one. I’m really looking forward to doing that one onstage. “And then Checkmate is really hard. You might think it’s old, ballet’s evolved and doing harder things technically, but it’s so hard. It’s jumping the whole time. It takes a lot of stamina and endurance to get through that one. It’s going to be a real challenge.” WHAT: British Liaisons WHEN & WHERE: Opera Theatre, Sydney Opera House Tuesday 3 May to Saturday 21

DAVE DRAYTON TALKS TO DIRECTOR NETTA YASHCHIN ABOUT BRINGING GABRIEL GARCÍA MÁRQUEZ’S I ONLY CAME TO USE THE PHONE TO DARLINGHURST THEATRE.

pilgrimage in itself – I came here as an actor and he suggested I do it as a one-woman show. So I read it on the plane and I thought that’s a fantastic story, there are a lot of scenes there that link to my personal life. “I think it’s a great thing to do, to try and stage it as a one-woman show. I like the idea of people living outside of their homeland, outside of their country, outside of their culture in some form of exile. Maybe it’s a sadomasochistic thing. It’s just at that time I felt I didn’t want to be alone on stage,” she says with an honest laugh. There’s also the predicament of how densely populated Marquez’s fiction is. This short story alone has 36 characters, something that is not unusual in his texts. “Necessity is the mother of invention,” Yashchin explains her culling them, not to a one-woman show, but to a cast of actors that includes herself alongside

recent Brothers Size star Anthony Taufa and Annabelle Stephenson as the central character of Maria, among others. “When I did the show in Adelaide I only had six actors, so we worked with our abilities and tried to make sure everyone plays five or six characters, except Maria.” A powerful and eventually mentally isolated character, Maria is worthy of exemption. “She’s the spine of the show. She’s a tragic hero. Her arc from being a very healthy young beautiful girl to being hospitalised, brutalised, raped and ‘disappeared’; her journey is the strongest.” Unlike traditional scripts, Yashchin opted to bring Marquez’s rich world to the stage in Adelaide, and now Darlinghurst Theatre, unchanged, capturing the element of magic realism by drawing on the practices of Theatre Du Soleil in Paris and Ex Machina in Canada.

“It’s not a well-made drama with five acts or three acts; it’s a story. I think drama needs new materials and good writing and when you find good writing and it inspires there’s no reason why not to do a short story? “It has a lot of images, a lot of places for the audience to go to with their imagination so the other thing that was really attractive was to try and adapt the short story to the stage without changing a word.” Consequently, Yaschin has been able to employ Brechtian narration techniques. WHAT: I Only Came To Use The Phone WHERE & WHEN: Darlinghurst Theatre Thursday 28 April to Sunday 1 May


live@drummedia.com.au GRACE JONES @ ENMORE THEATRE. PIC: LUKE EATON

NATIONAL

GRACE JONES

Enmore Theatre 19/04/11

This was dubbed the Hurricane Tour, which was kind of strange, considering the album of the same name was released three years ago. Coming 19 years after Grace Jones’ previous release of original material, it isn’t surprising that she still considers it to her ‘new’ album (as she often reminded us), such was the length of time between drinks. This was a show that was as much about theatrical costumes and crazy and clever humour as it was about the music. Jones has always been one to blur the line between fashion and songs and so it was more an expectation than a surprise as she unveiled wild and ostentatious costumes that added colour and flair to the music. She tailored her look to specific songs like the floral explosion of La Vie En Rose, the devilish medusa look in Devil In My Life and the dancehall queen colours of My Jamaican Guy. Jones’ song choice was impeccable, with a cross section of her biggest hits alongside a large proportion of the Hurricane album. It was those newer songs that sounded the most impressive. They were loud and utterly contemporary, drenched in trip hop dread, dark electronica and some of Jones’ most powerful vocal performances. The highlights were Corporate Cannibal with its accompanying video and the grand skittering drama of the wind assisted title track. Jones’ band never over-shone her, but they were a powerful group of musicians that could switch from the French pop of La Vie En Rose to dub soaked endings of songs like Private Life with consummate ease. With Grace Jones you get it all – from backstage commentary about cocaine at airports to confetti cannons and laser deflecting bowler hats. Through it all it was her voice, which constantly impressed with a range that can seduce or scare the living daylights out of you with a malevolence akin to Tricky. She closed the show with two of her biggest hits – an overplayed Pull Up To The Bumper and Slave To The Rhythm, which lost its way with mid song band introductions. Those missteps plus some minor costume hitches and false starts meant this wasn’t a flawless show, but it mattered little when she had earlier delivered such an astonishing electro glam rock take on Roxy Music’s Love Is The Drug. Jones showed she is still one of the more forward thinking and creative pop culture icons out there – original types that are increasingly rare to find. Chris Familton

STRANGE TALK: Apr 27 Harp Hotel, Apr 28 GoodGod, Apr 29 CBD Hotel Newcastle, Apr 30 Beachcomber Hotel TIN CAN RADIO: Apr 27 Cambridge Hotel CHEAP FAKES: Apr 28 Beach Road 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 LOWTIDE: Apr 29 Petersham Bowling Club, Apr 30 Black Wire Records PLUTO JONZE: Apr 29 The Gaelic, May 28 Oxford Art Factory, Jun 1 Beach Road Hotel, Jun 4 Kings Cross Hotel THE BELLIGERENTS: Apr 30 Great Northern Newcastle OPEN PIÑATA: Apr 30 The Sly Fox 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 ASH GRUNWALD*: May 4 Brass Monkey, May 5 Beach Road Hotel, May 6 Lizotte’s Dee Why, May 7 Vault 146 THE APRIL MAZE*: May 4 Old Manly Boatshed, May 6 Artichoke Café, May 28 Great Northern Newcastle, May 29 Rhythm Hut Gosford 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 THE TRIP: May 6 Old Manly Boatshed, May 14 Transit Bar, May 20 Fitzroy Hotel, May 21 Park Hotel HOLLY THROSBY: May 6 Brass Monkey, May 7 Annandale Hotel THREE’S COMPANY feat. SCOTT SPARK, TASH PARKER, THE RESCUE SHIPS: May 7 Spectrum PIKELET: May 7 Kings Cross Hotel MY FRIEND THE CHOCOLATE CAKE: May 7 Street Theatre, Jun 3 Heritage Hotel, Jun 4 The Basement Circular Quay, Jun 5 Lizotte’s Newcastle

twitter.com/drummedia

FEATURE TOUR

ELI “PAPERBOY” REED Bringing the soul back to this side of the millennium, Eli “Paperboy” Reed is a revivalist of the best sort, his newest album Come And Get It all the bright, colourful proof you need. He’s heavily influenced by music from the ‘60s and ‘70s, and considering that those years were long before he was even born we’d say he’s a good one to bring home to your mum if she doesn’t like “those” young people and “their” new and heavy and loud music. What a winner. He’s at Oxford Art Factory on Thursday for all your soul swinging needs.

BRITISH INDIA: May 12 Fitzroy Hotel, May 13 Cambridge Hotel, May 14 Hornsby RSL, Apr 2 ANU Bar NICK & LIESL: May 12 Phoenix Bar Canberra, May 13 Roxbury, May 14 Rhythm Hut, May 18 Lizotte’s Newcastle, May 20 Clarendon 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 BEN SALTER*: May 12 GoodGod, 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 JERICCO: May 14 The Wall KASEY CHAMBERS & SHANE NICHOLSON: May 14 Katoomba RSL MIKE NOGA: May 17 Brass Monkey, 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 THE BLACKWATER FEVER: May 19 Otis Bar, May 20 Lansdowne Hotel, May 21 Junkyard 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 GEORGIA FIELDS*: May 22 The Vanguard THE YEARLINGS: May 22 Grand Junction Hotel, May 26 Lizotte’s Kincumber, May 27 Clarendon Guesthouse, May 29 The Vanguard, Jun 1 The Front COLIN HAY*: May 24 The Basement Circular Quay PEGZ: May 25 ANU Bar, May 26 Harp Hotel, May 27 Cambridge Hotel, May 28 Annandale Hotel AMY MEREDITH: May 25 Wollongong Uni, May 26 Level One, May 27 The Metro, Jun 10 ANU Refectory THE HEARTBREAK CLUB: May 25 Great Northern Hotel Newcastle, May 26 Blush Nightclub, May 27 Lansdowne Hotel THE AMITY AFFLICTION: May 26 & 27 UNSW Roundhouse MARK SEYMOUR: May 26 The Basement

Circular Quay, May 27 The Brass Monkey, Jun 10 & 11 Lizotte’s Kincumber, Jun 12 Lizotte’s Newcastle JEBEDIAH: May 26 ANU Bar, May 27 The Factory, May 28 Cambridge Hotel, Jul 8 Waves CALLING ALL CARS*: May 27 Spectrum OWL EYES*: Jun 1 Otis Bar, Jun 2 Transit Bar, Jun 3 The Gaelic BIRDS OF TOKYO: May 27 Cockatoo Island THE MISSION IN MOTION: May 27 Oxford Art Factory, May 28 Blush Nightclub BLISS N ESO: May 27 & 28 Hordern Pavilion ESKIMO JOE: May 28 The Gaelic ABANDON ALL HOPE: May 29 Blacktown Masonic Hall ARCHITECTURE IN HELSINKI: May 29 Sydney Opera House Opera Theatre BOY & BEAR: May 31 Newcastle Uni, Jun 1 Wollongong Uni, Jun 2 & 3 The Metro TAME IMPALA: Jun 1 Sydney Opera House Opera Theatre PEZ: Jun 1 ANU Bar, Jun 2 Harp Hotel, Jun 3 The Factory, Jun 4 CBD Hotel BACHELOR GIRL: Jun 3 The Basement Circular Quay THE AVALANCHES (DJ SET): Jun 3 Opera House Studio KYLIE MINOGUE: Jun 7 & 8 Sydney Entertainment Centre AIRBOURNE: Jun 9 Bar On The Hill, Jun 10 Wollongong Uni, Jun 11 The Metro KARNIVOOL: Jun 15 ANU Bar, Jun 16 Waves, Jun 17 Penrith Panthers, Jun 18 UNSW Roundhouse, Jun 19 Newcastle Panthers THE MIDDLE EAST: Jun 17 The Metro, Jun 19 Cambridge Hotel WAGONS: Jun 23 Transit Bar, Jun 24 Clarendon Guesthouse, Jun 25 Annandale Hotel

INTERNATIONAL OH SLEEPER, THE CHARIOT: Apr 26 Harp Hotel CHRIS BROWN: Apr 26 Acer Arena ZZ TOP: Apr 27 & 28 Enmore Theatre THE DRUM MEDIA 26 APRIL 2011 • 55 •


live@drummedia.com.au

THE FELICE BROTHERS

CAITLIN ROSE

Annandale Hotel 20/04/11 BOBBY LONG: Apr 27 The Vanguard BOB DYLAN: Apr 27 & 28 Sydney Entertainment Centre YELLOWFEVER: Apr 27 Croatian Club, Apr 28 Red Rattler, Apr 29 Otis Bar INDIGO GIRLS: Apr 27 Canberra Theatre, Apr 28 State Theatre TIM ROBBINS & THE ROGUES GALLERY BAND: Apr 28 The Basement Circular Quay DISTURBED: Apr 28 Newcastle Entertainment Centre ERIC BIBB: Apr 28 Lizotte’s Dee Why, Apr 29 Blackheath Community Hall, May 3 Lizotte’s Kincumber, May 4 Lizotte’s Newcastle 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 SIR BOB GELDOF: May 1 Lyric Theatre HERBIE HANCOCK: May 1 & 2 Sydney Opera House DEREK WARFIELD & THE YOUNG WOLFE TONES: May 3 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 Macquarie Hotel 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

WAGONS

DRUM PRESENTS

ZZ TOP: Apr 27 & 28 Enmore Theatre DISTURBED: Apr 28 Newcastle Entertainment Centre 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 OWL EYES: Jun 1 Otis Bar, Jun 2 Transit Bar, Jun 3 The Gaelic THE MIDDLE EAST: Jun 17 The Metro, Jun 19 Cambridge Hotel WAGONS: Jun 23 Transit Bar, Jun 24 Clarendon Guesthouse, Jun 25 Annandale Hotel RED INK: Jul 1 The Gaelic ART VS SCIENCE: Jul 8 Enmore Theatre MIAMI HORROR: Jul 16 The Metro

Why, 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 ALESTORM: May 13 Manning Bar A DAY TO REMEMBER: May 13 & 14 Big Top Luna Park SUICIDAL TENDENCIES: May 14 The Metro JAMES BLUNT: May 16 & 17 State Theatre, May 18 Royal Theatre LISSIE: May 17 Oxford Art Factory MONDO GENERATOR: May 17 Sandringham Hotel JOE BONAMASSA:

• 56 • THE DRUM MEDIA 26 APRIL 2011

May 18 Civic Theatre Newcastle, May 20 Enmore Theatre JOHN GRANT: May 20 The Vanguard PIGEON JOHN: May 20 Tone PROPAGANDHI: May 24 ANU Bar, May 25 Newcastle Uni, May 26 The Metro, May 27 Wollongong Uni TIKI TAANE: May 26 Penrith Panthers, May 27 Selina’s THE HAUNTED: May 27 Manning Bar SPIRITUALIZED: May 27 & 28 Sydney Opera House Opera Theatre MORBID ANGEL: May 28 Manning Bar THE CRYSTAL ARK: May 28 The Studio THE DANDY WARHOLS: May 29 Enmore Theatre WU LYF: May 30 & 31 The Studio ODD FUTURE WOLF GANG KILL THEM ALL: Jun 1 & 2 Opera House Studio SONNY ROLLINS: Jun 2 Sydney Opera House Concert Hall ELEANOR MCEVOY: Jun 2 Cat & Fiddle, Jun 3 Illawarra Folk Club, Jun 4 Clarendon Guesthouse JOAN AS POLICE WOMAN: Jun 2 Street Theatre, Jun 3 Lizotte’s Newcastle, Jun 9 Enmore Theatre BAT FOR LASHES: Jun

3 & 4 Sydney Opera House Concert Hall HYPNOTIC BRASS ENSEMBLE: Jun 4 Sydney Opera Theatre 2MANYDJS: Jun 4 Opera House Studio AZARI & III: Jun 5 The Studio

FESTIVALS 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 WINTER CHILLS*: Jun 11 Croatian Club Newcastle SPLENDOUR IN THE GRASS: Jul 29 – 31 Woodfordia BASTARDFEST: Sep 10 Sandringham Hotel WOLLOMBI MUSIC: Sep 17 Hunter Valley SYDNEY BLUES & ROOTS: Oct 28 – 30 Windsor

