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Fidelity Corp & Billions Australia present

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THURSDAY 16 JUNE WAVES, WOLLONGONG Tix from www.moshtix.com.au,the venue, ph 1300 438 849 or moshtix outlets. Doors 8pm

FRIDAY 17 JUNE PANTHERS, PENRITH Tix from www.moshtix.com.au,the venue, ph 1300 438 849 or moshtix outlets. Doors 8pm

SATURDAY 18 JUNE ROUNDHOUSE, SYDNEY ALL AGES w/ LICENSED AREA Tix from www.ticketek.com.au, ph 132 849 or ticketek outlets. Doors 7pm

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You’ll be crushed if you miss out

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Actor Michael Rappaport’s engrossing doco traces the sometimes troubled history of beloved progressive hip-hop trailblazers A Tribe Called Quest.

Ed Helms (The Office) stars as a stunningly naïve small-town insurance agent headed to the ‘big city’ in Iowa for an insurance convention in this riotously funny comedy. John C Reilly, Anne Heche and Isiah Whitlock Jr co-star.

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END OF ANIMAL This unconventional supernatural chiller from South Korea starts out with cab driver and his pregnant passenger picking up a mysterious and possibly psychic stranger on a lonely stretch of road. The man counts down to zero and the world suddenly changes...

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HOW TO START YOUR OWN COUNTRY “What defines a country?’ is the question in this fascinating and humorous doco about micronations directed by Jody Shapiro. (the film very deliberately demonstrates that no-one can answer this questions!)

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MARTHA MARCY MAY MARLENE Sundance-award winning drama about a young woman (Elizabeth Olsen) who slips back and forth between four identities after fleeing a mysterious commune.

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HANNA Hanna is a 16-year-old trained assassin unskilled in navigating the tricky world of human emotions in this audacious espionage thriller from Atonement director Joe Wright. Stars Saoirse Ronan, Cate Blanchett and Eric Bana.

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I’M NOT DEAD YET The rollickin’ story of Chad Morgan, the politicallyincorrect country singer with the donkey grin (“The Sheik of Scrubby Creek”) narrated by Tex Perkins.

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• 18 • THE DRUM MEDIA 17 MAY 2011

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THE DRUM MEDIA 17 MAY 2011 • 19 •


Contents Issue No. 1060 Tuesday 17 May 2011 PLEASE NOTE: All entries for giveaways are now via our Facebook, so head to facebook.com/drummedia for details.

DRUM MEDIA Giveaways – Look to your left for free stuff, silly! 20 The Front Line hits hard with industry fact and conjecture, plus what does the budget mean for the arts? 22 Mailbag – your say on what floats your boat or makes the red mist descend, plus Backlash and Frontlash. 24 The News – just like it says, with tours, releases and more. 26 It may have started like a bad prom date, but things are going smoothly for Trial Kennedy and their new line-up. 32 It’s been a hard day’s night for Parkway Drive, but it doesn’t feel like they’ve been working like a dog. 34 How a tweet turned into a run of arena gigs for Gypsy & The Cat. 36 It’s a cavalcade of stars alongside Joe Bonamassa. 37 Dave Graney – soft on record, ferocious live.

AUSTRA

AUSTRA CDS Last Friday saw the release in Australia of the debut album, Feel It Break, from Toronto, Canada three-piece Austra, a combo inspired by the sleazier side of ‘80s British New Wave, which itself is seeing something of a resurgence, what with Duran Duran releasing albums again and Gary Numan coming to town to play The Pleasure Principle. Anyway, we have three copies of Feel It Break to give away. And of course, you can check it out streaming at themusic.com.au.

LEADFINGER’S THIRD

John Grant does impromptu photo shoots with Abba lookalikes.

40

Colin Hay is fascinated by post-war period Britain.

40

The possibilities are endless for Pigeon John. 40 The Blackwater Fever were only joking about listening to their music while rubbing your partner’s feet and having a glass of wine. 41 Heroes For Hire know their way around the safe streets of Baltimore.

41

As you’ll read in this week’s Drum, Leadfinger is the nickname of one Stewart Cunningham, founding member of Wollongong’s pre-grunge punks Proton Energy Pills and a member of a stream of seminal bands since, who is now travelling with a new band and sound. Leadfinger is launching the album We Make The Music Thursday night at the Annandale and we have a double pass to the gig to give away that comes with a copy of the album when you get there.

Gay Paris let it all hang out.

41

MAD BASTARDS TO GO

Chris Maric gets local with hard rock and metal in The Heavy Shit.

46

Who would have picked that singer/songwriter Alex Lloyd and two of the Pigram Brothers from Broome up in the far north west of the continent would make the perfect musical combination? Obviously filmmaker Brendan Fletcher; so much so that not only did he get them to write some songs for his feature film, Mad Bastards, but wrote them into it as well. Having written far more songs than the film needed and enjoying the experience of playing together, they’ve dubbed themselves Mad Bastards and hit the road, and Friday and Saturday they play Notes. We have one double pass to each night to give away.

Sarah Petchell brings us local and international punk news in Wake The Dead.

47

IT’S THAT PIGEON JOHN

Tom Hawking sends us a snapshot of life in the Big Apple with New York Conversation. 48

Californian hip hop artist Pigeon John is in Australia on his Dragon Slayer tour, the tour name of course also being the title of his new and fourth solo album, Dragon Slayer. Friday night, Pigeon John hoves into Tone, accompanied by local artists Tuka, Yeo and the Dust Tone DJs, and we have three double passes to give away, the winners also collecting a CD.

SWEET GEORGIA FIELDS Melbourne-based indie-pop songstress Georgia Fields has been getting the kind of media attention any young woman would want, being included among the “Next Big Thing” lists of most of major newspapers as well as getting the nod from Clare Bowditch. She’s finally released her self-titled debut album and is coming to The Vanguard in Newtown to launch it on Sunday. We have three double passes to the show to give away.

HUNGRY KIDS ARE BACK The now permanently five-piece Hungry Kids of Hungary are currently on their most ambitious tour yet, dubbed The Final Escapade, taking their debut album, Escapades, around the nation. Saturday, their journey sees them pull into the Metro Theatre, supported by guests The Chemist, Andy Bull and Daniel Lee Kendall, and we have two double passes to the show to give away.

BRISBANE BEC VISITS Brisbane singer/songwriter Bec Laughton, whose style is best described as a blue-eyed quirky soul pop, took out last year’s Q Song Awards with her track, Holy Love. She’s just released her debut album, At First Sight…, and of course that means hitting the road and showing it off. Bec and her band pull into Surry Hills jazz club 505 Monday, then The Basement Circular Quay Wednesday 25 and the Manly Fig Friday 27. We have two double passes to the Basement show to give away.

MEET THE NEW MCLAREN No, you haven’t tuned into a lost episode of Top Gear. We’re introducing you to a young Victorian singer/songwriter by the name of Jackson McLaren, who was raised on Dylan, Cave, Waits and Cohen and fresh off a national tour supporting Passenger. With his band The Triple Threat, he’s heading up the Hume to launch his second EP, Mirrors And Strings, Wednesday 25 May at The Vanguard and we have one double pass to the show to give away, with the winner also scoring a copy of the EP when they get to the gig. Please note – prizes that are to be collected from the office must be done within four weeks of notification of winning. • 20 • THE DRUM MEDIA 17 MAY 2011

38

Alex Lloyd learns to work on Broome Time with The Pigram Brothers – and Mad Bastards ensues. 39

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Inspiration comes in the form of Willy Wonka & The Chocolate Factory for Leadfinger. 41 On The Record reviews new release albums and singles from Foster The People, Cake, Bill Callahan and more. 42

Adam Curley muses on different portrayals of anger 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

Dan Condon features the world of blues and roots with Roots Down.

49

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

49

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

FRONT ROW This Week In Arts plans your week ahead; News reveals the Sydney Film Festival programme and more. 50 Miss Burlesque organiser Cassandra Atkins gives us the lowdown on the event; Cat O’Nine Tails prepares for the debauchery of her photography website’s fourth anniversary party; Cultural Cringe wraps up the week’s arts news and gossip. 51 Filmmaker Matt Saville talks about adapting Tim Winton’s Cloudstreet.

52

Stephen Lloyd-Coombs talks about his production of An Impending Rupture Of The Belly.

53

Penguin Plays Rough organiser (and now publisher) Pip Smith talks about the history of the popular event ahead of their first book launch. 54

LIVE It’s all here: gig reviews, tour guide, what’s happening this week, charts, gig guide, random shit, Warmer don’t produce an album of grand themes and The Good Ship reckon they’re possibly breaking some UN conventions. 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


THE DRUM MEDIA 17 MAY 2011 • 21 •


front

LINE

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

AUSTRALIANS DOMINATE INTERNATIONAL COMPETITION

NEWS FROM THE INDUSTRY WITH SCOTT FITZSIMONS

CURE STAMPEDE A SCALPER’S DREAM

Australians have dominated the International Songwriting Competition this year with Kasey Chambers awarded the Grand Prize. Her track, Beautiful Mess, was voted the best of 2010 by a panel of judges that included Peter Gabriel, Rihanna, Kings Of Leon, Tom Waits, Ben Harper, Jeff Beck, Kelly Clarkson, Timbaland, Ben Folds, Robbie Williams, Jerry Lee Lewis, Regina Spektor, John Mayall, Adele, Black Francis, Robert Smith and many more along with industry executives. “I was so overwhelmed when I got the phone call saying I had won,” Chambers said in a statement. “I’m sure being four-and-a-half months pregnant helped to make it all a little more emotional too. I have to thank my two boys Talon and Arlo the most because they were the inspiration behind the song, Beautiful Mess, which won the competition for me.”

Fans of The Cure hoping to catch their historic Reflections show to be held at the Sydney Opera House are paying up to and over $1,000 a ticket on online auction sites after the shows sold out near-instantly last week. As part of Vivid LIVE the band will be performing their first three albums (Three Imaginary Boys, Seventeen Seconds and Faith) in full with the reuniting of Robert Smith and renowned member Laurence Tolhurst. The two three-hour long shows will be filmed for a DVD release. When tickets went on sale, the Opera House’s website could not cope with the weight of numbers and crashed, showing an error message to many users. Vivid issued a statement later in the day saying, “This morning we were overwhelmed by the demand for limited tickets. We strongly recommend that you do not purchase tickets from scalpers as none have yet been printed. There are no plans for a third show. The Cure: ‘Reflections’ will be released on DVD later this year.” However tickets were almost instantly available on websites, with purchase records showing that fans (there’s been demand from international fans as well, considering the world exclusivity of the event) were paying up to $1,000 per ticket.

NEW PROJECT FROM SCARE FRONTMAN The new solo project from The Scare’s exfrontman Kiss Reid has been revealed as “dance project” KING KSSR. While intermittent recording and performing has taken place this year, management has told The Front Line that the first single, Malfunction, will be out in July with an album due later in the year. On the Facebook page Reid has posted, “The Scare is dead and this is was never meant to be compared to The Scare. Totally different worlds and things.”

PINK FLOYD ANNOUNCE RE-ISSUE PROJECT Pink Floyd are set to give their back catalogue a revamp with a huge series of re-issues announced through their label EMI, which will be on the same level as The Beatles’ recent re-issues and Neil Young’s Archives collection. A deal recently signed between the two parties allows for “the development of a multi-format programme of packages” which will contain archival material. A staggered release will see all 14 remastered studio albums (‘Discovery’ editions) released in a box set and special editions of The Dark Side Of The Moon available 23 September, a new best of released 4 November alongside special editions of Wish You Were Here and 24 February next year The Wall will be the third and final release to get the special edition treatment. Last week the band’s Roger Waters and David Gilmour performed Comfortably Numb together at one London show on Waters’ tour. The reunion comes after a back-and-forth documented on Waters’ Facebook and is evidence that the two are repairing ties long thought broken. They did stress, however, that the reunion was a one-off, but that hasn’t dampened the hopes of fans.

PARKWAY WIN GOLD IN QUIET WEEK The biggest news to come out of this week’s charts is that ahead of their tour metalcore favourites Parkway Drive’s album, Deep Blue, has gone gold. Released on Resist, it was the label’s 100th release and first gold record. Distributed by Shock, General Manager of Music Leigh Gruppetta commented in a statement, “Gold records don’t come along every day and there is no band more deserving. Parkway Drive are flat out the hardest working band in the country. Resist is a marquee label for Shock and we congratulate Graham [Nixon, Resist founder/ owner] on this remarkable achievement.” The solid selling album remains outside of the top 50. The highest debut in the album chart was Stevie Nicks’ In Your Dreams, which could only manage 24. Adele remained top with 21 as no local releases troubled the top 50 scorers.

• 22 • THE DRUM MEDIA 17 MAY 2011

KASEY CHAMBERS

Other winners included Basement Birds, the group featuring Kav Temperley, Kevin Mitchell, Josh Pyke and Steve Parkin, who took out the AAA category with Bus Stop. Josh Pyke told The Front Line, “The best thing for me about the whole thing is knowing that Tom Waits listened to and favourably judged a bit of music I was involved in. That’s a real honour.” Melbourne’s Kimbra won the pop/top 40 category with Settle Down, while Inland Sea won the unsigned group category. For her win Chambers was awarded $25,000 in cash and $20,000 in prizes while the categories winners win $3,000 in prizes. Other artists scoring placings include Washington, Paul Dempsey, Jonah’s Road, Anna Weatherup, Sierra Fin, Glenn Richards and My Fiction. Previous winners from Australasia include Kate Miller-Heidke in 2008 and New Zealand’s Gin Wigmore in 2004.