This was a tough gig for what was virtually an acoustic act, but the talent, strength and dignity of Caitlin Rose and compadres shone through. The audience was disrespectful towards Rose with its loud chatter, but despite this, we were treated to a bravura display of country music, primarily articulated through melodic songs, with Rose’s proud, arcing voice and an intelligent interplay of electric, acoustic and pedal steel guitars. Some of the subtleties of Rose’s voice and her tunes were a little lost in live translation compared to her impressive recorded output, but the guitars were another story. Their varying textures and timbres created a rich tapestry that sometimes worked behind and/or framed Rose’s voice, whilst at others the collective became an integrated whole. Whether high and keening, delicately harvested and compiled or providing an emotive platform, the guitars lived the vision and embellished Rose’s Gen Y-with-attitude take on country music. Her voice ranges from the vulnerable to the ice pick-deadly. Its crystalline qualities adapted to the careful spare simplicity of the music that repeatedly and, seemingly paradoxically, had a powerful rhythmic undercurrent.

sense, at least, was a devotion to the voice. Three of the band took turns at lead vocals (providing further sonic embellishment options), sometimes almost unaccompanied, illustrating a belief in the value of direct emotion. This provided an interesting, nevera-dull-moment contrast to the organised anarchic rebellion of much of the show. It was a compelling experience until the final notes of the riotously well received and clearly heavily awaited signature good fun rambunctiousness of Whiskey In My Whiskey. Quite the iconoclasts! Craig N Pearce

The majority of the audience was clearly more in their element with The Felice Brothers, as no matter how loud they whooped it up, it was simply subsumed into the deliberately teetering-on-theedge-of-a-precipice, jaw-dropping intensity of this band. Based on their Yonder Is The Clock album, you could be forgiven for thinking this gig was going to be a semi-mellow country-soul-rock gig. Wrong! The Felices attacked many of their tunes with a punk-like intensity and an off-kilter, rollicking and aggressive passion. Though packed with memory-resonant tunes, they often possessed an avant-garde edge. A litany of instrumental options – including accordion, violin and various keyboards – provided a feast of sonic selections to assimilate into the guitar/ bass/drums triumvirate. But true to Yonder… in one

ELVIS COSTELLO

THE SECRET SISTERS

State Theatre 19/04/11

Or, a lesson in how to wow a capacity crowd at the State Theatre. First – bound onto the stage with the sprightliness of an act half your age and punch into the first five songs immediately. Do not acknowledge the crowd, they will only love you more for it. Treat them to 18 minutes of pure pop/punk perfection, including but not limited to Every Day I Write The Book and High Fidelity, and make sure that before you launch into any less well known newbies, they are well and truly tapping their feet and the air is electric with anticipation of when you’re a) going to speak to them and b) what classic from your 30 year plus career you’ll be playing next. Second – sing with soulful bitterness, vitriol, passion, intelligence, humour and just a hint of sex – with a whispered “heart” in a searing version of Watching The Detectives – and still, Do. Not. Speak. Third – speak. The anticipation couldn’t get much higher, with love and awe of your favourite guitar of the night, then play it with spiky, alt.country fervour and once more send the crowd into paroxysms of

* indicates new or amended listing this week Check with agencies for booking fees.

twitter.com/drummedia

THE FELICE BROTHERS @ ANNANDALE HOTEL PIC: JOSH GROOM

delight with every note. Fourth – bring on to the stage your support act The Secret Sisters to once more spread their sibling sublime harmonies like a blanket of trad country over those in the audience who had not yet arrived for their earlier set and already been well and truly seduced by their humility, blinding talent and Alabama-raised sweetness. Fifth – bring with you one of the tightest ensembles in existence in the form of The Imposters. Sixth – put together a setlist as only a seasoned professional can; as only one who still makes albums can. With correct rise and fall, ebb and flow. Scour your back catalogue and play what you want but back it up with Good Year For The Roses to keep your new friends close. Do it so well, that by the time the last song of the encore has come around and you’ve watched women of a certain age with no rhythm dance their little stone wash denim booties off to Pump It Up, Oliver’s Army, King Of America and Peace, Love And Understanding they won’t even notice that you never did get around to playing Alison. Also, make sure your name’s Elvis Costello. Beck

ELVIS COSTELLO @ STATE THEATRE. IPC: ROD HUNT


live@drummedia.com.au

RODRIGO Y GABRIELA

ep FOCUS

Enmore Theatre 20/04/11

Mexican flamenco-metal duet Rodrigo Y Gabriela made their way to the stage fashionably late and, to much applause, proceeded to launch into Hanuman off their most recent album 11:11. From there it was a blur of lightning frenetic phalanges picking and rhythmical fingernail jams that lasted close to an hour and a half, with the close to capacity crowd clapping along at every opportunity and loving every minute of it (as much as a crowd could on a weeknight). Rodrigo’s lead and Gabriela’s rhythm are still something to behold in a career that has seen them play all over the globe and also start to foray into other areas such as film scoring. In between songs, Gabriela took the opportunity to inform the audience about what they have been up to since the release of 11:11, which included contributing music for the upcoming Puss In Boots (Shrek) movie spin-off and collaborating with composer Hans Zimmer on the soundtrack for the next Pirates Of The Caribbean movie. One of the charming things about her is the her casual use of the word ‘fuck’ (especially describing what are essentially children’s movies) between verbs and nouns – a habit she has said in the past she picked up during her and Rodrigo’s time spent busking in Ireland earlier in their career. Their ability to play drums on guitar better than this reviewer can play on the drums remains as astonishing as ever and their ability to intuitively know on the night where one another was within a song was part of the charm. Solos (percussion and sting) were never self-indulgent, nor did they overstay their welcome. This coupled with them having a good time and their aptitude in engaging the crowd was part of the enjoyment on the night. Also on display was their occasional foray into a cover song, which included Metallica’s Battery and Pink Floyd’s Wish You Were Here and a number of other tracks that were sometimes a little hard to place. Overall a great night of music and the word according to Gabriela is we can expect a new album (which they are currently in the studio recording with some “crazy, crazy Cuban musicians”) sometime next year – can’t wait! Adam Wilding

TROMBONE SHORTY & ORLEANS AVENUE FISHBONE

Metro Theatre 19/04/11 With a 25-year career under their belt, it can arguably be said that Fishbone pulled the majority of the crowd for this sideshow, despite playing the support slot. Effortlessly cool, they opened with a racing ska beat that had the dance floor pumping in seconds. The three-piece brass section seamlessly switched instruments for microphones, unleashing some glorious gospel-style harmonies. The drums kept a cracking pace as rollicking bass lines wandered from funk to rock to ska. Frontman Angelo Moore expertly worked the audience, achieving numerous rowdy calls and responses, which he met with impressive acrobatics. Not only did the man play three different saxophones (two alternately in the same song), but easily belted out soulful melodies complete with falsetto squeals. Their succession of short, sharp and catchy tunes were as diverse in genre as in subject and, despite the older crowd, energy flew around the room like a hurricane. Had they not already been running half an hour behind schedule, an encore would have been in order.

LOWTIDE

THE TIDE IS… This week at Petersham Bowling Club, there are a couple of events happening that will give you something to do should you be in the area. Friday night Melbournites Lowtide launch their debut 7”, Underneath Tonight, from 8pm, and Sunday from 2pm hear the beats of DJ Kojo, followed by Lost In The Woods and Wartime Sweethearts from 6pm.

THE CADRES FRENZAL RHOMB

IN A FRENZY Aussie punks Frenzal Rhomb team up with The Optionals to take on Bar On The Hill on Thursday, Wollongong Unibar on Saturday and the Annandale on Sunday.

To cap an already awesome night, all five swapped instruments for the encore and were faultless in their execution. It was an unexpected pleasure to behold such relatively unknown musical genius in the flesh and it is certain these boys will be going places (like straight to the history books).

The Animal Hours. The animal hours are the wee late night hours when a person just might have the time of their life if they can abandon their pride and remember that they are just animals that eat, f*ck and die. It’s about having a good time.

How many releases do you have now? This is our second. Our first, self-titled EP was released in October 2009.

its poll winners E held a 26 April 1964, NM ey Empire Pool, London, featuring on at Th … OW k Five. DID YOU KN concert at Wembl and The Dave Clar es on St ng lli Ro e s – The Beatles, Th as triple headliner

How long did it take to write/record? To write these songs, as with every song, it took our cumulative 90-odd years’ experiences. To record it – three days in the studio.

Was anything in particular inspiring you during the making?

THREE’S PLENTY

Doors open at 6.30pm and a meal and show package is available for $70.

Not sure about inspiring, but working with Eric at BJB on the production of the EP was a great experience.

The new band for TISM’s Damian Cowell, The DC3, will put in its first ever Sydney performance this weekend. The cheeky lads even have a single titled I Was The Guy In TISM, and the other two guys in the band have played with Cowell in the past as a part of ROOT!. Check out what they’re up to on Saturday at the Sando, with support from Toydeath.

HELPING TIMOR

What’s your favourite song on it?

DEEP AT TONE Creamfields is on during the day this Saturday, but the Keep Deep event at Tone that night is definitely not an after party of any sort. Nope. Not an official after party. At all. Make of it what you will. This is the second Keep Deep event, featuring Co-Op and Monkey Tennis DJs as well as guests That Keen Crew and Mr Danny Monk. If you email co_op_club@hotmail.com in advance for a guest list you can get $10 discount guest list entry, otherwise it’s $15 on the door from 9pm.

CHEAP AS CHIPS Ahead of their appearance at the Gum Ball Festival this weekend, Brisbane reggae dudes Cheap Fakes roll into Beach Road Hotel tomorrow night to strut their stuff.

A LONG FLIGHT Young, British and oozing quiet acoustic honesty, Bobby Long is heading into The Vanguard this Wednesday.

The third annual Timor benefit show, in memory of Denis Kevans (Poet Lorikeet), takes place at Leichhardt Town Hall tonight. It’s a fundraiser for Leichhardt Council’s “Friends of Maliana” project and features sets from jazz quartet RAPT, Pat Drummond, Sonia Bennett, Snez, Dennis Aubrey, who will be launching his ANZAC-themed album, Xmas 1914, Margaret Walters, Dan Marjason and more. It kicks off 6pm and tickets are available on the door.

I’m going to answer that with another question: Do you have a favourite child or sibling?

Will you do anything differently next time? We’ll probably organise our artwork earlier next time. Artistically though, we’re always learning more about who we are and make music along that journey – we will get closer and closer too every time we record… Not sure if that’s something you do differently, just living.

BLAST OFF

Will you be launching it?

Perth’s Rocket To Memphis, promoting their third album, Jungle Juice, plays an instore at Mojo Records on Thursday. Expect a bunch of rollickin’ rockabilly fun.

For more info see:

POST ROCK OUT It’s a night of post-rock bliss at the Lansdowne on Friday, with Solkyri and Meniscus throwing in a set each, plus Grun and Lander Configurations. As always, entry is free and it kicks off 7pm.

DEEP DOWN Sydney electro-pop songstress Juliet Guterres, better known as Jugu, has released her first ever music video to accompany her track, The Deep, from her new EP,

Thursday – The Gaelic thecadres.com

Getting Closer. She officially launches it Friday at MUM, where the stage will be decorated with hundreds of tiny little paper boats.

THE FALLEN RISE Rapidly rising local metallers Our Last Enemy, who recently moved to LA for a three-month recording stint, are back in their hometown now with a new album, Fallen Empires, to show off. You can hear it live when the band comes to The Wall on Saturday.

LICK AND CHANT Lansdowne regulars The Licks and Royal Chant return there on Saturday, playing free from 8pm.

LIKE TIM AND JEAN Tim & Jean are playing Oxford Art Factory this Saturday on their Like What tour – tickets are $20 but there are a bunch of bundles with a ticket to the show and the limited edition version of their debut CD, or even with a singlet. We Say Bamboulee and Voltaire Twins will support.

Strangely, nearly half the audience left before the headliners began – a fatal error as Trombone Shorty & Orleans Avenue absolutely blew the roof off. Looking like a bunch of stereotypical band geeks, it took only the opening bars to confirm that these guys are talented. They pumped out ridiculously good fusions of jazz, rock, hip hop and classic ‘70s funk from Shorty’s new album Backatown. It was impossible not to dance as the music was infectiously feelgood. They worked together as a seamless collective, but it was during their solos that their exquisite musicianship really became apparent. Masters of their instruments, solo after solo produced a sea of dropped jaws amongst the audience. Trombone Shorty (aka Troy Andrews) made it perfectly normal to have trombone as the lead instrument. He played with so much expression, emotion and soul that words were unnecessary, although when he did flex his vocal chords the effect was just as heart melting (particularly on R&B number Something Beautiful). As much a virtuoso on trumpet as on trombone, Shorty astonished the crowd by holding a single note for well over a minute, circular breathing with amazing skill.

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

ESSENTIAL VIEWING

DARKER HALF

NIKKI THORBURN – WALKING IN CIRCLES Singer/songwriter Nikki Thorburn has put forth a super cute video for her new single from EP, To The Place, flitting between distinctly different settings. There’s a posh garden party where the restless Miss Thorburn drinks tea and throws spoons and sugar around, a wild outdoor paint-splattered dance party and a strict Victorian home where the kids keep their arms crossed and wear high-collared clothes, occasionally making surprising chaotic moves along to the music and eventually also becoming splashed in colourful paint. The song itself is a catchy little thing, balancing finely between indie and good old pop. A smile-soaked display of happy times from one of local music’s most adorable poppets. Directed by James Shepherd http://bit.ly/f47C86

ON A WHOLE Sydney metallers Darker Half play Friday at The Wall, their last headliner in Sydney before the release of their upcoming record, Desensitized. At the show, the band will focus on material from their first release, Duality. They’ll be joined by five-piece prog metal band Hemina, local lads Teratornis and Wollongong’s Celtic/folk metal boys Troldhaugen. Doors open 8pm, music starts at 8:15pm and it’ll cost you $12 to get in.

Alex Hardy

twitter.com/drummedia

THE DRUM MEDIA 26 APRIL 2011 • 57 •


live@drummedia.com.au

just VISITING taste TEST THE POOR The best record I stole from my folks’ collection was... Sabbath Bloody Sabbath The first record I bought with my own money was... 48 Crash – Suzie Quatro The record I put on when I’m really miserable is... Seasons – Sevendust

ABIII – Alterbridge

The record I put on when I bring someone home is...

Upcoming shows: With ZZ Top

BlackBird – Alterbridge

THE COOLIES

The last thing I bought/downloaded was...

The most surprising record in my collection is...

Wednesday and Thursday – Enmore Theatre Website/contacts:

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

thepoor.com.au

The Best of Leo Sayer

Cheap Fakes’ greatest strength would be our onstage energy and our ability to put on an awesome show rather than just getting up on stage and playing live music.

Why are you coming to visit our fair country? Playing shows in Sydney and Melbourne.