INDIE TO CLASSIC SHIFT IN RADIO FIGURES

15 April festival promoter AJ Maddah tweeted “Walking arounf the swRevolution site in Sydney. So so good! This is going to be awesome. (sic)”

The latest radio figures have signalled a consolidation of triple j’s audience while Classic Rock stations begin to find a foothold. Nationally triple j dropped in the Monday to Friday bracket, down 0.7 to a market share of 5.1 percent in Sydney, 0.8 to a share of 6.5 percent in Brisbane and 1.1 to a share of 4.4 percent in Melbourne. 2010 was a very strong year for the station though, with record high levels. Program Director Meagan Loader told The Front Line, “triple j saw a huge surge in our key 18 – 24 demographic in Brisbane [up 4.1 to 18.3 percent, although they lost 5.5 to have 11.5 percent in the 25 - 39 bracket] as well as further 18 – 24s rise in Sydney [up 0.7 to 10.7 percent] and Adelaide [up 2.1 to 13.3 percent]. Overall we are up in Adelaide [5.1 percent total share] and strong as ever in Perth [8.8 percent total share]. We’ve remained committed to making content for 18 – 24 year olds, which is our remit. We dipped slightly overall in Sydney and Brisbane but we are still enjoying record ratings in Melbourne. We are thrilled to see our reach is one of the highest we have ever achieved and we are steadily gaining audiences within our target demographic.”

One band that didn’t make the announcement were Thrice, who reportedly pulled out hours before it was to be revealed. On their Facebook, though, they wrote “Hey Australian friends. Sorry you were misled. We never confirmed anything with Soundwave and are sad to hear that you were told otherwise.” Maddah tweeted, “possibly a communication breakdown between various parties in their camp” in response.

Gibson Guitars’ philanthropic arm The Gibson Foundation have joined the Vanda & Young Songwriting Competition as a partner, donating a Les Paul Studio guitar to the major prize. Alongside $20,000 cash, the main prize is worth $50,000. Applications for the competition close Tuesday 31 May.

JACK WHITE’S LABEL GETS AUSSIE FRONT

SEYMOUR RECEIVES ANOTHER HONOUR

In Melbourne and Sydney Classic Rock increased their Monday – Friday share 4 percent and 2.6 percent respectively.

CIRQUE DU BRISBANE Brisbane alternative rock band Dead Letter Circus have announced releases for their debut album, This Is The Warning, in both American and the UK this week. The record debuted at #2 in the Australian album charts in May last year and stayed in the top 50 for three weeks. In America the band revealed that they’d signed a deal with notable punk and metal label Sumerian, whose current roster includes Stick to Your Guns and Asking Alexandria. The band’s manager Jim McKinnon told The Front Line, “We’re absolutely thrilled to announce Dead Letter Circus have signed to Sumerian Records in the USA. The team at Sumerian are hugely passionate about the band and the potential, and we’re really excited to be working with them on introducing Dead Letter Circus to the US.” The album will be released there 26 July. The band also released their album in the UK through MGM/ Proper earlier this month.

SOUNDWAVE IS INTERNATIONAL NEWS The full announcement of Soundwave Revolution, led by Van Halen and Alice Cooper, was reported internationally last week in scenes similar to that of The Cure’s announcement for Vivid LIVE. The term Soundwave Revolution was trending on Twitter during the social media-based reveal. The festival has not yet announced its locations, which are believed to differ from the Soundwave Festival’s regular locales. Back on

Jack White’s Third Man Records vinyl catalogue will be distributed in Australia via the Fuse Group Australia, it has been announced. With a record store front, all the records released through the label are produced by White. Its Nashville location has all the facilities to record and produce a record along with a photo studio and dark room for imagery. The label has long had a vinyl-only focus and although releases from Third Man’s ‘Vault’ remain available exclusively from the Nashville storefront, Fuse will “be making everything it can available to Australian stores”.

FRESHLY INKED Adelaide punk outfit Dangerous! have signed a worldwide deal with Epitaph Records, making them the first Australian artist to ever sign such a deal. The legendary punk label, founded by Bad Religion member Brett Gurewitz, signed Frenzal Rhomb to an Australianonly deal just under a decade ago and Parkway Drive are distributed under license in America. The deal, which has taken over a year and a half to finalise, is believed to have arisen after Gurewitz approached the band personally after hearing a demo. It was finalised prior to August last year when the band went to Los Angeles to record their debut album, Teenage Rampage, with Ulrich Wild, but the contracts have taken months to complete. The band’s frontman Tommy Lofts told The Front Line that the band were feeling privileged to have joined the label, considering the “industry is definitely fucking hard… [there’s] a lot of gigs that you don’t get paid for, driving 25 hours for a gig that you don’t get paid for.” The album will be released in August, but the band will be heading back to Los Angeles – and then the UK for Download Festival and “club shows” – in the coming weeks. They’ve set themselves up with international representation as well. Alongside the American label, they’ve management from Raw Power in the UK and Aloha in Australia. Bonjah have signed on with Shock for the release of their next album, Go Go Chaos, this July. The band claim to have sold over 20,000 units internationally through their own independent avenues, with their first album, Until Dawn, included in that figure. Thundamentals and Fantine have both signed with agency Niche

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Productions. Thundamentals are Niche’s sole hip hop signing and the deal appears to include the endeavours of the collective’s member’s solo projects.

LATE PARTNER FOR SONG COMP

The Seymour Centre has renamed its downstairs theatre space The Reginald Theatre after the complex’s original philanthropist Everest Reginald York Seymour. The re-launch of the space coincides with the current program The Reginald Season, which has curated works by small and emerging performance companies.

NEW HOST WANTS MORE AUS ON COMMERCIAL RADIO Frontwoman of Killing Heidi and The Verses, Ella Hooper, has been announced as the new host of the Today Network’s The Australian Top 20 radio chart show, which will be her first radio gig. Speaking to The Front Line, Hooper hoped that she would be able to buck the trend of commercial radio stations neglecting Australian content. “I think it would be fair to say that it’s under-represented,” she said of local artists. Even in the mainstream pop genres she said, “It does surprise me when it’s not supported by the commercial stations.” Today’s top 20 is decided by a mixture of the ARIA charts, listener requests through the week and “station preference”. The ARIA singles chart has made for dire reading this year, with an average of only three or four tracks featuring in the top 50 this year at any one time. Havana Brown’s We Run The Night debuted at seven last week, the first Australian artists to debut in the top ten this year. Hooper says it was likely due to a few factors but added, “Singles are the ‘hot thing’ to buy in the commercial arena.” The big international pop stars from the US and UK are part of a “singles-driven market” which local alternative or indie bands just don’t adapt to being album focused. She hoped that her show would accommodate both strains.

MOVES AND SHAKES Purple Sneakers’ Krissy Crawford is leaving the organisation after three years to pursue activities outside of the music industry. Making official a move that’s been in place since Easter, Bret Woods has announced himself as the New South Wales Press Manager for Warner Music. Channel [V] presenter Kyle Linahan is leaving the network at the end of June to embark on an “extended trip overseas.”


WHERE’S THE MONEY GOING?

THE FEDERAL BUDGET MAY HAVE BEEN HOPEFUL IF UNSPECTACULAR FOR THE ARTS SCENES, BUT IT’S THE HOPE FOR A NATIONAL ARTS POLICY THAT’S FUELLED THE FIRES OF EXPECTATION, WRITES SCOTT FITZSIMONS.

T

he music industry lobby has argued hard over the last few years for music matters to feature more prominently in the policies of our elected officials. Music’s never going to decide an election the way immigration or employment might, but the argument is that since the creative industries are enjoyed by so many and they generate such an income for the nation, the industry deserves a clear and solid policy from both state and federal governments.

It is believed that a priorities paper will be issued midyear by Crean’s office after consultation with the various industries involved across the whole creative sphere – music, theatre, film, television, arts etc. It is likely that the paper will highlight the need for the industries to adapt to and integrate with technology, a move that pundits are suggesting will be to further legitimise the Labor government’s National Broadband Network plans. This first paper will almost certainly include a link to the NBN. A member of the Australian Music Industry Network, the collection of peak music industry bodies in the various states, MusicNSW has made such a policy part of their campaign for recent elections. The organisation’s Chief Executive Eliza Sarlos welcomed the policy assurance and told The Front Line, “At the moment money is going

LINE space and financial support needed for them to simply create inspiring work.” She mirrored Sarlos in welcoming the national policy calls and in agreeing that the industry will benefit from the streamlining it’s hoped to create. Keele described it as “a really important step for Australian arts. It’s an opportunity to articulate a vision for the arts and culture for communities across the country. It’s a bit early to talk about what may or may not be in it, but we’re really looking forward to taking part in the discussions with Government as they start to progress.”

Last week’s budget has widely been reported as a ‘safe’ and/or ‘tough’ one, the type of budget the nation ‘needs’ when the world’s riddled with debt – so music was never going to feature too prominently. Amongst the couple of funding sprinklings, though, the most important thing to come from the 2011 Federal Budget may be the assurance of Arts Minister Simon Crean that he’s angling towards a national arts policy, the likes of which we haven’t seen since the Keating years. In a statement released the day of the budget announcement, Crean said, “The targeted investment in the arts in this year’s Budget lays the foundation for a crucial year where my number one priority as Arts Minister is the development of a National Cultural Policy. For the first time in nearly 20 years, we are developing an overarching strategy to harness the vast creative talents of this nation to be used across the economy at large.”

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The struggling Australian film and television industry was also a focus of the budget with a total of $56 million to be injected. The industry has suffered in attracting big budget international projects recently due to the strong Australian dollar and the incentives offered to producers from other locations.

SIMON CREAN into the Arts sector but isn’t being spent strategically.” The argument is that there is a discrepancy between arts funding for contemporary music and the more classical pursuits such as opera and orchestras. “We’re hopeful that the National Cultural Plan will develop an over-arching strategy that rids budget spends of legacy funding and invests real resources in developing Australia’s contemporary arts sector – with contemporary music as a prominent part of that sector,” said Sarlos. At the moment such plans are little more than plans and the industry will have to wait until that mid-year paper before passing judgment. The solid immediate funding granted in the budget included $1.6 million over four years to the Contemporary Music Tour Program and $10 million over five years for the Australia Council. The CMTP is designed to provide grants to artists for regional touring. Applications for the latest round of funding (Round 21) has closed and the announcement of selected artists has yet to be

announced, but the recipients of Round 20’s funding included Tin Can Radio, The Barons Of Tang, Chase The Sun and Kate Vigo & The Underground Orchestra. The budget itself read, “This program provides grants of up to $15,000 to enable professional artists to perform contemporary music in regional and remote Australia, where this would otherwise be commercially unviable.” The Australia Council received a bigger slice of the pie but it’s inclusive of all the creative spheres, something that music might need to get used to under a national policy. The Council covers Aboriginal and Torres Strait Islander art, dance, music, theatre, visual arts and community partnerships. In his statement Crean said the money will “fund up to 150 additional artistic works, presentations and fellowships.” CEO of the Australia Council Kathy Keele told The Front Line that according to their research, “lack of time, work opportunities and financial return from creative work are the major factors inhibiting artists’ careers. So these grants are an important step in providing the time,

“There are no international film productions coming up in Australia,” acting CEO of Screen Australia, which itself received $30 million, Fiona Cameron told The Front Line. “That’s not doomsayers, that’s fact. The best form of attack for that is to create a good Australian industry… and that’s what this injection goes towards doing, help boost the domestic production.” Cameron said that, “every little bit helps… in this environment it’s hard to get [funding], especially in such a tough budget.” A lot of the benefit from this budget is in adjustments of criteria for various handouts. Two of the main changes as cited by Screen Australia include the Post Digital and Visual Effects Offset, which has been raised to 30 percent, and that the Qualifying Australian Procedure Expenditure now covers a wider range of expenses, its threshold reduced. Whether this helps curb what’s been called ‘one of the worst [film and TV] industry downturns ever’ will be evident by how well the industry begins to attract international projects again. And in the music industry it will be whether the national policy eventuates and if it proves to be one that evens the funding playing field for contemporary music and the ‘classic’ arts.

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IN FROM THE COLD Dear Drum, This weather is destroying my will to live, but it’s a good way to get reacquainted with music that had slipped by the wayside in the frenzy of warmth. There is nothing as comforting as Bon Iver’s For Emma, Forever Ago when it’s freezing. Perfect winter album. Wait, it’s not even winter yet. Blast. The National’s High Violet and The Tallest Man On Earth’s The Wild Hunt – which I listened to excessively in the Swedish almost-winter of last year (seriously, I’m now comparing our weather to Scandinavia’s – I hate you universe) – are also good ones. And anything in Explosions In The Sky’s catalogue. So if anyone is hating the weather as much as I am, those – and an electric blanket/snuggie – are my recommendations for getting through the cold months and emerging with some kind of happiness. Rachel Mona Vale That’s the one good thing about winter: snuggies. – Ed

NO SONGS Dear Drum, I’m glad Australia doesn’t have anything like the Eurovision Song Contest. It seems to me that over the years it has lost any relevance to the latter part of its title. It looks like winners these days are based solely on looks or their showy spectacle on stage as opposed to any artistic merit. Granted the whole pageantry of Eurovision is probably why most of us watch it, but probably there are teenagers on YouTube putting up better quality songs. You probably remember the costumes of winners past as opposed to their actual songs these days. Then again, that’s something that’s probably true of the pop world in general – it seems like Lady Gaga’s costumes are getting more notoriety than her songs of late. Sure, countries seem to throw in the odd big name in there every now and then to try and snag a few extra votes, but it never seems to work. Usually the artist comes out looking worse for wear. Furthermore, it

FRONTLASH

MUTUAL APPRECIATION SOCIETY Iva Davies posted on Icehouse’s Facebook wall that he thanked Dan Whitford from Cut Copy for the latter’s positive comments in a recent Drum article. Glad to know we’re bringing bands together. We’d like a cut of the Icehouse/Cut Copy tour, though, if such a thing eventuates from this.