How long are you here for?

If you could time travel back to any gig in history which would it be and why?

Not long, only a week.

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

The Beatles, live in Hamburg, when they were playing for eight hours a night, drunk on beer and high on pep pills, before they became the biggest band in the world.

We like you and you and you.

Any extra-curricular activities you hope to participate in?

What movie do you think your music would best accompany and why?

Hugging a koala.

What will you be taking home as a souvenir?

WE ARE GRACE

Solo.

Thursday – Kings Cross Hotel

For more info see: mspace.com/thecoolies facebook.com/thecoolies

GUNSLINGER LAUNCH

TRINITY ROOTS

Where can we come say hi and buy you an Aussie beer? Wednesday – GoodGod

CHEAP FAKES

BACK TO ROOTS New Zealand reggae champions TrinityRoots reformed last year and are finally bringing their tunes to our shores for the first time in their career. They play The Metro on Friday, doors open 8pm.

A new regular Thursday night at the Annandale, Gunslinger Nights, is launched this Saturday (nope, not a typo – Saturday). It will take place every last Thursday of the month from now on. The launch features brotherly duo Kotadama, as well as We Are Grace, Lovers Jump Creek and All My Alien Sex Friends.

Maybe The Bourne Identity, because it’s actionpacked and full of energy…

What are your plans for the immediate future? We have just started recording our second album so we plan to be doing a lot of touring in the second half of this year in conjunction with our album release. We are filming a couple of video clips at the moment too for singles off the new album. We have a brand new website under construction and a heap of cool shows coming up all over the place!

What is your favourite song lyric and why?

BOB HELPS OUT

your stride. They’re popping into the Great Northern Hotel this Saturday.

The Rock And Rebuild charity event happens on Sunday at the Lyric Theatre, starring Sir Bob Geldof, who has a new album, How To Compose Popular Songs That Will Sell, from which to play new tunes. He’s supported by Aussies Jon Stevens and Danielle Spencer. One hundred percent of income from ticket sales on the night will go to the Queensland Premier’s Disaster Relief Fund and the Australian Red Cross to help affected areas in Australia, New Zealand and Japan.

UNSIGNED WONDERS

CANDY!

The Annandale hosts a day they’ve dubbed Unsigned Wonders on Sunday, boasting a number of up and coming bands including Finbah, The Never Ever, Call The Shots, Ghosts On Broadway, When The World, City Lights Fade, Apart From This, Stand Up For The Fallen and City Falls. The day kicks off at 11am and entry is $15 on the door.

MORE PARTY They’re out on the Less Arty More Party EP tour and The Belligerents reckon you should take just that in

You won’t need to take your anger out on a papier mache donkey any longer, as Open Piñata are here and yours for the taking. They’re playing an acoustic show at the Sly Fox this Saturday at 9pm.

POWER OF THE SISTERS Country starlets The McClymonts are playing a couple of gigs this week – first they swoop into the Mingara Recreation Club on Thursday and follow on to play the Civic Theatre on Friday. Both shows start at 8pm.

oon paid drummer Keith M a street in New York so he ho W e Th , 76 19 of That on 30 April block off both ends DID YOU KNOW… nine taxi drivers to . ow nd wi e th t om ou ents of his hotel ro nt co e th w ro th d coul

BOOM! BAP! POW!

SHAKE THE ROOM Perth five-piece Boom! Bap! Pow! has a new single out. It’s called His Mind Is Gone and perhaps if you head along to see the band supporting Eli “Paperboy” Reed at Oxford Art Factory on Thursday, you’ll get to hear it live. • 58 • THE DRUM MEDIA 26 APRIL 2011

‘Turn off your mind, relax and float downstream/ Lay down all thoughts, surrender to the void’ John Lennon, Tomorrow Never Knows. I love it because it suits the mood of the song and pretty much sums up the psychedelic ‘60s

Favourite “pick me up for a big night” drink? Beer! Or something really refreshing like vodka, lemon and fresh lime.

Favourite hangover cure?

PLUG IN BABY

There is no cure. Prevention maybe…

Unplugged + Uncomplicated at CarriageWorks is back this weekend, kicking off from 12pm and featuring The Falls, Emad Younan, The Red Boots and EUSH. As always, the event is free and features some other workshops around the place for kids and adults alike.

facebook.com/cheapfakes

For more info see: myspace.com/cheapfakes twitter.com/cheapfakes youtube.com/cheapfakes

DROWNING YOU

When and where are your next gigs?

Read more about Floatingme in the pages of this issue of Drum and then go check them out on Friday at the Annandale with Sleep Parade and Red Remedy from 8pm.

Friday – The Gum Ball Festival

Thursday – Beach Road Hotel

LACHY DOLEY

TOO COOL FOR SCHOOL Adelaide-bred, Sydney-based singer/songwriter Lachy Doley launches his new single, Pressure Of The Cool, at the Sando on Friday, the same day it drops digitally. He’s supported by Sam Joole and The Middle Class from 8pm, with tickets $15 on the door.

ROSE TATTOO

REMEMBER THIS? The Enmore hosts two nights of rockin’ nostalgia on Wednesday and Thursday, with bearded legends ZZ Top supported by our very own hard rock institutions Rose Tattoo and The Poor.

twitter.com/drummedia

NINTH PILLAR

LOCAL GOODNESS Sydney trio Ninth Pillar rolls into Caringbah Bizzo’s on Friday, joined by fellow locals Delorean Tide, Lower Coast Skies and Groin Gravy.


THE DRUM MEDIA 26 APRIL 2011 • 59 •


live@drummedia.com.au

READY, SET, GO

a bowling alley – that’s a first for us. Truly surreal to be rocking out on stage and seeing people making strikes XXX on the left. There was a severe weather warning for NYC tonight. Pretty appropriately we kick off the show with a song called Tornado.

IN THE LEAD UP TO THEIR AUSTRALIAN TOUR, DRUM ASKED THE GO! TEAM TO KEEP A TOUR DIARY OF THEIR RECENT AMERICAN RUN OF SHOWS, WHICH TOOK PLACE JUST BEFORE THEY HEADED FOR AUSTRALIA. HERE THE GROUP’S IAN PARTON INFORMS US ABOUT FROZEN MARGARITAS, GETTING PARPED BY TRUCKIES AND PEOPLE WHO CAN COMMUNICATE WITH ALIENS.

There was more drama than we wanted though tonight. In the past we’ve been partial to doing pile-ons at the end of the gig. Well after this show I think our pile-on days are over. Everyone was in a bundle, I clearly jumped on top of the pile too enthusiastically and kinda body-slammed our lead singer Ninja. She couldn’t get up. We had to lift her off stage. We’re talking paramedics, sirens and a night in hospital. It was seriously scary stuff but thankfully she was ok. The show must go on‌

Day 1 – Travel to NYC Ok so The Go! Team are here again in North America working the East Coast and then hauling arse over for two dates in LA and San Fran. We dig playing over here. No show today, just flying to NYC. Our hotel’s across the river in Queens so we make a team excursion into da Big Apple. It’s a dreamy day in Greenwich Village. Me and bassist Jamie get frozen margaritas – so frozen you need a spoon to drink it. We get approached by this amazing scam artist doing his best impression of a jazz musician complete with a maroon velvet blazer, bombarding us with jazz speak and trying to flog his CDs. Day 2 – NYC Today me and Ninja head into Manhattan to do some press stuff – I wake up late and flustered and accidentally put on Sam’s jeans and don’t realise for a few minutes. We kick off with a TV interview, then over to a radio station for one with a lady who I think used to be a man – a real good interviewer, really knows her stuff. The show tonight is in the Bowery Ballroom, the third time we’ve been here. It’s sold out. Skill. We go on at what to us is 3:00 in the morning but adrenalin kicks in and we thrash through it. Give it our all like we do every night. Ninja wears some “I Heart New York� pyjamas for the encore. Goodnight New York. Day 3 – Washington

Day 7 and 8 – Los Angeles

Hit the road early. We’re jamming econo on this tour – other times we’ve done the US we’ve had a big-arse tour bus but this time we’re taking a van with a trailer. I love looking out the window for old diners. Just two crew this time: Aaron our tour manager/guitar tech - he’s always got a toothpick in this mouth, must be a Texas thang - and our number one soundman Tommy. He’s riding up front. I give him the challenge of trying to get truckers to parp their horns as we drive past em – $5 for each parp. First few truckers blank him and then PARP!! Yeeha. Tonight we’re in a vast club called 9.30 and again it’s pretty rammed. Our number one fan who runs a Go! Team fansite (titanicfandalism.co.uk) amazingly has flown over from the UK for the East Coast leg. I don’t know how his missus puts up with him! Day 4 – Philly Hit the road early and stop off at a vast wholefood shop – someone hears our soundman Tommy speaking and asks him, “What language are you speaking? How did you like our beautiful country?� Yankees are nutters.

Got a pleasant surprise today as the venue is one we’ve played before and loved. Amazing neighbourhood – last time it was Halloween and there were kids trick or treating everywhere. We played in fancy dress too – I wore an American Indian headdress, Jamie a racing car suit, Kaori was a cowboy, Chi a pilot and Ninja an angry dragonfly – a kinda lo-fi Village People. Day 5 – Boston Our fourth time in the Paradise Lounge today – cool venue. It has a record shop next door where I’ve scored loads of records on other visits that have been sampled on GT songs. So after sound check, I make the obligatory hunt. This is the last night with our support band called Dom. They gave us a “Go Team� car sticker and their guitar player stage dived in the middle of Huddle Formation. Right on! Some nights you know are gonna be good and this was one of ‘em. Definitely the best crowd of the tour.

Early flight to Cali. Dreamy to be in the sun again. Food in a Hawaiian restaurant where all the waiters greet you with “Alohaâ€?. Next day, the team heads over to Santa Monica for our day off. I rented a bike and cycled along the sea. Couldn’t stop the Baywatch theme looping in my head... Day 9 – LA Today we do a live performance on a TV show called The Daily Grind at the Fox studios. We’ve been here before because some writers on The Simpsons who were fans of us invited us down to a Simpsons table read. Really amazing. There was a rented studio audience today who were hyped into dancing by a super lame warm-up man. As we’re loading our gear into the van I was chatting to a security guard who told me he could psychically communicate with aliens. He said, “Have you ever seen a five mile wide spaceship?â€? – he had apparently. Hurrah for Hollyweird. Tonight the Echoplex, LA. No sleep till Brighton‌

Day 6 – Brooklyn Today for the last date on the East Coast we’re playing in

WHO The Go! Team WHEN & WHERE Wednesday 4 May, Metro Theatre; Saturday 7, Groovin’ The Moo Maitland; Sunday 8, Groovin’ The Moo Canberra

Wollongong

unicentre.uow.edu.au/whatson

&#,!$"

%( $#!'$(!!+# $&#

()&+ %& !

&%(

#(&$#)

& ++

+%'+( ( )&'++

"+& ( $# ( ! *

#'++

&$%# & ++

Located on the University of Wollongong Campus Tickets available from: UniShop, bigtix.com.au, Redback Music Wollongong and oztix.com.au For venue bookings contact andrew@bigapachee.com.au

• 60 • THE DRUM MEDIA 26 APRIL 2011

twitter.com/drummedia

COMING SOON Boy & Bear Wed 1st June Airbourne Fri 10th June KatchaďŹ re + Alotta Presha Thurs 23rd June Helmet Fri 1st July

HAPPY HOUR 7.30pm - 9.00pm excludes weekend shows

ALL EVENTS 18+ ONLY Photo ID required on entry. Free shuttle bus departing from NorthďŹ elds Ave.

ADD WOLLONGONG UNIBAR & STAY UP TO DATE WITH EVENTS


live@drummedia.com.au

ACCORDING TO BRENDO

IS IT WORKING?

STEVE’S SHOWS

Singer/songwriter Brendan Gallagher, also known as the frontman of Karma County, takes songs from his solo releases to the stage Sunday at Clovelly RSL, including those from his upcoming release, Wine Island. He’s flanked by some of his Karma County pals, too, so maybe you’ll hear some of those songs as well. It begins at 6:30pm, with tickets available for $10 on the door.

For the hip hoppers among us, up and comers Beats Working are putting in yet another show this week as a part of the tour for their second album, Found The Sound. They’re joined by Sydneysiders Loose Change, as well as One Mic and Lefta Centa, at the Cambridge Hotel on Friday.

The hardworking Steve Edmonds Band again has a few gigs happening this week, starting Thursday at the Empire Hotel from 7:30pm and then changing it up on Friday at the Berowra RSL from 8pm – $10 will get you entry and a free drink. Saturday the band is at Dicey Riley’s from 8:30pm and Sunday they move way down south to the Bomaderry Hotel from 4pm.

DON’T BE DUMB The folks in Sydney trio Dumbsaint bring their new instrumental installation to the Excelsior Surry Hills on Saturday, celebrating the end of six months off. They’ll be joined by Adrift For Days, Mercury Sky and Branch Arterial.

THUNDASTEEL Your music is…?

agery, M’s , the video for R.E. ed in Ireland due to its religious im 91 19 ay M 2 on at Th n was bann DID YOU KNOW… Losing My Religio oadcast. fo appropriate r br in as en se s wa which

‘80s classic heavy metal.

Which acts inspired you to produce your own music and why? Judas Priest, Iron Maiden, Dio, Megadeth, Accept.

What’s your wildest ambition for your music? To be heard worldwide.

Why should we come and see you? ‘80s rock/heavy metal is still a genre of music that refuses to die. You can hear that through our music, blistering solos, stadium rock sound and powerful vocals that would cut through glass reminiscent of yesteryear. And a kickarse show!

DAMIEN LEITH

How do you find the local live scene? It seems to be at a decline, especially for metal bands as it gets harder to compete with the pop scene as our genre tends to get overlooked time and time again.

What’s your greatest rock’n’roll moment? To get offered a two-album worldwide distribution deal.

For more info see: facebook.com/thundasteel.alex reverbnation.com/thundasteel

Next available at: Saturday – Town And Country Hotel

STORIES TO TELL

THE HOLY SOUL

HOLY MOLY The first headlining show in 2011 for Sydney rockers The Holy Soul happens Friday at the Excelsior Surry Hills, where you can expect the band to air some of the tunes that they’ll be putting on their new upcoming album. Kim Salmon & Leanne Cowie, both known in their own rights, make their third appearance as a duo in support of The Holy Soul, riding through The Scientists’ back catalogue, and locals Dead China Doll round out the lineup.

A new concert series, titled Storylines, is upon us, paying tribute to the greats of songwriting – Cat Stevens, Bruce Springsteen, Simon & Garfunkel, Bob Dylan and countless others. It’s happening at The Basement Circular Quay on Saturday, with a slew of singer/songwriters like Damien Leith, Steve Balbi, Evelyn Duprai, Spencer Jones, Elliott Weston and Nicky Kurta backed by a full band giving their interpretations of the classics. Show only tickets are available, though there’s also a show and dinner package if you feel so inclined.