AC/DC Good on them for sticking to their principles and not allowing their tracks to be downloaded as they want them to be all as part of an album. Their attitude not changing in nearly 40 years has got them this far, so will probably keep them going a while longer.

BAND T-SHIRTS Don’t throw those bands T-shirts away once the old belly starts to protrude from out the bottom. They get a new lease of life at online auction sites, as with a rare Led Zeppelin t-shirt selling for $10,000 and a Beatles one listed for $20,000. So it might be wise not to use it to wipe the car once it’s seen better

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seems neighbouring countries just vote for their nearby buddies, hence the voting process gets predictable and rarely does one act cut through across all nations. Tammy Fairfield We, erm, voted for Jedward and we’re pretty sure our efforts are already up on textsfromlastnight.com. We thought it was funny at the time, alright? – Ed

FINDING A JOHN Dear Drum, I find it strange that Elton John isn’t performing in Sydney on his upcoming tour. Normally when a band doesn’t announce a city on a tour, it’s because the vibe is the audience may not big enough to warrant putting on a show, or there may be the tyranny of distance involved. Having lived in Perth before moving to Sydney, I know the pain of this all too well. I thought I’d left such inconveniences behind and would pretty much be able to see any of my favourite acts whenever they toured, but now Elton isn’t playing here. Admittedly travelling to the Hunter Valley isn’t as inconvenient a trip as travelling from Perth to Melbourne to see a gig (which I have done in the past), but I still would have thought he would play here – especially when I read he holds the record for most number of sold out Sydney Entertainment Centre shows, or whatever record it was. He certainly won’t have an issue selling out a show. I’m not a promoter so I have no idea how these things work, so I’m sure there’s some quick and easy answer to all this, but I’m going to buy a ticket to the Hunter Valley show and, if it gets announced, most likely a Sydney show too. Andrew Centennial Park Surely there would be some venue that’s still available in December. Imagine seeing Elton in The Basement, or maybe going the rock’n’roll angle and playing somewhere like the Annandale, Sando or Lansdowne? How awesome would that be? – Ed

BACKLASH

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NO (EURO)VISION

Once again we think the public got it wrong. How could a soppy ballad win over coneheads and unicycles?

TWO AND A HALF MEN So Aston Kutcher will replace Charlie Sheen? Sounds like the gate has been closed well and truly after the tiger blood has bolted.

PLANKING When memes go bad. The death of a man from attempted planking won’t deter people obviously. Maybe the government will do an ad campaign similar to drink driving – “If you’re a planker, you’re a bloody wanker”.

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GO ON SAFARI

London-born Sydneysider Emma Davis has been tapped to be the special guest support when American folk rocker Lissie takes to the Oxford Art Factory tonight.

Having become a firm favourite around Australia recently, the folks from Jinja Safari have had a much needed few months of rest. The Mermaids And Other Sirens Tour will pull them out of hibernation to see the band undertake its own headline tour after supporting the likes of Boy & Bear and Cloud Control, showcasing new songs from their upcoming EP. They’ve been slowly trickling out songs from that release, putting one online a month until it comes out properly in August. In fact, jump online tomorrow to hear Scarecrow, the second download that will be available from the EP. Joined by Husky, the band will play at the Northern Star on Friday 15 July and Oxford Art Factory on Saturday 16.

The Gypsy & The Cat show at the Metro Theatre Friday is completely sold out, but the good news is that the deluxe edition of their Gilgamesh album is out the same day. They also play Wollongong Uni Thursday and the Cambridge in Newcastle Saturday, but then they gear up to tour the nation opening for Kylie. Joining Alex Lloyd and the Pigram Brothers aka Mad Bastards Friday and Saturday night at Notes in Enmore are Evil J & Saint Cecilia along with actor/ musician Michael Dorman. Former Salmonella Dub frontman Tiki Taane crosses the Tasman to introduce his latest album, In The Word Of Light, and more Friday 27 May at Selina’s. Biz Markie will be joining DJ Lance and the Gabba Gang, along with special guests Art Vs Science, in the live version of hit US children’s show, Yo Gabba Gabba!, when it comes to Sydney Opera House Concert Hall Saturday 4 and Sunday 5 June. Grammy Award-winning Dutch DJ, Afrojack aka Nick van de Wall, has sold out his Friday 3 June show at Home Nightclub. When former Crass frontman Steve Ignorant presents The Last Supper, which is his official goodbye to the whole Crass back catalogue without having to do a reunion tour, he’ll be joined at Salmagundi Studios Saturday 11 June by The Rumjacks, Steppin Razor and Inebrious Bastard. Sydneysiders Shinto Katana and Melbourne’s Dream On, Dreamer will be joining American heavy hitters Emmure when they finally get to this side of the Pacific, having been forced to cancel the visit they’d planned to make back in January. They’ll all be hitting the Bald Faced Stag Sunday 12 June, the Oasis Youth Centre Wyong Tuesday 14 and Tuggeranong Youth Centre Wednesday 15. American house music star Ron Carroll will be headlining the Queen’s Birthday long weekend SHE Pool Party at Ivy Pool Club, up on Level 4, Sunday 12 June, along with special guest Richard Earnshaw, direct from the UK, from 2pm till well late. Meanwhile Ivy itself will be hosting Coming Home, featuring Dirty South, Rudy (live), Goodwill, Minx, Feenixpawl and Nordean, across the day and night. Joel Gion of the Brian Jonestown Massacre will be putting in a DJ set when Austin, Texas psych rockers The Black Angels hit the Metro Theatre Friday 1 July, hot on the heels of the release of the third album, Phosphene Dream, Friday 24 June.

REGURGITATOR

BACK OUT Regurgitator needs no introduction, having been a mainstay on the Australian music circuit for many years now. There’s new material in the pipeline and the band has also spent the last year travelling the world, playing in places as far away as Bahrain and Dubai. Of course, travelling around the world is amazing and fun, but you have to come home sometime and the band will do just that when, along with New Zealander buddy Disasteradio, they take on the Annual Sail Tour, hitting the CBD Hotel on Thursday 11 August, Wollongong Unibar on Friday 12, Manning Bar on Saturday 13 and ANU Bar on Sunday 14.

DO YOUR RESEARCH Melbourne musician Simon Gibbs, who’s participated in projects such as TTT (Tic Toc Tokyo), has a new venture. He’s called it Mountain Static and he releases his first album under that name, Research, at the end of the month via Inertia. The project takes its lead from folk and art, and the album was recorded in the last few months of 2010 in various places in Melbourne. He launches the album in Sydney at Paddington Uniting Church on Thursday 23 June.