VEGAN MOSQUITOES

NO BEEF Sydney indie/psych/alt.country act Vegan Mosquitoes heads to the Lansdowne on Thursday to release its new single, Islands Of Thailand, lifted from an upcoming debut album titled Celestial Soul Canyon. The band will give some singles away at the show and it is available to download free from Soundcloud this week. Manger and Eric The Red also play the launch show, and DJ Nic Yorke spins some beats.

www.handsometours.com

NEXT WEEK! POPBOOMERANG RECORDS LABEL NIGHT

SYDNEY LAUNCH

SATURDAY 7 MAY THE BASEMENT

TICKETS FROM: HANDSOMETOURS.COM, METRO BOX OFFICE (02 9550 3666) & TICKETEK (TICKETEK.COM.AU OR 132 849)

WEDNESDAY MAY 4

7 MACQUARIE PLACE, CIRCULAR QUAY

PERFORMING LIVE: THE

AERIAL MAPS

THE GO! TEAM

MARK LANG (SKIPPING GIRL VINEGAR) THE BON SCOTTS RUSSELL CRAWFORD & THE STICKMEN CELADORE

METRO THEATRE WITH GUESTS

PURPLE SNEAKERS DJS & FISHING ALSO APPEARING AT GROOVIN’ THE MOO

TICKETS $12 (PLUS BF) INCLUDES FREE CD FROM www.thebasement.com.au & www.moshtix.com.au

WWW.GTM.NET.AU ROLLING BLACKOUTS ALBUM OUT NOW ON SHOCK

Electric & Eclectic Rarities (PB046) features 20 rare or unreleased songs from SKIPPING GIRL VINEGAR • THE AERIAL MAPS • FOUR HOURS SLEEP • YOUNG WERTHER • THE STEINBECKS • D. ROGERS • BRYAN ESTEPA • THE BON SCOTTS • CELADORE • UNDERMINERS • & MORE

PURCHASE THE CD OR DOWNLOAD THE COMPILATION AT www.popboomerangrecords.bandcamp.com www.popboomerang.com (FREE WITH ANY ORDER OVER $30)

SIGN UP FOR REGULAR UPDATES AND ADVANCE TOUR NEWS AT: ALSOTOURING WWW.HANDSOMETOURS.COM

: FOSTER

twitter.com/drummedia

FOLLOW US ON TWITTER: THE PEOPLE THE ZOO, SUNDAY 13 FEBRUARY TWITTER.COM/HANDSOMETOURS

THE DRUM MEDIA 19 APRIL 2011 • 61 •


LIVE AT LEWISHAM

ep FOCUS

Another week of home-brewed goodness has been whipped up for the Lewisham Hotel’s calendar, starting Friday night with Head In A Jar and Illusions from 8pm, $10 entry. It’s a ripper of a day on Saturday, starting 2pm with The Multiplier Effect, Mother Of Pearl, Sea At Dawn, Back Drop and Lighthouse all playing for a $10 entry fee, and a night session with new band The Nectars from 8pm, also $10 to get through the door.

HEAT IS ON The Jager Uprising final happens on Wednesday at the Annandale from 7pm, with Howler, Liberty County, The Dead Love and Distorted Theory going head to head. Entry is $8 on the door.

ONE NIGHT ONLY Reuniting after 20 years apart for this one special show only, The Fergies come to the Annandale on Wednesday from 8pm to raise funds for Relay For Life. More guests will also be playing on the night, which starts at 8pm.

ANIMALISTIC Thursday night at the Annandale sees The Cadres take to the stage to launch their new EP, The Animal Hours. Hattie Carrol, Doc Holiday Take The Shotgun and some DJs will also be on hand from 8pm, and entry is around $10 at the door.

NULL AND VOID The Amenta launch their huge multimedia release, V01D, at The Gaelic on Saturday with Ruins, Ouroboros and Aeon Of Horus.

OUTER SPACE Wonder boy Pluto Jonze is the headlining act at The Gaelic on Friday for Purple Sneakers, with the Sky Squadron DJs on hand to spin some beats as well. Doors open 8pm and entry is $10.

PHIL JONES & THE UNKNOWN BLUES

BLUES AFTER BLUESFEST Phil Jones & The Unknown Blues, fresh off a weekend at Bluesfest, put in a few shows this week, starting Thursday at Notes and continuing on Friday at Vault 146 and Saturday at Coogee Diggers. They’ll be joined all three nights by Texan-turned-Aussie Frank Macias and Los Amigos.

DID YOU KNOW…

FOREIGN BEGGARS

DUBSTEP UP Three of our finest in global bass and dubstep, Foreign Beggars, Skism and Trolley Snatcha, are at Manning Bar on Friday for the Never Say Die tour. The show sees those artists and more across three rooms, with beats and DJs a-plenty. It starts at 9pm and winds far into the wee hours.

The Macquarie Hotel, as always, has a week of free music to serve up, beginning Wednesday with the world soul of Arabesk. Thursday from 8:30pm, catch Merenia & The Way, and if you want to stay on until the small hours Samba Mundi takes the stage at midnight for some Latin fun. Doug Williams takes the 8:30pm slot on Friday, followed by Gang Of Brothers at midnight, and Saturday finishes the week with a funk set from Alamode.

Up and coming jazz musician James Whiting is launching his album at The Basement Circular Quay this Monday. A dinner and show package is $64 and doors open at 7.30pm.

SHADES OF WHITE Swamp country artist Tony Joe White will be playing three shows this week as part of his Bluesfest sideshows. He starts with Canterbury-Hurlstone Park RSL on Thursday, The Basement on Friday and finally Lizotte’s Newcastle on Sunday.

METAL MADNESS

JACK OF HIS TRADE

Saturday night, Valve hosts a night of some of the best in homegrown metal. Visiting from Adelaide, A Murder Of Crows join the lineup that includes Sydney bands Foundry Road, Ilcontent (who will be giving away free copies of their demo for early birds), Amodus and Engage The Fall. Doors open at 6:30pm and music starts at 7pm, with bands on every hour on the hour until Foundry Road takes the headlining spot on the stage at 11pm. $10 on the door.

Born in New York City but raised in Australia, Jack Jones is performing solo and acoustic at Vault 146 this Wednesday, The Brass Monkey Thursday, Lizotte’s Central Coast Saturday and Lizotte’s Dee Why Sunday.

• 62 • THE DRUM MEDIA 26 APRIL 2011

Was anything in particular inspiring you during the making? We always listen to a lot of music when writing, everything from The Kooks to the Chili Peppers and everything in between - that always inspires us. But generally we just try and come up with a instrumental we both like and then create a lyrical story over the top that flows with the energy of the music.

What’s your favourite song on it? We would have to say our favourite track is Is It Real?

Will you do anything differently next time?

ON THE DRUM STEREO

SENEGALESE INDEPENDENCE FOUNDRY ROAD

Each song on the EP took about a week and a bit to complete, as they all required quite a lot of production… We actually wrote about seven songs originally and took the strongest four for the EP.

BASEMENT JAZZ

Notes is helping to celebrate the anniversary of Senegalese Independence this Friday, with eight-piece Pape Mbaye and Chosani Afrique performing, as well as the high energy Sibo Bangoura and Keyim Ba. A dinner and show package is $47 and doors open at 7pm.

How many releases do you have now?

How long did it take to write/record?

MAC FOR MORE

Channel your inner indie at Valve this Thursday at the venue’s indie rock show, featuring Broken Young, Acid Puppies, Drover Mad and Glass Chain.

Our recent and first EP is actually self-titled. We have two releases now – Climbing Walls, which really broke us with triple j and luckily made its way onto the Kitsune Maison 10 compilation, and our new single, Eskimo Boy, which has also started to get great support from triple j.

in rehab at 03, Jack That on 28 April 20 – son of Ozzy – was reported to be Osbourne the age of 17.

INDIE ROCK

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

Grand Theft Audio Nine Types Of Light Rhythm And Stealth Balance 108 XO Helplessness Blues Badmotorfinger Absence

RESIN DOGS TV ON THE RADIO LEFTFIELD NICK WARREN ELLIOTT SMITH FLEET FOXES SOUNDGARDEN SNOWMAN

Lola Versus Powerman And The Moneygoround, Part One THE KINKS

Kosciuszko

JEBEDIAH

Not really, we have our way of working and it seems to work well for us. I think the only differences next time will be the new tracks we come out with. We always try to push our sound and make sure we deliver something fresh but still Strange Talk.

Will you be launching it? Wednesday – The Harp Wollongong Thursday – GoodGod Friday – CBD Hotel Saturday – Beachcomber Hotel Sunday – Trinity Bar

For more info see: facebook.com/strangetalkmusic

John became perform in Israel. 1 May 1979, Elton on at Th … OW the first pop star to DID YOU KN

twitter.com/drummedia

myspace.com/strangetalkmusic twitter.com/strange_talk strangetalkmusic.com


live@drummedia.com.au

BON CHATBON RAT

GOOD ONE Local electronic three-piece Bon Chat Bon Rat brings its tunes to The Brass Monkey on Sunday for a dazzling visual and audio display. Doors open 7pm and tickets are around $15 each at the door.

ESSENTIAL VIEWING GURRUMUL & BLUE KING BROWN – GATHU MAWULA REVISITED

SHAWSHANK Oscar-winning actor Tim Robbins is making his musical debut at 51 years of age and is playing at the Clarendon Guest House Katoomba Wednesday and The Basement Circular Quay this Thursday as Tim Robbins & The Rogues Gallery Band.

BLUES AT LIZOTTE’S Eric Bibb is heading to Lizotte’s Sydney with Swedish guitarist Staffan Astner this Thursday and into Lizotte’s Kincumber next Tuesday also. Tickets are $127 for dinner and the show.

CAN YOU HEAR ME Brisbane indie-dance outfit Tin Can Radio bursts into the Cambridge Hotel this Wednesday as part of their

The new video from Gurrumul and Blue King Brown, a rare and special collaboration, is one that aptly celebrates Australia’s Indigenous culture. It’s very simple, but that’s what makes it effective – most shots, drenched in a deep blue filter, show Gurrumul singing or playing guitar as the music washes over him, with other shots showing traditional Aboriginal dance and a long shot of Blue King Brown’s beautiful Natalie Pa’apa’a as she performs her part (the only English words in the song, of course). It’s wonderful that a song can mean so much when the lyrics are in a language you don’t even understand. Absolutely stunning song with a video to match. Directed by Carlo Santone http://bit.ly/haDjsz

for 741 Dark 1973, Pink Floyd’s #1 in the US, staying on the charts ril Ap 28 on at Th went to DID YOU KNOW… the world. Side Of The Moon illion copies around m 20 er ov ng lli se years – and weeks – over two

national tour celebrating their debut album, Chase The Sun, Hold The Night.

MOSSY Five-time ARIA winner Ian Moss is hitting up The Brass Monkey on Friday and Saturday this week, but with two different supports. He’ll be joined by Renny Field on Friday and Daniel March on Saturday. Both shows begin at 7pm.

SOCIAL SUCCESS

KOTADAMA Your music is…? Adult contemporary/pop/soft rock.

Which acts inspired you to produce your own music and why? U2 was our main inspiration to pick up a guitar and learn to play music… We then started doing covers of their music (earlier albums, like The Joshua Tree).

FBi Social at the Kings Cross Hotel has been a huge success so far and kicks on this week, starting Thursday with Radiant’s second night, featuring Charge Group, The Coolies and Alps from 8pm for $10. Friday’s Golden Era show, also $10 from 8pm, features Paper Plane Project’s Mason & Nick, as well as Jony Cupcakes and more. It’s set to become a monthly event, every last Friday. Saturday sees Gold Coast slackers Bleeding Knees Club take the stage, joined by Dead Farmers and Step-Panther, 10pm and $10.

FREE FRIDAY A big night of free musical entertainment happens at the Townie on Friday, with Blacklevel Embassy, Hira Hira, Homeward Bound and Firearms lending their tunes.

mmmm.... DROP.

MONKS OF MELLONWAH

FUNKY MONKS Local rockers Monks Of Mellonwah launch their new video, Swamp Groove, Wednesday night at The Gaelic with Miramar, Lovers Jump Creek and Stone Monks in support. Doors open at 7:30pm and it’s $10 to get in. Monks Of Mellonwah also play Friday at Coogee Diggers, with The Black Heist and Crows Feat, and Stone Monks will be at Oxford Art Factory Gallery Bar on Thursday with Beaufields.

What’s your wildest ambition for your music? Our wildest ambition is just a modest one of being recognised worldwide, travelling/touring… performing to an audience that relates to us and our songs.

Why should we come and see you? I think we bring music that crosses over several genres. Chances are good that you would relate to it – each song tells a story.

How do you find the local live scene? We find the local scene to be proactive for live music. It’s a little more difficult at some venues with our originals, given they are not really a pub sound, but in general it’s pretty good.

taste TEST ERIC PULIDO, MIDLAKE The best record I stole from my folks’ collection was… It was a heavy rock compilation album with Sabbath, Edgar Winter Group, Rick Derringer, etc on it. I wish I could remember what it was called and find a copy!

What’s your greatest rock’n’roll moment?

The first record I bought with my own money was…

Crowd surfing at Nelsons Bay on New Year’s Eve 2010 would be one of them, though I feel our best is still yet to come.

Boston – Boston… I didn’t have many girlfriends growing up :(

For more info see:

The record I put on when I’m really miserable is…

kotadama.com myspace.com/kotadama facebook.com/kotadama twitter.com/kotadama

Next available at: Saturday – Annandale Hotel

BE SURE TO CHECK OUT THE COVER OF DRUM MEDIA THIS WEEK FOR YOUR CHANCE TO WIN ONE OF 50 BEASTIE BOYS PRIZE PACKS EXCLUSIVE TO STREET PRESS AUSTRALIA. SIMPLY SCAN THE QR CODE ON THE COVER TO SEE IF IT’S YOUR LUCKY DAY!

Cat Stevens – Tea For The Tillerman… It always soothes me in the right way. The record I put on when I bring someone home is… Neil Young – After The Gold Rush. By ‘someone’ I mean my wife and platonic guests... Just thought I’d clarify!