WHAT A SCORCHER Having enjoyed a successful first year, Scorcher Fest returns in 2011 bigger and better. The event, happening Sunday 29 May at the Annandale, sees artists of all genres from Australia and New Zealand group together to offer a full day of entertainment. On the bill there’s hip hop artists Ana Nguyen and Plastic Money, metallers My Hollowed Fantasy and Century (from Adelaide), Newcastle rock bands Viagro and Jupiter Menace and The Earlybirds and Ivy Lies visiting from Auckland – and that’s just to name a few, with plenty more bands and artists rounding out the lineup.

SWEET FIFTEEN For most people 15 doesn’t sound old but for Tassie-bred, Melbourne-based band The Nation Blue, it’s come as a surprising realisation that they’ve been peddling sounds together for a decade and a half. In that time, the band has relocated, released four albums, embarked on countless tours and so much more. Come say happy birthday to the boys and buy them some birthday beers when they, along with Lo! and Firearms, pull into Hermann’s Bar on Friday 3 June and ANU Bar on Saturday 4.

ROUND TWO Melbourne singer/songwriter Jackson Mclaren has accomplished a lot in his 20 years, having supported all manner of local and international talent around the country. He now has his own EP to launch, the follow-up to his 2007 Josh Pyke-produced effort. It’s called Mirrors And Strings and was produced by John Castle, who recently received an ARIA nomination for his work on Washington’s I Believe You, Liar. With his new live band The Triple Threat, Jackson Mclaren takes to the road to launch the new EP, playing The Vanguard on Wednesday 25 May and The Brass Monkey on Thursday 26.

WAR ON THE ROAD Melbourne singer/songwriter Helen Croome, better known under her stage name Gossling, has been making waves of late, recently jumping in the van with Oh Mercy for their national tour. The indie pop songstress hits the road on her first headlining tour for the year in support of her new single, War, lifted from her current and second EP, Until Then. Supported by Ryan Meeking, she plays GoodGod on Wednesday 29 June, Beach Road Hotel on Thursday 30, Otis Bar on Friday 1 July and the Northern Star on Saturday 2.

Along with his special guest, US rapper Pitbull, Enrique Iglesias is coming to the Acer Arena Saturday 23 July as part of his Euphoria World Tour. UK drum’n’bass pioneer London Elektricity aka Tony Colman is releasing his new album, Yikes!, Friday, so you have plenty of time to get acquainted before he hits The Arthouse Saturday 29 October.

THE PAJAMA CLUB

PAJAMA PARTY Put your hand up if you love rocking out in your PJs. Oh, who just put his hand up then? Neil Finn of Crowded House and Split Enz fame? Oh, and there’s another hand! Sharon Finn, wife of the former! The two lovebirds recently started a nightly ritual of making music in their jim jams and what resulted has turned into The Pajama Club, their new band, also featuring NZ singer/songwriter Sean Donnelly and Alana Skyring, the latter best known as the cute drummer from The Grates. Ahead of the debut album becoming available in August, the band is set to play its first shows anywhere in the world in June, dropping into Oxford Art Factory on Monday 13.

THEY’RE ON FIRE Melbourne psychobilly/hard rock fusion band Fireballs, toughed up with a new and improved lineup as well as with a recent album, 2010’s Hellrider, to boot, is taking the sound that’s made them such a loved national institution on the road again. The Psychotic Music For Neurotic People Tour, which takes the band around the country, stops in at the Sando on Friday 1 July and The Patch on Saturday 2, with local lady Brigitte Handley and her band The Dark Shadows filling the support slot with their own much-loved noir tunes.

CORNERED New Zealand reggae/roots outfit Cornerstone Roots formed ten years ago and have since produced a number of albums and EPs, all of which have received acclaim from critics around the world. The latest album, Future Is Now, sees the band broaching a number of global issues, as well as personal ones, their music fusing Jamaican, New Zealand and Pacific Island soul influences to carve out a unique sound. The group’s lineup now features six members, including founders Naomi Tuao, Brian Ruawai and their 11 year old son Reiki. With Tui Sound System, they play Beach Road Hotel on Saturday.

Shockone and Over-Reactor are the special guests joining Karnivool on tour that will bring them to the ANU Bar Wednesday 15 June, Waves Thursday 16, Penrith Panthers Friday 17, UNSW Roundhouse Saturday 18 and Newcastle Panthers Sunday 19. Skipping Girl Vinegar returns to the fray with a brand new album, Keep Calm, Carry The Monkey, and launches it with a tour that pulls into the Clarendon Guesthouse Katoomba Thursday 30 June, Notes Friday 1 July and Lizotte’s Newcastle Saturday 2, all with guests Kieran Ryan and Canadian Colleen Hixenbaugh, the latter continuing on with them to Lizotte’s Kincumber Sunday 3 and the Street Theatre Canberra Friday 8. Winter Chills Festival, taking over The Croatian Club in Newcastle Saturday 11 June, has announced further additions to the lineup in Pets With Pets, Oscar & Martin, Paint Your Golden Face, K. Mason, Per Purpose, Palmists, Knee Chin, Sweet Teeth, Hopes, The Mermaids and Boatfriends. The Delta Riggs are taking their six-song Talupo Mountain Music Vol. 1 EP for a bit of a launch spin, hitting Transit Bar this Thursday, then coming to the CBD Hotel Newcastle Saturday 21 May, Waves Sunday 5 June, Old Manly Boatshed Thursday 9 and the Lansdowne Friday 10. Monique Brumby heads up the Hume to launch her new single, Underground, Saturday on the top floor of Stonewall on Oxford Street, Surry Hills. Perth’s Felicity Groom has been invited to open for Eskimo Joe on their latest national tour, so she gets to perform with them Saturday 28 May at The Gaelic. Showcasing their debut EP, Naked, and more, Melbourne’s [Me] come to Tone Friday 10 June. Melburnian folk rockers Husky are heading up the Hume to join Tin Sparrow and The Falls Saturday 11 June at the Kings Cross Hotel. Melbourne hip hop artist llly has added a night at Waves at the Towradgi Beach Hotel Sunday 12 June to his national The Chase Tour, which includes his joining the Come Together festival under the Big Top in Luna Park the night before, Saturday 11. • 26• THE DRUM MEDIA 17 MAY 2011

NO USE FOR A NAME

WHAT’S MY NAME? Californian punks No Use For A Name, now with a fancy new lineup, return to Australia in July and August, bringing their catalogue, which spans over two decades and nine studio albums, for shows that will surely be a treat. Lagwagon’s Chris Rest has joined the band as a guitarist and Boz Rivera, of Mad Caddies fame, is now hitting the skins. The band has not released a new album since 2008, but you can nonetheless expect a flogging of all sorts of tracks from across its varied career. The Sick Of Being At Home Tour pulls into the Cambridge Hotel on Wednesday 27 July and Wollongong Unibar on Thursday 28 before joining up with Frenzal Rhomb at ANU Bar on Friday 29, and then completes its run at the Annandale on Sunday 7 August.