The most surprising record in my collection is… Urban Cowboy soundtrack... Actually, it’s probably not that surprising! The last thing I bought/downloaded was… Radiohead – The King Of Limbs. One of the few artists that I still wait on pens and needles to hear what new music they’ve recorded. Late Night Tales: Midlake, the band’s contribution to the Late Night Tales series, is out now.

twitter.com/drummedia

THE DRUM MEDIA 26 APRIL 2011 • 63•


Red Floor Productions & Drum Media presents

TICKETS SELLING FAST! All tickets include camping Full Weekend $130 Saturday Only $110 At the gate (unless sold out) $150 Get them now via the website

FRIDAY FR R IDAY 6pm - 12pm Ngariki N gariki gar Electr Electri ric Band Ba d > 6:00pm Bowen owen & The 00 00pm Lucky L yD Dutchm Dutch utch c m men en > 77:00pm Proudly P dl supp supporting pportingg

7:50pm SSticky tick cky Fingers g s > 7:50p

The Black Dog Institute t t

Bonja > 8:40pm Bonjah

Cheap Fa Fakes > 9:30pm The Bam Bamboos mboos oos > 10:40pm Silentt Disco Disco > Till late

HOW TO GET THERE

WHAT NOT TO BRING

SYDNEY - > MAITLAND - > left onto new England highway-> (30 mins) Belford. Sydney

- Firewood or gas bottles - Glass bottles of any sort - Attitude - unaccompanied minors.

F3

LUXURIES WE HAVE

2hrs

SATUR SATURDA SATU R DA A Y 10am - 12pm AY :00am am The Wildes > 10:00:00a Th

Cessnock Maitland

Cl ude Hay Claude Claud y Dirty y York Yoork > 11:300am 12:20pm The Firem Firemen > 12:20pm

30min

> 10 0:45am 0:45am

103 Kirkton Rd, Lower Belford Branxton

New England HWY

It’s Really That Simple, Just Follow The Signs!

Lanie La Lane anee > 1:100pm Eagle & The W Worm orm > 1:55pm

- Flushing toilets - Hot showers - EFTPOS - Sexy merch for sale, inc warm gear. - Big bonfires at night. - Plenty of cover for whatever weather - Great food and market stalls - Shuttle bus running from Maitland Train Station (for Sydney public transport commuters)

- Heaps of fun activities for kids young & old.

WHEN TO GET THERE

FREE SHIT

Blackest Sab Blackest Sabba Sabbath baath h > 2:40pm 3:40pm Chase Cha se The Sun n > 3:40 4:30pm Papaa V Pap Vs Pretty P y > 4:30p Custom Custo Cu tom Kings > 5:20pm

*FRIDAY- Gates open 4pm-9pm (possibly slightly later for the chain draggers!) Music kicks off at 6pm *SATURDAY- Gates open 9am Music kicks off at 10am Head home when your fit to drive or after Sunday breakfast.

Donate to the Black Dog Institute online and go into the draw to win (amongst other prizes) a fully kitted 4 berth campervan for 5 days courtesy of Backpacker Camper rentals. Win the Op Shop Bop King/Queen of The Ball, and you’ll get free passes to next year’s festival!

Zoe K & The Th Sh hadow Ka Katz atz > 6:10pm

WHAT TO BRING

OFFICIAL RECOVERY PARTY

C.W C W Stonek Stoneki tonekki king ingg p & His Primitiv Primitive ive Ho Horn orn Orrchestra rchestra > 7:00pm 8 Space Invad Sp nvaadas das > 8:00pm

T V The Vasco Vas asco sco Era Era Resin n Dogs Dogss

> 8:50pm 0pm m

- Camping gear, caravan, pop top, camper etc - Nice firm sturdy foot wear - your own esky, full of your favourite beverages in cans/plastic only – NO GLASS - OP SHOP BOP fancy dress attire for the Saturday - tickets, ID, contraception? - smile, friendly attitude - all your friends and/or family!

- The Junkyard Maitland, kicking off 2pm Sunday.

> 9:45pm

KORA

> 10:40pm m

www.thegumball.com.au • 64 • THE DRUM MEDIA 26 APRIL 2011


live@drummedia.com.au

DAVID ROSS MACDONALD & HEATH CULLEN

THE BAMBOOS

GIG OF THE WEEK

The Gum Ball Festival is happening in Dashville, in the Hunter Valley, on Friday and Saturday and it’s sure to be a blast and has a massive lineup to boot. Friday’s bands include The Bamboos, Cheap Fakes, Bonjah, Sticky Fingers, Bowen & The Lucky Dutchmen and Ngariki Electric Band, while on Saturday you’ll see NZ’s KORA, Resin Dogs, The Vasco Era, Space Invadas, C.W. Stoneking & His Primitive Horn Orchestra, Zoe K & The Shadow Katz, Custom Kings, Papa Vs Pretty, Chase The Sun, Blackest Sabbath, Eagle & The Worm, Lanie Lane, The Firemen, Dirty York, Claude Hay and The Wildes. Tickets are still available for $130 each including camping so hop on the website if you want to get along, and remember that Saturday there’s a fancy dress competition so get your best on!

IT TAKES TWO

REWARDING

The Two Writer Types tour, starring singer/ songwriter and Waifs drummer David Ross Macdonald and singer/songwriter Heath Cullen, comes to Lizotte’s Newcastle on Thursday, Clarendon Guesthouse on Friday, The Vanguard on Saturday and Lizotte’s Kincumber on Sunday.

Ross Ward and Wards Xpress, featuring Al Britton, have a couple of shows on offer for your weekend. The first one is on Friday night at the Pyrmont Bridge Hotel from 9pm, and the second happens Sunday at the Tudor Hall Hotel, kicking off at 4pm for some afternoon entertainment.

BE BRAVE

SETTING IN

Grant McNally, Feick’s Device, Fishing Backwards, Covert Udon Noodle Traffickers, Solomon Barbar, The Snakemen, Stephen Farrell, through a glass, darkly, Upside Down Miss Jane, Dave Sattout, Candlewax, Matt Reilly, Janise Shanley Band, Brenden Parker & Hal Shorter, Captain Acoustic, Dan McReed, Deyvesson and more. The set times for the artists will be determined through a ‘set raffle’. It kicks off at 7pm and goes well into the night, so if you’re around come say goodbye to one of Newtown’s musical staples.

Acoustic guitar in hand, Dean Michael Smith is pulling into The Brass Monkey this Wednesday for his Brave It Through The Night CD launch. He’ll be joined by Anthony Hughes and R.J. Chops. The show starts at 7pm.

Mark Lucas & The Dead Setters capture the essence of Australian roots through Lucas’ tunes and you’ll get a chance to experience this on Thursday at The Vanguard. Supported by Michael Carpenter & The Cuban Heels and Simon Bruce, doors open at 6:30pm.

Friday from 9pm, Craig McLaughlan and his band play the best in ‘70s rock at the Rose of Australia Hotel.

SPACING OUT

DON’T BE CHICKEN

YourSpace, the weekly free music installation at the Townie, turns five this week but is also is calling it a day. Tomorrow is the last YourSpace event, featuring many artworks as well as music from artists like Rex Havoc,

Harking back to the heyday of the blues in the ‘60s and ‘70s, and also boasting one of the most awesome band names ever, Blind Lemon Chicken takes the show to the Botany View Hotel on Sunday from 7pm, free entry.

ESCAPE FROM THIS Brisbane quartet My Escapade is heading into The Wall this Thursday with Lady Brown, Monii Music and Harbinger Band. The show is $8 at the door.

WARDS XPRESS

ROCK AT ROSE

twitter.com/drummedia

ONE TWO THREE The Vanguard brings three up and coming Sydney acts to its stage on Sunday, with Pear Shape, Toy Temple and The Hopefools all throwing in a set.

GLEBE IS GREAT Another big week at the Excelsior Glebe, starting Thursday with three sets – Eve Goonan at 7:30pm, Jimmi Carr, showcasing his new album, Upstream, at 8:30pm and David Low at 9:30pm. Friday is The New Casuals’ time to shine from 7:30pm, and Saturday Favourite Shoes Crew steps in at that same time.

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!

THE DRUM MEDIA 26 APRIL 2011 • 65 •


gigs@drummedia.com.au

26 APRIL - 2 MAY 2011

JETHRO TULL: TUESDAY 26, WEDNESDAY 27, STATE THEATRE

TUE 26

ADAM PRINGLE BAND: Sandringham Htl downstairs BLACKTOWN COUNTRY MUSIC CLUB: Lucky Oz Tavern, St Marys CHRIS BROWN, JESSICA MAUBOY, JUSTICE CREW, HAVANA BROWN: Acer Arena Homebush FORMAT:B: Melt Bar Kings X GEE WIZZ, MYME, BENJI, BC: Valve Bar and Venue, Tempe JAZZGROOVE feat…, MOTION BAND, MATT MCMAHON TRIO: 505, 280 Cleveland St Surry Hills JETHRO TULL: State Theatre KID FINLEY, JOHNNY B: The Gaff, Darlinghurst LOONATIC FRINGE: Queens Wharf Brewery Newcastle MANDI JARRY DUO: Northies Cronulla Htl MARTY from RECKLESS: Northies Cronulla HtlSport Bar MISS GRAY, RUSSELL NEAL, + GUESTS: Coach & Horses Hotel, Randwick NICKY KURTA: Novotel - Brewery Bar, Olympic Park OPEN MIC NIGHT: The Great Northern Hotel, Newcastle PAUL SUN, MONIQUE LYSIAK: Jazsushi Surry Hills PETER HEAD: Harbourview Htl ROB HENRY, CAMBO: Observer Htl ROCK STEIN TRIVIA: The Gaelic STEVE TONGE: O’Malleys Kings X THE BLIND BOYS OF ALABAMA, AARON NEVILLE, MAVIS STAPLES: Sydney Opera House THEY CALL ME BRUCE: Maloney’s Hotel TWO MINDS: Scruffy Murphys

WED 27

ANDY MAMMERS: Ettamogah Htl

ANNA SALLEH’S BOSSA BOOTS: Cru54 Bar & Kitchen ARABESK: Macquarie Htl Surry Hills BEN FINN DUO: Mean Fiddler Htl BILLY & I: Maloney’s Hotel BOB DYLAN, PAUL KELLY: Sydney Entertainment Centre BRENDAN CLARKE QUARTET: 505, 280 Cleveland St Surry Hills CARLY O’ROURKE: Belmont 16ft Sailing Club CATCH 22: Scruffy Murphys DaNIEL HOPKINS, + GUESTS: Taren Point Htl DARK HORSES: Cat & Fiddle Dean Michael Smith, ANTHONY HUGHES, RJ CHOPS: Brass Monkey FLOATING ME, SLEEP PARADE: Panthers Port Macquarie FRANKO, IRRIDIUM, MASHY P, + HEAPS MORE!: Valve Bar and Venue, Tempe GOODNIGHT DYNAMITE: O’Malleys Kings X HEY MIA, TRYSELLE, LARISSA MCKAY, THE NEW CASUALS: Lizottes, Dee Why INDIGO GIRLS, HENRY WAGONS: Canberra Theatre JACK JONES: Vault 146, Windsor JESSICA CAIN, ALLON SILOVE, KIRSTY LARKIN, STATIC EMPIRE: Lizottes, Newcastle JETHRO TULL: State Theatre LARS WALLIN & THE TRIBELARS, College Fall, BEARS WITH GUNS, CHRIS NETO: Excelsior Surry Hills LOREN KATE, MEL ROBINSON: Lizottes, Kincumber MALACHY MILLIGAN, + GUESTS: Blaxland Tavern MARK LUCAS, SUSANA CARMEN: Petersham Bowling Club MIKE BENNETT: Observer Htl MIMOSA: Artichoke Café Manly MISS GRAY, RUSSELL

• 66 • THE DRUM MEDIA 26 APRIL 2011

NEAL, + GUESTS: Kogarah Hotel MISSING CHILDREN, GAVIN FITZGERALD, TAOS: Coach & Horses Hotel, Randwick MONKS OF MELLONWAH: The Gaelic MUSOS CLUB JAM NIGHT: Bald Faced Stag NAG CHAMPA: Marble Bar Hilton Htl PETER HEAD: Harbourview Htl ROOTBEET, FRANK BENNET: Sandringham Htl downstairs SIMONE LI, DAN CRESTIANI, ANDREW DENNISTON, + GUESTS: Mars Hill Café STEVE TONGE: Northies Cronulla HtlSport Bar STRANGE TALK: Harp Htl Wollongong TALL AS LIONS: The Great Northern Hotel, Newcastle THE CONTINENTAL BLUES PARTY: The Rose Hotel THE FERGIES, + SPECIAL GUESTS: Annandale Htl THE TILLERA DAMNED, SAVAGE TRACK RECORD, TIN CAN RADIO, ANTICS DJS: Cambridge Htl Newcastle TRIVIA: Riverwood Inn TRIVIA: Vineyard Htl Trivia To A Tee with The Doctor: Muree Golf Club Twisted Trivia: Wallsend Sporties TY PENSHORN: Northern Star Htl Newcastle URBAN FREEFLOW, PROJECT XIX, BATE B, JESTER: CBD Htl Newcastle YELLOW FEVER, LOVE CONNECTION: Croation Sports Club Wickham ZZ TOP, ROSE TATTOO, THE POOR: Enmore Theatre

THU 28

3 STRIPE AVE, VANESSA JADE BAND, JESS & JENNY: Excelsior Surry Hills

ZZ TOP:WEDNESDAY 27, THURSDAY 28, ENMORE THEATRE

ACID PUPPIES, DROVER MAD, CLASS CHAIN: Valve Bar and Venue, Tempe ADAM FERRIER, PAUL LATHAM, ADAM MORRIS, STEVE WOODSTER: The Great Northern Hotel, Newcastle ADAN RENNIE: Rag & Famish Nth Syd ALEX BOWEN & THE LUCKY DUTCHMEN, MATT SOUTHERN, BEL WOODS: Port Macquarie Hotel ANDY MAMMERS, BJ: Dee Why Hotel ANNA SALLEH’S BOSSA BOOTS: Cru54 Bar & Kitchen AS TALL AS LIONS: Spectrum BOB DYLAN, PAUL KELLY: Sydney Entertainment Centre BRIAN KING: Campbelltown Catholic Club BRIAN KING: Campbelltown Catholic Club - Caf‚ Samba BRIDGE BETWEEN: National Press Club ACT CHARGE GROUP, THE COOLIES, ALPS OF NSW: Kings Cross Htl COMEDY TRIVIA: Exchange Htl Newcastle DALE BARLOW BAND, BERNIE MCGANN: The Sound Lounge Seymour Centre DAVID ROSS MACDONALD, HEATH CULLEN: Lizottes, Newcastle DEE DONOVAN, GREG HOOPER, JACQUES RENAY: Penrith RSL, Showroom DISTURBED, TRIVIUM, AS I LAY DYING, FORGIVEN RIVAL: Newcastle Ent Centre DUBBO RSL MUSIC CLUB, 1 ARM BANDIT: Dubbo RSL ELI PAPERBOY REED, BOOM! BAP! POW!: Oxford Art Factory, Live Art Space ELITE VOCAL STUDIO SHOWCASE: Lizottes, Kincumber ERIC BIBB: Lizottes, Dee Why EVE GOONAN, JIMMI CARR, DAVID LOW: Excelsior Glebe FLOATING ME: Newcastle Leagues FRENZAL RHOMB, THE OPTIONALS, LOCAL RESIDENT FAILURE: Bar on the Hill Newcastle Uni

G4: Marble Bar Hilton Htl GOOD SUNS: Phoenix Bar ACT HIT MACHINE: Scruffy Murphys HOWLER, LIBERTY COUNTY, THE DEAD LOVE, DISTORTED THEORY: Annandale Htl HUGH CORNWELL, THE DARK SHADOWS: ANU Bar ACT IAN BLAKENEY: Guildford Leagues INDIGO GIRLS, HENRY WAGONS: State Theatre JACK JONES, IRWIN THOMAS, XANDER SMITH: Brass Monkey JASON MATTS, DaNIEL HOPKINS, + GUESTS: Narrabeen Sands JOHNATHAN DEVOY: Sandringham Htl downstairs JUST FRAN: CLUB BELMORE JUSTIN BIEBER: Acer Arena Homebush KENT DANIELS: Shenanigans, Maitland MANDI JARRY: Green Park Hotel MARK LUCAS & THE DEAD SETTERS, MICHAEL CARPENTER & THE CUBAN HEELS, SIMONE BRUCE: The Vanguard MATT PRICE: Northies Cronulla HtlSport Bar MERENIA & THE WAY, SAMBA MUNDI: Macquarie Htl Surry Hills MICHAEL MCGLYNN: Greengate Htl MUSOS CLUB JAM NIGHT: Carousel Inn Rooty Hill NICK RASCHKE DUO: Northern Star Htl Newcastle NICKY KURTA: Novotel - Brewery Bar, Olympic Park NIKKI THORBURN: Artichoke Café Manly NO IDEA: George Harcourt Inn ACT NOLIVER FIG: Down Under Bistro, Woolloomooloo OSCAR JIMINEZ: 505, 280 Cleveland St Surry Hills PETER HEAD:

twitter.com/drummedia

Harbourview Htl PHIL JONES & THE UNKNOWN BLUES, FRANK MACIAS & LOS AMIGOS: Notes, Newtown RIC HERBERT: Woollahra Htl ROB HENRY: Harbord Beach Htl SALSA ON THE ROCKS: Cruise Bar, The Rocks SAM & JAMIE TRIO: Maloney’s Hotel SARAH PATON: O’Malleys Kings X SLIDE MCBRIDE, LEIGH ARCHER, TONY MAZELL & THE FOUR TUNES: South Sydney Juniors SNOUT CASSETTE, BLUSH FOUNDATION, POM POM, NORRIE MAY WELBY, THE MATHEMATICAL EQUATION OF SOUND: Melt Bar Kings X STEVE EDMONDS BAND: Empire Htl STEVE TONGE: Observer Htl STRANGE TALK: Good God Small Club TALK OF THE TOWN: Wallsend Sporties TED’S SLY BAND: Jazsushi Surry Hills THE CADRES, HATTIE CARROL, + DJ’s: The Gaelic THE FUELERS: Wickham Park Htl Islington THE MCCLYMONTS: Mingara Rec Club TIM ROBBINS: The Basement TONY JOE WHITE, THE WINDOWBIRDS: Canterbury Hurlstone Park RSL TONY WILLIAMS: Pioneer Tavern TRIVIA: The Mark Hotel VELVETTE: Hippo Bar ACT VICTORIA BAILLIA, ROB WILSON: Wyong RSL WOLLONDILLY COUNTRY MUSIC CLUB: Picton Bowling Club YELLOW FEVER, LOVE CONNECTION, SUPER WILD HORSES: The Red Rattler ZZ TOP, ROSE TATTOO, THE POOR: Enmore Theatre

FRI 29

AFTER PARTY BAND: Rooty Hill RSL

ALANA POTTER: Dubbo RSL ANDY MAMMERS: Jewells Tavern, Jewells, Central Coast ARMCHAIR TRAVELLERS: Adams Tavern ATOMIC: Kro Bar, East Leagues Club, Bondi Junction BEN FINN: Castle Hill RSL BIG RADIO DYNAMITE: Mounties Club Mt Pritchard BIG SHOTS DEULLING PIANO SHOW: Club Five Dock BONE IDLE: Port Macquarie Hotel BROWN SUGAR: Marble Bar Hilton Htl CAMBO: O’Malleys Kings X CASSIAN: Woodport Inn Erina CHONTIA: Diggers at The Entrance CRAIG MCLAUGLAN: Rose of Australia CRAZY JUDAH: Freeway Htl DAN BEAZLEY: Albion Hotel Newcastle DAN LAWRENCE: Macquarie Htl, Liverpool DAVE STEVENS, JOSH MCIVOR: Observer Htl DAVE WHITE DUO: Pioneer Tavern DAVID AGIUS: Parramatta RSL DAVID ROSS MCDONALD: Clarendon Guest House DEVIATION: Cardiff RSL DI SOLOMON: Sportsman Htl Blacktown DIESEL: Lizottes, Newcastle DJ MATT, SCOTTY SAX: Bankstown Sports Club DOLLSHAY: Quakers Inn DORA D DUO: Northies Cronulla Htl DREW MCALISTER: Grand Htl Rockdale EBONY & IVORY: Crown Htl City ELEVATION-U2 SHOW: Scruffy Murphys ENTROPIC, MEEM: 505, 280 Cleveland St Surry Hills ERIC BIBB, STAFFAN

ASTNER, THE BLACKBIRDS: Blackheath Community Hall FINN: Edgeworth Bowling Club FINN: Wallarah Hotel, Catherine Hill Bay FLOATING ME, SLEEP PARADE, RED REMEDY: Annandale Htl GARY JOHNS: PJ Gallaghers Drummoyne GIRLS TALK: Kingswood Sports Club HORNET: Blackbutt Htl New Lambton INFUNKTIOUS: Exchange Htl Newcastle INTIMATE LOUNGE MUSIC: Fairfield RSL, Supper Club JACK JONES: Lizottes, Kincumber JANE KELLAWAY, KATIE HAMBLIN: Anthill Golf Club Picton JAZZ AND CHILLI CRAB NIGHT: Lizottes, Dee Why JED ZARB: Ettamogah Htl JENNY MARIE LANG: Ryde Eastwood Leagues Club JIM OVEREND: Muree Golf Club JOE MCMANUS: Northern Star Htl Newcastle Johnny Vinyl, STRIKE: Cruise Bar, The Rocks JONT: Artichoke Café Manly JOSEPH ARTHUR: The Vanguard JUNGLE KINGS: Kirribilli Htl JUSTIN BIEBER: Acer Arena Homebush KEITH ARMITAGE: Harbord Beach Htl KIRK BURGESS: Chatswood RSL KORA, C.W. STONEKING & HIS PRIMITIVE HORN ORCHESTRA, THE VASCO ERA, + HEAPS MORE!: Dashville LAWRENCE BAKER: Hillside Htl Castle Hill LOONATIC FRINGE: The Mark Hotel LOWTIDE: Petersham Bowling Club MAD COW: South Sydney Juniors MARTIN MULHOLLAND, SAM & JAMIE BAND: Crows Nest Htl MATT JONES DUO: Brewhouse Pub St Marys


THE DRUM MEDIA 26 APRIL 2011 • 67 •


gigs@drummedia.com.au

26 APRIL - 2 MAY 2011

TONY JOE WHITE: SATURDAY 30, LIZOTTES, DEEWHY, SUNDAY 1, LIZOTTES, NEWCASTLE MATT PRICE: Novotel - Brewery Bar, Olympic Park MICHAEL PETER: Northies Cronulla HtlSport Bar MIKE MATHIESON, CHRIS ALEXANDER: Bass Hill RSL Club MIKE PRICE: National Press Club ACT MILESTONES: Wickham Park Htl Islington MILKMAIDS, NINTH PILLAR, GROIN GRAVY, DANGER BUS: Caringbah Bizzos MIND AT LARGE, THE WATT RIOT: Cabbage Tree Hotel MONKEY WRENCH - FOO FIGHTERS SHOW: Engadine Tavern MONKS OF MELLONWAH, THE BLACK HEIST, CROWS FEET: Coogee Diggers NATURALLY 7: State Theatre NICKY KURTA: Rydges Parramatta NIGHT OWL: Down Under Bistro, Woolloomooloo OMG!, DJ SONIC: Belmore Htl Newcastle ON THE PROWL: Belmont 16ft Sailing Club OPEN FIRE: Mingara Rec Club PARTY ON!: Hellenic Club ACT PAUL LINES, ZUCKR DJ: NEW ALBURY HOTEL PHASE III: Warners at the Bay PHIL JONES & THE UNKNOWN BLUES, FRANK MACIAS & LOS AMIGOS: Vault 146, Windsor PHUNK, SLIP N SLYDE: Oatley Hotel PLUTO JONZE, SKY SQUADRON, SHAG, PHDJ, BEN LUCID, M.I.T, Wacks, DJ BEBETO LE GARFS: The Gaelic RACHEL LANG: Hawkesbury Htl REPLIKA: Vineyard Htl ROWLAND MOYE: Coffs Harbour Ex Services Club ROYAL CHANT: Armidale Club SAM & JAMIE SHOW: Woolloomooloo Bay Htl

SCEPTIC & DSEEVA, DJ TRAUBA, DEEMOLISH, BIO KEED, THE TERRORIST, + HEAPS MORE!: Valve Bar and Venue, Tempe SHINTO KATANA: Campbelltown PCYC SIBO BANGOURA & KEYIM BA, PAPE MBAY & CHOSANI AFRIQUE: Notes, Newtown SKYSCRAPER: Customs House Sydney SOLID GOLD PARTY NIGHT: Cessnock Supporters Club SOUL AGENTS: Matraville Htl SPRUCE MOOSE: Old Canberra Inn ACT STEVE EDMONDS BAND: Berowra RSL STEVE PASSFIELD: Manly Fig STRANGE TALK: CBD Htl Newcastle THE BELLIGERENTS: Buddha Bar, Byron Bay THE BELLIGERENTS: The Great Northern Hotel, Newcastle THE DOORS EXPERIENCE: Mosman Club THE DOORS EXPERIENCE: Mosman RSL THE HOLY SOUL, KIM SALMON, LEANNE COWIE, DEAD CHINA DOLL: Excelsior Surry Hills THE JURY: St Marys Band Club THE LED ZEPPELIN SHOW: Bull & Bush THE LEVYMEN: Windsor Castle Htl Newcastle THE MARISTIANS: Rag & Famish Nth Syd THE MCCLYMONTS: Civic Theatre Newcastle THE NEW CASUALS: Excelsior Glebe THE POD BROTHERS: CLUB RIVERS THE ROCKAHOLICS: Western Leagues, Leumeah THE SMASHED CRABS: Ballina RSL THE TRIP: Seaview Tavern, Woolgoolga THE WOLVERINES: Club Singleton THEY CALL ME BRUCE: Penrith RSL, Castle Lounge THOSE GALS: The Pub

• 68 • THE DRUM MEDIA 26 APRIL 2011

TOM & DAVE SHOW: Mean Fiddler Htl TONY JOE WHITE, THE WIDOWBIRDS: The Basement TONY WILLIAMS: Guildford Leagues TRINITY ROOTS: Metro Theatre WARDS XPRESS, AL BRITTON: Pyrmont Bridge Hotel WILDCATZ: Commercial Htl Parramatta YELLOW FEVER, LOVE CONNECTION: Otis Bar, Wollongong

SAT 30

2 DAYS HITS: Bull & Bush 24 HOURS: Exchange Htl Newcastle 3 WAY SPLIT: Collingwood Htl ABBALANCHE: Ryde Eastwood Leagues Club ADAM KATZ, BENNY VIBES: Beach Palace Htl Coogee ADRIFT FOR DAYS, DUMBSAINT, BRANCH ARTERIAL: Excelsior Surry Hills ANTOINE DEMAREST: Woolloomooloo Bay Htl ANYTHING GOES: Western Leagues, Leumeah BARNSTORMIN: Asquith Leagues BEN FINN DUO: Ettamogah Htl BIG WAY OUT: Kro Bar, East Leagues Club, Bondi Junction BLISS BOMB: Scruffy Murphys BLUETONGUES: Katoomba RSL BRONTE WAKE: Sawtell RSL CHAMPANGE SUNDAES: Bankstown Sports Club CHART BUSTERS: Penrith RSL, Castle Lounge CHRIS CONNOLLY: Guildford Leagues CHRIS VINEBURGS REMIXES: Kingswood Sports Club COUNTDOWN EXPLOSION: South Sydney Juniors CUTAWAY: Kareela Golf Club DAVE WHITE EXPERIENCE: Crows Nest Htl

DES GIBSON: Lansvale Htl DIESEL: Lizottes, Newcastle DIRTY DEEDS - AC/DC SHOW: Panthers Cardiff DR. DAVE: The Mark Hotel DREAM TAMBOURINE: Windsor Castle Htl Newcastle DYNAMIC DUO: Miranda RSL ENDLESS SUMMER BEACH PARTY: Campbelltown Catholic Club ENGAGE THE FALL, AMODUS, A MURDER OF CROWS, ILCONTENT, FOUNDRY ROAD: Valve Bar and Venue, Tempe ESCAPE THE FATE, PIERCE THE VEIL: UNSW Roundhouse FAVOURITE SHOWS CREW: Excelsior Glebe FIONA LEIGH-JONES: Harbord Beach Htl FLOATING ME, SLEEP PARADE, AS SILENCE BREAKS, ELITE ELIMENT: City Diggers Wollongong FOUR OF A KIND: Gosford RSL FRENZAL RHOMB, THE OPTIONALS, TOTALLY UNICORN: UniBar, Wollongong FUNKY MUNKY: Bay Hotel FUNPUPPET: Peachtree Htl Penrith GEN R 8, ADAM HARVEY, BECCY COLE: Cessnock Supporters Club GET THE PARTY STARTED-THE PINK SHOW: Ingleburn RSL GLASS CHAIN: Hillier Oval, Liverpool GLENN WHITEHALL: Engadine Tavern GRAND THEFT AUDIO: Warners at the Bay GROOVEDOTCOM: Hellenic Club ACT HEART & SOUL: Drummoyne Sailing Club HEARTBEAT: Yass Soldiers Club HOT GOSSIP: Cardiff RSL HUE WILLIAMS: Wallacia Htl HYPE: Brewhouse Pub Marayong IAN MOSS: Brass Monkey IRWIN THOMAS: Clarendon Guest House