SWEET AS SUGAR Newcastle rock quartet The Owls has a new single for you to enjoy. It’s called Sugarcane and follows the release of their debut self-titled EP in September 2010, which received a whole lotta love from the likes of triple j. The band will play Oxford Art Factory on Friday 27 May, the Great Northern Newcastle on Saturday 11 June and The Gaelic on Saturday 6 August.

SOUND OF MELBOURNE Hailing from the windy city south of us, Melbourne, Ali MC & New Dub City Sound is set to release its debut album, Home, mashing up the best parts of dub, reggae, hip hop and trip hop, on 10 June. A release is never complete without a live show heralding its arrival, so the collective makes its way to the Beach Road Hotel on Thursday 2 June for a free gig, showcasing the new record.

AVENGED SEVENFOLD

SEVEN AND SEVEN TY SEGALL

BYE BREAD, HI SYDNEY Prolific San Franciscan lo-fi musician Ty Segall is only 23 years old but already has a heap of albums to his credit, including four solo CDs since 2008 and three with his former band The Epsilons, as well as with Thee Oh Sees and Sic Alps. His new album, Goodbye Bread – the follow-up to last year’s Melted – is set for release through Popfrenzy on June 24, and Segall will make his debut Australian appearances during a tour the following month. He plays one show only in our parts, at GoodGod on Friday 8 July.

GET FUNKY Hip hop legend Del The Funky Homosapien, who’s lent his skills to groups such as Hieroglyphics, Gorillaz and Deltron 3030, is set to make his return to Australian shores after an absence of almost two decades. The latest release from Del is Golden Era, a three-CD set comprising ten new tracks and two albums that have never been physically released. Performing songs from across his career, and with buddy Bukue One taking the support slot, Del The Homosapien plays Oxford Art Factory on Sunday 24 July.

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The five guys who make up Californian metalcore band Avenged Sevenfold have been plugging away since 1999, making ferocious music that’s seen them gain masses of fans all around the world. The death of longtime drummer Jimmy “The Rev” Sullivan inevitably affected all members in the way they made music, shaping the direction of fifth album, Nightmare, released last year. It’s been a few years since their last visit but the band has announced an Australian tour, bringing buddies and recent Soundwavers Sevendust along for the ride. Tickets go on sale 9am Thursday 26 May for the show at Sydney Entertainment Centre Saturday 30 July.

WHICHWAY TO GO Whichway is MusicNSW’s initiative for Aboriginal and Torres Strait Islander music, a program that bridges the gap between the Indigenous music industry and the wider Australian music industry. 2011’s launch takes place on Wednesday 1 June, featuring the talents of Ngaratya, PJ Gordon and Daniel Stockley, all of whom worked within the Whichway program last year to hone their skills and ended up producing EPs. Ngaratya is a folk duo made up of sisters Emily and Alicia Johnson, aged 17 and 18 respectively, PJ Gordon is a country music singer/songwriter and Daniel Stockley makes roots music firmly reflective of his Aboriginal heritage. The lineup for the night is rounded out by established Indigenous roots band and past Whichway participants Stiff Gins.


THE DRUM MEDIA 17 MAY 2011 • 27 •


NEWS@DRUMMEDIA.COM.AU

THE FALLING JOYS

JOYS ARE BACK Canberra rockers The Falling Joys started playing music together in 1985, but disbanded in the mid-‘90s. Around a decade and a half later, in February this year, the group got back together and played a show at the National Museum of Australia in Canberra, and apparently it’s gone so well that they’re heading up our way with all the old tunes in the bag. Friday 10 June is the date, Oxford Art Factory is the place, and buddies The MoMos and Nic Dalton & His Gloomchasers join in the fun.

NEON INDIAN

NOT VERY POLITE British ska band Bad Manners is visiting Australia again for the first time in over a decade. Bringing with them hits like My Girl Lollipop, Lip Up Fatty and Walking In The Sunshine, the Buster Bloodvessel-fronted band – which is widely regarded as one of the best bands to emerge from the English 2 Tone scene – will play a string of intimate shows around the country next month, supported by Backy Skank and Uptown Ranking DJs at the Annandale on Saturday 18 June.

MAKE A DIFFERENCE Raising money for the Water Gives Life charity, which provides clean, fresh water to those less fortunate than us in villages in Swaziland, Africa, is a gig happening at 505 on Saturday 4 June. All proceeds from the show – and from the auctions that will happen on the night – will go directly to the charity, so that you will be making a significant difference in someone’s life. Live music will be provided by award nominated singer/songwriters Jasmine & Kaija, who blend acoustic guitar and cello with warm vocal harmonies along with their bandmates Damian Gibbins and James Walsh on electric guitar and bass respectively. Frank Sultana, influenced by the blues scenes of both the ‘30s and ‘60s, and his band will also appear on the evening.

NOT GOING ANYWHERE Local groovers Contraban release their new EP, Here To Stay, next month and return to Sydney to launch it and show off the new songs. Supports on the night, Friday 3 June at Notes, include surf punk trio The Electric Vogues, as well as The Static Silhouettes, fresh off the release of their self-titled debut EP, and rockers Mad Charlie.

HIDE AND SEEK

They were virtually an unknown name when they were announced for Splendour In The Grass, but the identity of Seeker Lover Keeper emerged, everything became clear. In case you’re behind the ball, the brand new group is made up of three of Australia’s best loved female musicians – Sally Seltmann, Sarah Blasko and Holly Throsby – and their debut album, recorded in New York, is set for release early next month. They will embark on their first tour together over the month of July, culminating in their Splendour appearance. They play the Heritage Hotel on Wednesday 6 and Thursday 7 July, the Factory Theatre on Friday 8, Lizotte’s Dee Why on Monday 11 and Lizotte’s Newcastle on Thursday 14, all with Toby Martin, and Clarendon Guesthouse on Monday 18 and Tuesday 19 with Tiny Ruins.

SCREAM LIKE A BANSHEE

Brisbane-based quartet The Medics is set to embark on its first headline tour, showcasing material from the upcoming album. These dates provide a rare opportunity to see the band play a full live show, as its members have been busy locked away working on new material in their busiest year yet. Around the time of the tour, a digital release, including tracks Rust and Beggars, will be available. With The Honey Month and Babaganouj, The Medics play The Gaelic on Thursday 23 June.

JAZZY JUNE

NEW TECHNOLOGIES The Devolved Technologies Show consists of five original Devolved members playing songs from Technologies, the band’s #1 Australian metal album from 2001. Though Devolved is still a working entity, now based in the US, this is a gathering of its past members to remember the glory of that album, with drummer Todd Hansen, of The Berzerker, joining for skins duties. They’ll be joined by Gold Coasters Widow The Sea on all dates, as well as local supports – at The Gaelic on Saturday 4 June that’s Ignite The Ibex and at the Lucky Australian on Sunday 5 that’s Absolution and Katabasis.