AS TALL AS LIONS: THURSDAY 28, SPECTRUM JAMES MORRISON: Lizottes, Kincumber JOSH MCIVOR: Sir Joseph Banks Hotel KAFE KOOL: Fairfield RSL, Supper Club KEEP THE FAITH BON JOVI SHOW: Blacktown RSL KOTADAMA, WE ARE GRACE, LOVERS JUMP CREEK, ALL MY ALIEN SEX FRIENDS: Annandale Htl MAINLINE: Carousel Inn Rooty Hill MANDI JARRY: Novotel Rooty Hill MARTIN MULHOLLAND: Northies Cronulla HtlSport Bar MARTY RHONE, SHEENA CROUCH: Canberra Theatre MATT PRICE: Castle Hill RSL MIKE MATHIESON, CHRIS ALEXANDER: Seven Hills RSL MISBEHAVE: Blackbutt Htl New Lambton MOONLIGHT DRIVE, DJ SONIC: Belmore Htl Newcastle MOTHER AND SON: Phoenix Bar ACT ONE NON BLONDE: Brighton RSL OZ LATIN BROTHERS: Ballina RSL PAUL SUN, MARK SZETO, MONIQUE LYSIAK: LARRIKINS CAFÉ & LOUNGE PEACHY: Mounties Club Mt Pritchard PEKING SPRING, SINGLETWIN, HOODLUM SHOUTS: Street Theatre, Canberra PETER HEAD: Harbourview Htl PHIL JONES & THE UNKNOWN BLUES, FRANK MACIAS & LOS AMIGOS: Coogee Diggers QUEENS DAY: Down Under Bistro, Woolloomooloo RAY BEADLE: Bridge Hotel REBECCA JOHNSON BAND: Paddy Maguires Haymarket ROB HENRY, CARL FIDLER:

twitter.com/drummedia

Observer Htl ROB LUCKEY & THE LUCKY BASTARDS: Appin Htl ROCOCO: Dubbo RSL SAM & JAMIE TRIO: Kirribilli Htl SILVERCHAIR SHOW: Bombaderry Htl SOUND PROOFED: Mean Fiddler Htl, Woolshed STEVE EDMONDS BAND: Dicey Rileys STEVE TONGE: Maloney’s Hotel STICKY FINGERS: Great Northern Byron Bay SWINGSHIFT COLD CHISEL SHOW: South Hurstville RSL THE AMENTA, RUINS, OUROBOROS, AEON OF HORUS: The Gaelic THE AUSTRALIAN PINK SHOW, THE KATY PERRY SHOW: Macarthur Tavern Campbelltown THE CANYONEERSMEN, GLASS ARMY, GRA SEATON: Cambridge Htl Newcastle THE CONTINENTAL BLUES PARTY: Beaches Htl Thirroul THE CRUISERS: Belmont 16ft Sailing Club THE DEEP DUO: Mean Fiddler Htl THE FALLS, EMAD YOUNAN, RED BOOTS, PJ Wolf, EuSH: Carriage Works, Eveleigh THE JAY FACTOR, CANDY B: NEW ALBURY HOTEL THE TRIP: The Brewery, Byron Bay THEY CALL ME BRUCE: PJ Gallaghers Drummoyne TIM & JEAN: Oxford Art Factory, Live Art Space TINA HARROD: 505, 280 Cleveland St Surry Hills TONY JOE WHITE: Lizottes, Dee Why TOUNGE AND GROOVE: Oatley Hotel UNDERLIGHTS: Oxford Art Factory, Gallery VENUS DUO: Northies Cronulla Htl WARRANT, L.A GUNS: ANU Bar ACT WE’RE BACK: Riverwood Inn

SUN 01

ACCORDING TO BRENDO: Clovelly RSL ANTOINE DEMAREST: O’Malleys Kings X BENN GUNN: Waverley Bowling Club BLIND LEMON CHICKEN: Botany View Htl BLUES SUNDAYS: Artichoke Café Manly BOP LOUIS DUO: Oatley Hotel CHRISTIE LAMB: Campbelltown Catholic Club - Caf‚ Samba DAN SPILLANE: Mean Fiddler Htl DAVE WHITE DUO: Northies Cronulla Htl DAVID AGIUS DUO, JAMIE LINDSAY: Ettamogah Htl DAVID ROSS MACDONALD, HEATH CULLEN: Lizottes, Kincumber GLENN WHITEHALL: Collingwood Htl GOODNIGHT DYNAMITE: Northies Cronulla HtlSport Bar GREG BRYNE: Harbord Beach Htl JACK JONES: Lizottes, Dee Why JASON LEE: Penrith RSL, Castle Lounge LOST IN THE WOODS, WARTIME SWEETHEARTS: Petersham Bowling Club MATT JONES DUO: Mounties Club Mt Pritchard MATT PRICE: Woolwich Peir Hotel MIKE MATHIESON, CHRIS ALEXANDER: Seven Hills RSL NEILL BOURKE, ROB HENRY, MIKE BENNETT: Observer Htl NICKY KURTA: Woolloomooloo Bay Htl RAPTURE: Campbelltown Catholic Club RENAE KEARNEY: Collaroy Beach Hotel RUSSELL NEAL, + GUESTS: CLUB TOTEM, BALGOWLAH SERIOUS BEAK, GODSWOUNDS, SQUAWK!, VIOLENCE IN ACTION:

Excelsior Surry Hills SHANE FLEW, MARK PUNCH, DAN JOHNSON: Bald Rock Htl Rozelle STEVE EDMONDS BAND: Bombaderry Htl TAKE A HIT: Hurstville RSL Club TERRY BATU: Wisemans Ferry Inn THE AVOS: Riverstone Sportsman Htl THE EL-CAMINOS: Sandringham Htl THE ESTATE, ROCCO, + SPECIAL GUESTS: Valve Bar and Venue, Tempe THE WIZZCATZ: Kro Bar, East Leagues Club, Bondi Junction TONY JOE WHITE: Lizottes, Newcastle VENUS DUO: Bull & Bush WARDS XPRESS, AL BRITTON: Tudor Hall Hotel

MON 02

3 WAY SPLIT: Scruffy Murphys BERNIE: Observer Htl

CAROLYN CRYSDALE, + GUESTS: Orange Grove Htl DARYL PRATT SEXTET: 505, 280 Cleveland St Surry Hills DAVID AGIUS: Opera Bar JAMES WHITING: The Basement LEANNE PARIS, PETER MILLER ROBINSON, BONES, VICTORIA YOUNG: Hive Bar, Erskineville MISS GRAY, HELMUT UHLMANN, + GUESTS: Kellys on King Newtown NO BRAKES: Rockdale RSL OVER THE EDGE: Campbelltown RSL ROY ORBISON TRIBUTE: Ramsgate RSL SONGWRITER SESSIONS: Excelsior Surry Hills THE DUDES: Petersham RSL


THE DRUM MEDIA 26 APRIL 2011 • 69 •


BROUGHT TO YOU BY

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

MAKING FOO MUSIC The Foo Fighters documentary Foo Fighters: Back And Forth, directed by James Moll, was recently released to cinemas worldwide, before a DVD release in the middle of the year. It’s essentially a linear history of the band, from frontman Dave Grohl’s pre-Foo Fighters days in the likes of Scream and Nirvana through to the recording of the band’s most recent album, Wasting Light. The latter was recorded in Grohl’s garage, entirely on analogue tape. As the documentary is getting a screening in various Australian cinemas from Thursday to Sunday, Drum revisits its chat with Foo Fighters rhythm section Taylor Hawkins and Nate Mendel. The way the film is edited, it shows a different approach by the two band members to recording – with varying levels of success. Mendel is shown to be really focused, continually practising his parts, so when producer Butch Vig hits ‘record’, he’s ready to go straight from the off. Hawkins meanwhile seems to take a while to warm up to things, missing cues and not quite hitting his straps initially. “James, thank you buddy. They didn’t show Dave doing wrong vocals in the booth. Or Nate getting really frustrated and telling everybody to leave. ‘Yeah, literally, that’s a good part. Let’s put that in – Taylor struggling with a drum part.’ Nobody else got that,” Hawkins laments. “You got the short straw with that one, my friend,” Mendel offers. Hawkins: “I fuckin’ did, man. Fuckin’ asshole. No, I think we all go through similar struggles. Maybe Dave less, partly because it’s Dave’s band so he’s sort of a boss, without it being properly ‘Dave’s our boss’. I think in a subconscious way we’re trying to please him, so we all have those insecurities. When I’m making a record by myself, like the Coattail Riders, I kinda don’t have those. I’m in charge so I don’t have those sort of insecurities that well up sometimes whenever we’re making a Foo Fighters record. “It’s kind of a process. I kind of go through this kind of arc where I start out and I’m recording a drum track and trying to get to the essence of what it should be and then make it tight and then, ‘Dave, do you like this where I’m going?’ Do I like what I’m doing? ‘Butch, do you like it?’ Then when we get to the end and it’s done after a couple of hours and I go, ‘Okay, we got there.’ None of the drum tracks took more than a couple of hours, which is not really that long by today’s standards. I didn’t really struggle that much more than I ever do, I just fucked up and James thought it would be really cute to show that. Thanks buddy! Fucking cocksucker. Just kidding [laughs].” Meanwhile, Mendel explains that the constant practice is something he has to do. “I’m not a session guy so I can’t go in and go, ‘What’s the key of the song?’ and try to come up with something cool. I like to try and figure out something – a counterpoint that’s going to add another element to the song. And 99 times out of 100 that’s not going to work, but I like to go through that to make sure I don’t have that idea to contribute, you know?”

SOUND BYTES Jane’s Addiction has been working on their first studio album in eight years, The Great Escape Artist, due in August, in Los Angeles with producer Rich Costey (Muse, Franz Ferdinand, Interpol), with TV On The Radio’s Dave Sitek contributing bass, programming and some writing as well. The band is giving away a free download of the track End To The Lies, featuring The Master Musicians Of Joujouka, their part recorded in their madrassa or school in the village that gives them their name near Morocco. South African-born, Los Angeles-based post-grunge/ alternative metal four-piece Seether took themselves into Blackbird Studios in Nashville to record their fourth album, Holding On To Strings Better Left To Fray, with producer Brendan O’Brien (Pearl Jam, Stone Temple Pilots, Rage Against The Machine, AC/ DC), though there was additional recording done for it in Atlanta and back in LA. Seattle six-piece The Head And The Heart, fronted by singer and violinist Charity Rose Thielen and signed to Sub Pop, for whom they were the closing act at this year’s SXSW, recorded their just released self-titled debut album at Bearhead Studio with Steven Aguilar and Studio Litho with Shawn Simmons (Audioslave, Sunn O)))), both of whom coproduced the record with the band, Aguilar mixing it at Bearhead while it was mastered at RFI in Seattle by Ed Brooks.

HAPPY ACCIDENTS

HAVING JUST FINISHED RECORDING THEIR UPCOMING SIXTH ALBUM AT THEIR OWN RED DOOR STUDIOS, DRUM CAUGHT UP WITH THE LIVING END FRONTMAN CHRIS CHENEY BEFORE THE BAND PRESSED THE STOP BUTTON. FEATURE AND PIC BY JEREMY WILLIAMS.

“I

t’s been like a year and half of solid writing. I started writing at the end of touring White Noise as I find it very difficult to write on the road. The only thing we did different this time was that the demos we did for the record weren’t quite as comprehensive as they have been in the past.” The Living End’s Chris Cheney is a man of method. By his own admission he seeks perfection, which has often led to a condition he calls ‘demo-titis’. Having spent nearly two decades as the frontman of Melbourne rockers The Living End, Cheney reveals it took his bandmates, drummer Andy Strachan and double bass player Scott Owen, saying to him, “Don’t worry about making the demos perfect. Just put ideas down and work on it later,” for him to realise that maybe he should reassess his approach. In the past, the band would normally come into the studio and do a fully and lyrically complete song. “This time around we only did one session like that and the rest was us doing our own recordings in our rehearsal room. We put the basic track down, or the basic idea, then I would take it home and put a whole lot of stuff on top and sing something over it. We would leave it at 60 or 70 percent,” Cheney outlines. Their new approach proved in many ways fruitful. With less time spent perfecting one song, the trio found that their output multiplied. “Subsequently we ended up with 50 songs, 50 ideas, which ended up being a bit of a nightmare to be honest, because by the time we got to pre-production with our producer, we had so many songs.”

But with so many songs to choose from, how did Cheney and his cohorts whittle down the selection? “Just personal opinion really; whatever feels good to play. We definitely had a mindset on this record that we wanted to have songs that were more simplistic, that would work on a bigger stage.” Aware of the fact that the album is only the launch pad for a chain of events, he admits that over the years his approach to songwriting has altered. “It is a weird way to work because when we started the band, you never thought of those things, you just tried to write the best song at that particular time. You try to write what you think sounds good or maybe the thirty people who are going to see you at the Richmond Club. That is all we had back then,” he concedes. “It is a bit different now as we do know the band is on the map and we do play bigger shows and I like the idea of going, ‘What’s going to work? What is going to have the most impact when we play in front of an audience on a big stage?’” With their audience at the forefront of their mind, Cheney soon realised that the culling process would be nowhere near as daunting as they had first thought. Equally, the boys had previously spoken of their intention for the album, which in turn also made the

As a band that gets a kick out of playing live, their approach to laying down a record is unsurprisingly old school. “It was all tracked as a band. We just went in there. The thing is at the studio in Byron Bay it is not a very good sounding studio, so the drum room was used to put guitar amps in and the bass room was where the drums went. Then there were more amps in the kitchen area. So we just went with whatever worked that would enable us to be together, literally two or three metres from each other. That is the way that we play best. I couldn’t imagine being in an isolated booth looking at Andy through three panes of glass. It doesn’t work for us that way. We have tried it in the past. So it was really good – we tracked all the songs as a three-piece and got the foundations and the bed as a three-piece done and really rocking before laying anything else on top. “We definitely made sure that we didn’t choose perfection over vibe. There were some takes we did which were pretty bang on tempo, but there was something missing. So we would end up going with a track which had just a couple of flaws or mistakes in it, but had that thing. You can’t fabricate that.” Unlike many bands of the ProTools generation, The Living End believes that flaws provoke perfection. “We of all bands have to be so careful not to make everything perfect and everything in tune as it kills what the band is about. Our live shows are a mess sometimes – they are a train wreck – but they are so exciting for that reason.” The Living End’s sixth album is due out later in the year.

ENMORE AUDIO

RADI SAFI, owner/producer

What’s the studio set up you have there equipment-wise? We call Enmore Audio a hybrid space in that there’s a heap of analogue gear and a heap of digital gear. We also use tape machines so we’re well and truly into the old school sound, but use ProTools for mixing. Any tips for artists entering a studio for the first time? There’s a bunch of cliches out there that every studio owner/engineer/producer says about this topic. One is pre-production, pre-production, pre-production. I embrace a more mistakist approach and encourage spontaneity on the day. If a song is great it’s going to shine and we’ll find a way to make its mark in the world. Will I change my mind about that in ten years? I hope not. Which notable artists have worked at the studio? We only opened recently and actually haven’t done all that much advertising. We’re working with Circle and a few local Enmore folk too. Circle recently put out a bunch of covers and these were all tracked, mixed and mastered here. They’ll also be recording their next album here in May. Who do you have on staff and what’s their background in the industry? I’m trying to model the studio’s services (in as humble a fashion as possible) to that of Dave Fridmann of Tarbox Road Studios. People go to that studio because he’s the producer there so it’s a package. He also engineers and even masters. I have three engineers that I work with and people are welcome to bring their own or choose not to have one altogether. I don’t claim to be an audio engineer but I’m confident enough if budget doesn’t allow for it. One of our three available for hire engineers is Michael Stavrou who’s pretty awesome. Analogue vs digital – discuss. Each have their benefits, neither are going away and

• 70 • THE DRUM MEDIA 26 APRIL 2011

Even though the prospect of sifting through an amassed collection of songs felt initially daunting, Cheney is pleased that he opened himself up to the new approach. He realises that on a level of output, by not restricting himself at such an early stage, songs that would have been shelved in the development stage have ended up as some of the strongest tracks of the new album.

selection slightly less harrowing. “There was a real sort of mentality with a lot of the songs on this record that it had to have that kind of dancey tempo – really heavy INXS. So the songs sound totally massive, with big riffs but groove orientated, but with the way that we play. There are still the big riffs and some fancy guitar parts, fast drum parts and that kind of part of the band that we get off on live and that the audience loves live, but with a heaviness that arrived because we were able to sit back in the groove a little bit. They just feel so good to play.”

if you can afford to you should be utilising the best of both. Can bands bring in their own engineer or do they have to solely use a house engineer? Yes they can, but we need to have a chat first. Is the studio capable of holding a full band at once for recording? Enmore Audio is unique in that it was designed and built from the ground up to cater to the needs of solo artists looking to create a professional product that radio will play and labels and industry peeps will actually listen to (if that’s your goal). We’re a two room facility with a third room going up at the end of 2011 so at the moment we can’t do the full band thing but will get there eventually. We’re an impoverished indie band – do you offer any deals for acts in our situation? We’ve designed our pricing structure with this in mind. If it’s worth recording and producing professionally then it’s worth saving up for. That said, I’m always willing to have a chat about it if we’re working on an EP or album. Do you have any in-house instruments at the

twitter.com/drummedia

studio acts can use, or is it totally BYO? Of course you should bring your own favourites but we also have heaps! I’m a musician first and foremost so there’s ten years worth of gear in here that will be at the disposal of anyone who hires us. A Hammond, a Rhodes, a regularly tuned U3 Yamaha Piano and then a whole bunch of amps, guitars, synths and other bits and pieces to make noise with. What’s the access to the studio like with regards to parking, flat load, etc? Plenty of street parking, flat load, great coffee and fully air conditioned. Working in the studio can be arduous and we’ll need a break – what are the amenities in the local area? We’re in Enmore so no problems there! What are your contact details? Contact through the website is best. Please visit enmoreaudio.com and spend a little time getting to know us. You can email radi@mondayrecords.com and also call 0405 709 131.


Don Bartleys

Benchmark Mastering

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

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 THE DRUM MEDIA 26 APRIL 2011 • 71 •


YOUR AD IN THIS SPACE

CALL DRUM MEDIA 9331 7077

• 72 • THE DRUM MEDIA 26 APRIL 2011

YOUR AD IN THIS SPACE

CALL DRUM MEDIA 9331 7077


THE DRUM MEDIA 26 APRIL 2011 • 73 •


EMPLOYMENT

LEGAL / ACCOUNTING

REHEARSAL ROOMS

DRUM TUITION LUCIUS BORICH

ADMINISTRATION

DETAX GOT ME A GREAT REFUND!

COCOON 3 STUDIOS

Best know for drumming with such bands as COG / FLOATING ME / THE KEVIN BORICH EXPRESS. Lucius is now giving lessons in Sydney! If you’re a drummer of any level and serious about exploring and improving your playing. Lucius offers insight into the drumming jedi mind with his 25 years of experience behind the kit. For booking and info contact Luciusborichdrums@ hotmail.com

7 HRS IN THE STUDIO JUST $300 Sound Levels weekday & weekend deal 1 hr set-up ,1hr pack-up 5 hrs recording with our engineer , protools multitrack , valve outboard gear and mics ,no extras all included ,grinspoon,youamI,lo-tel,gurus,oils. If you want to chronicle your songs or put together something to send out to get work this is how to do it. Quick, Live, yet multitrack take away a mix at the end of your session with the knowledge the multitrack files are there if you want to continue later. iFlogID: 12850

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 iFlogID: 12394

FOR SALE AMPS Fore Sale,, Bogner Shiva Guitar Head

iFlogID: 12369

iFlogID: 12635

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

play more chinese music - love, tenzenmen. www.tenzenmen.com iFlogID: 12889

DRUMS TAMA ROCKSTAR (MADE IN JAPAN) 6 PIECE KIT WITH ZILDJIAN CYMBALS.10”,12”,13”,16”,22”, PEARL STEEL SNARE, HARDWARE, BARGAIN, $725. PH 0419760940

iFlogID: 12375

MIXERS VESTAX PMC46 ROTARY MIXER FOR SALE: I’m selling my Vestax PMC46 Rotary Mixer due to downsizing my studio. A fantastic and rare find at a bargain price of $450.00. Call Darren on 0433775996. (LEICHHARDT), Sydney. iFlogID: 12869

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 iFlogID: 12392

Rodes Classic Microphone $1250

iFlogID: 12400

MUSIC SERVICES

PA / AUDIO / ENGINEERING 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

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

RECORDING STUDIOS Get your song recorded today by a music producer/ multi-instrumentalist. Albums, demos, soundtracks, arrangements, composition, video & more. Real guitars, piano & drums or programmed electronica. Located in Inner West. Greg 0425 210 742 iFlogID: 12832

HIRE SERVICES 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 iFlogID: 12828

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

Recording Studio in Wollongong. Pro gear + great drum room, $40p/h. Special EP deals! 4 days rec/mixing + 200 CDs $1690 or, 5 days rec/ mixing + 500 CDs $2490! Drums, guitars & piano 4 hire. www.silversound.com.au - 0434246064 iFlogID: 12840

Cocoon 3 Rehearsal Studios in Campbelltown. We have a variety of rooms to choose from, which means there is a room to suit all bands, duos and solo musicians. Discounts for solo musicians are also available(ring for details) Rooms include: Vocal P/A’s, Microphone s, Stands, A/C etc.. We are located at Unit 3,13-15 Mill RD Campbelltown 2560. For bookings/ information contact Dave: (02)4627 9399 or 0406 454 609.. visit:www. cocoon3studios.com.au iFlogID: 12687

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

GUITAR LESSONS with experienced and qualified tutor. Who has 20 years of studio and live performance. Rock, pop, jazz, theory, etc. etc. Beginners to advanced. In the convenience of your own home. Good results guaranteed. Phone Oles on 0407413143 email: oa@ olesart.com iFlogID: 12905

GUITAR TUITION BY MAL EASTICK 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

GUITAR TUITION

SINGING-LESSONS-THAT>>ROCK<<

iFlogID: 12863

Metal band needs bassist. Influenced by Metallica, Sabbath, Slayer, Led Zep, Pantera and more. Contact Justin on 0432 905 175 or finchy_77@hotmail.com! iFlogID: 12891

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. Microphonerecording-songwriting-techniques Beginners to advanced Newtown 0405-044-513 iFlogID: 12731

Metal bass player wanted. 5-string or B-tuning. Influences include Disturbed, Evanescence, the GazettE, and more. Currently writing original material. Preferred age 18-25, at least intermediate playing level. Practice near Central Station, Thursday afternoons. Contact dragonlugia@hotmail.com for more info and demos.

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

Western Sydney Band working on Originals and Covers is seeking a Bass Player 14-18 years old. Must have own equipment and be available for rehearsals weekly in Penrith area. For more info and audition please call Tanya on 0438137609

iFlogID: 11667

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

COUNTRY ROCK/BLUES DRUMMER WANTED who is familiar with this style of music, originals and covers. Rehearsals at Botany Tuesday nights. Paid gigs waiting. Check the music out on www.myspace. com/merilynsteeleband Email your interest and experience to; alteregoprom@gmail.com or call on 0403.869.36

BASS PLAYER

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 iFlogID: 11369

CREATIVE GUITAR TUITION

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 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 iFlogID: 11968

PIANO: BLUES, ROOTS & POPULAR

iFlogID: 12723

DRUMMER

MUSICIANS AVAILABLE

A GREAT WAY TO LEARN GUITAR

iFlogID: 12895

VIDEO / PRODUCTION

iFlogID: 12170

TUITION

Led Zeppelin Covers/Originals Band require a bassist. Playing the heavy rockin’ Zep tracks with a modern sound & look, Age 25 - 45, transport, pro gear. Please contact scottm@y7mail.com

iFlogID: 12300

DRUMMER 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

OTHER

iFlogID: 12887

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

GUITARIST Guitarist required for Iron Maiden cover show. Must have own equipment & transport. If interested please email warpath6666@gmail. com iFlogID: 12796

LEAD GUITARIST WANTED

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

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

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

MUSICIANS WANTED BASS PLAYER BASS PLAYER FOR 3 PIECE newtown based 3 piece needs bass player think early YOU AM I, POSIES,NIRVANA and BOWIE Wally 0415 158 668 iFlogID: 12824

Bass player required for Iron Maiden cover show. Must have own equipment & transport. If interested please email warpath6666@gmail. com iFlogID: 12792

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. iFlogID: 12575

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: 12347

Funk cover band looking for new keyboard! We all work full time but take music very seriously. We play once a week at Sound level in Ultimo. If Maceo Parker, The meters, Stevie Wonder, Jamiroquai or Jaco Pastorius, email dewitte20@hotmail.com iFlogID: 12899

Metal keys player wanted. Influences include Disturbed, Evanescence, Nightwish, Within Temptation, the GazettE, and more. Currently writing original material. Preferred age 18-25, at least intermediate playing level. Practice near Central Station, Thursday afternoons. Contact dragonlugia@hotmail.com for more info and demos. iFlogID: 12897

OTHER 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

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

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

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

iFlogID: 12383

LEGENDS OF ROCK & SOUL - TINA!

iFlogID: 12580

REBORN seeks guitarist for Blues Rock/Hard Rock covers. Led Zep, Deep Purple, Jimi Hendrix, Black Crowes... We are easygoing but committed, skilled, experienced and reliable. If you match the above call now: 0408865400 (John) iFlogID: 12650

REBORN seeks guitarist for Blues Rock/Hard Rock covers. Led Zep, Deep Purple, Jimi Hendrix, Black Crowes... We are easygoing but committed, skilled, experienced and reliable. If you match the above call now: 0408865400 (John) iFlogID: 12689

iFlogID: 12882

SINGER WANTED - ASAP Experienced Progressive Heavy Groove Band seeks, Strong Heavy/ Melodic Vocalist. Think Sevendust, Tool, Karnivool etc. READY TO PLAY!!! Call Simon - 0413210550 iFlogID: 12818

VOODOO NEEDELS SINGER WANTED Sydney based guitarist and drummer need singer/songwriter to join project/band Must be able to contribute melody,lyric and song ideas to complete 13 songs...and willingness to perform material live. Songs arranged and written....basically need killer melodies. Please contact Patrice 0421741665 or Alex 0420423219 for more details and demos. myspace.com/voodooneedels iFlogID: 12642

Western Sydney Band working on Originals and Covers is seeking a Singer 14-18 years old (preferably male). Must be available for rehearsals weekly in Penrith area. For more info and audition please call Tanya on 0438137609 iFlogID: 12725

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 iFlogID: 12406

ROCK YOUR BAND ONLINE

iFlogID: 12408

iFlogID: 12865

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

Singer needed for rockabilly band. Good stage presence and confidence. Can handle a mixture of originals and standards. Currently rehearsing Sydney west. Phone Glenn for more details 0403 302 884

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) Led Zeppelin Covers/Originals Band require a singer. Playing the heavy rockin’ Zep tracks with a modern sound & look, Age 25 - 45, transport, pro gear. Please contact scottm@y7mail.com

iFlogID: 12878

SINGER

KEYBOARD

The all new ‘LEGENDS of ROCK & SOUL’ needs Tina Turner! Agency backed, launching late July, this new show has the goods. Do you have Tina’s looks, legs, moves and voice? Can you sing harmony backing for the other feature artists? If yes then be in touch. We are a super professional, all grown up concept show that runs like a clock, works good gigs and has loads of fun. We need the right Tina Turner to round out our 8 piece line up. This is a full blown concept show, so no ego’s, diva’s or primadonna’s need apply. If this sounds like you, email StevieP on: smplakotaris@bigpond.com iFlogID: 12658

Metal band needs singer. Influenced by Metallica, Sabbath, Slayer, Led Zep, Pantera and more. If you can play solid rhythm guitar as well, that’s even better. Contact Justin on 0432 905 175 or finchy_77@ hotmail.com! iFlogID: 12893

ROCK CHICK WANTED

We make PRO WEBSITES and we’re MUSOS which means we know where you’re coming from and where you’re going. First we’ll design you some AWESOME PROMO GRAPHICS, then we’ll make a COOL WEBSITE YOUR FANS WILL LOVE. We can even help out with your online marketing and setting up Blogs, Twitter, Myspace and Facebook. The rest is smooth sailing and you’ve got an online presence you can be proud of! Check out our work at WWW.NAE-DESIGN. COM and get started from only $999 Bucks inc GST! iFlogID: 12857

OTHER EARPLUGS FOR MUSICIANS Protect your hearing with custom moulded earplugs designed to reduce the level of sound without adversely affecting the frequency response of the music. Choose between 10,15 and 25dB attenuation. Fitted by professional audiologist, by appointment only. Ph 9387 3599 iFlogID: 11697

TUITION Need to know more about harmonica playing ? For a structured approach, contact Chris 0419 272 196 - infovision@yayabings.com. au

A Sydney rock/pop cover band require a dynamic, versatile frontman/vocalist. Preferred age between 25 - 40, must be experienced, own transport and can commit to late night rehearsals, weekly. Please provide a sample of your voice. All the guy’s are easy going, have professional attitudes and enjoy making music sound great. Contact: Kev 0401465318 k.w.saliba@gmail.com iFlogID: 12710

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

iFlogID: 12880



Drum Media Sydney Issue #1057