PANDA PLAYS Perth indie popsters The Panda Band has been a much-loved group in Australia since 2005, with the successful single, Sleepy Little Deathtoll Town, voted in that year at #73 on the triple j Hottest 100. It’s now 2011 and the band has a new album, Charisma Weapon, due out in July. The record, mixed by ARIA winning producer Magoo (Regurgitator, Operator Please, Midnight Oil), is the band’s second, and will be released on their own Bam*Boo record label. The band is giving away a track from the album, The Fix, for free through its BandCamp page. Hear the new songs in action at Rock Lily on Saturday 4 June. • 28 • THE DRUM MEDIA 17 MAY 2011

After a successful album launch at the venue recently, Sydney band The Art returns to the Annandale on Friday 10 June for an encore show. The album, Here Comes The War, was the catalyst for a sold-out show that was part of a four-state tour. The band has previously supported big names like Pixies and 30 Seconds To Mars, and the record debuted at #15 on the ARIA Australian Album chart. Supported by Creo, Stone Parade and Jack Nasty Face, this intimate show will be followed by a major headline tour later in the year.

DOCTOR, DOCTOR

The self-titled EP from Brisbane dance punks Teleprompter is finally ready for release, coinciding with the band taking the tunes around the country in the coming months. Teleprompter has seen a successful last 12 months, playing festivals and receiving regular triple j love for their last release, Boxcutter. The band’s latest single, Banshee, is one of five tracks on the EP, which is released 30 May. Catch Teleprompter’s energetic live set at GoodGod on Thursday 9 June.

The Basement Circular Quay has a big old jazzy month planned for June, bringing artists from all around the world to the venue and the people. If you were reading past Drum issues carefully you’ll know that the gigs from Ron Carter Trio, Jason Moran & The Bandwagon and Pascal Schumacher Quartet have already been announced, but there are a bunch more to sate all your jazz-loving needs. Australian jazz fusion band The Gapp Project plays Wednesday 8 June and the next night, Thursday 9, sees Jane Badler team up with Paul Grabowsky. Saxophonist Stephen O’Connell takes over on Thursday 16, and much-loved Australian funk band Watussi plays Friday 17. Nineteen-piece band The Velvet Set presents Swingin’ At The Savoy on Saturday 18, and the month finishes Sunday 19 with a performance from British a cappella group The Magnets.

THE ART OF ANNANDALE

TEAM UNICORN

ROLL ON

THE GROWL

SO FIERCE Perth garage band The Growl has announced a run of national tour dates to support its recently released debut EP, Cleaver Lever. In the band’s short existence, its members have enjoyed supporting big WA names and played at festivals in the state, as well as had their tracks spun frequently on community radio. The group has also been nominated for Favourite Newcomer, Best Drummer and Most Promising New Act at the 2011 WAMi Awards. They play Wednesday 25 May at Beach Road Hotel with Violent Soho and Jaime Robbie Reyne, Thursday 26 at the Lansdowne Hotel with The Earlybirds, Friday 27 at The Gaelic with Rufus & Jimmy Hawk and The Endless Party and Saturday 28 at Oxford Art Factory for SOSUEME’s birthday bash alongside the likes of Parades and Guineafowl.

THE EARLY BIRD Melbourne’s Eagle & The Worm is gearing up to release the much awaited debut album, GoodTimes, which hits shelves early June. The band’s new single, Too Young, is available digitally from this Friday. The eight-piece band has only been around for a couple of years but is already becoming a favourite, having supported a number of national stars across the country. They take the stage at Oxford Art Factory’s Gallery Bar on Saturday 4 June.

IT’S A SHOWDOWN The Annandale hosts the first Showdown At The Annandale event on Saturday 11 June, with eleven acts spread across two stages bringing the good stuff from Sydney and beyond to you. The lineup features up and coming names like Melody Black, Self Is A Seed, Engine Three Seven, Geminine, The Dead Love, Red Remedy, Marlow, Dumbsaint, Beggars Orchestra, Kaleeko and The Wire. For tickets and more information, hit up the Annandale website.

The second roller derby bout at Sydney Olympic Park happens on Saturday 4 June, with Team Unicorn (pictured) and The Beauty School Knockouts going head to head for the first time and Screaming Assault Sirens taking on Western Sydney Rollers in a minibout. Come along if you like watching ladies with a hell of a lot of attitude do their thang.

SWING OR ROCK BY Swing and rockabilly get together to find out which genre is the best at the Swing Vs Rockabilly event happening at the Factory Theatre on Saturday 16 July. Over two stages, bands from both genres will go head to head, spearheaded by swing’s The Velvet Set and rockabilly’s The Pat Capocci Combo. Other bands performing include The Hollywood Hombres, The Twilight Rhythm Boys, Satellite V, The Creepers, The Flattrakkers and The Drey Rollan Band. The event is judged by DJs Limpin’ Jimmy & The Swingin’ Kitten, who will also be spinning tracks, and for those who don’t want to spend all day watching live music, there’ll also be hair and make-up parlours, tattoo stands and a photo booth.

25 YEARS OF DIESEL Diesel is celebrating 25 years in the biz in 2011. The band originally formed in Perth under the name Johnny Diesel & The Injectors, making waves in their home city and quickly garnering a national following. Since those days, the band has been whittled down to frontman Mark Lizotte, who performs as Diesel, and has sold over 800,000 albums over the years. He has a new album, Under The Influence, out in July and an extensive national tour to follow. He plays Vault 146 Friday 29 July, The Brass Monkey Thursday 4 August, The Basement Circular Quay Friday 26 and Saturday 27, Clarendon Guesthouse Friday 2 September, Milton Theatre Saturday 3, Canberra Southern Cross Club Friday 9, Rooty Hill RSL Saturday 10, The Brass Monkey Friday 21 October, Saturday 22 and Sunday 23.

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TIM ROGERS

BIRTHDAY BASH The Annandale celebrates 11 years in the biz in 2011, and just as it should be with birthdays, it’s having a little party to mark its coming of age. Especially considering the hotel’s impending sale, it’s as good an excuse as any to come down and have a beer or two while listening to some great music. From Thursday 23 June to Sunday 3 July, the Annandale will see a string of fabulous artists take the stage – Thursday 23 sees Tim Rogers (pictured) play solo, Friday 24 sees Papa Vs Pretty launch their much-awaited debut album and Saturday 25 it’s Wagons’ turn to heat up the joint. There’s also the already announced Blood Sweat & Beers festival happening over that final weekend. Get down there to support an important local venue.

BACK IN THE BIZ With over 25 years of expertise to share, hip hop champion Biz Markie is bringing his beats to Australia for the first time. He’s collaborated with all manner of artists and also released a swag of popular albums off his own back, including a top ten single in Just A Friend. He ran into some trouble over an uncleared sample on his third album, I Need A Haircut, in 1991 and stayed out of the limelight for close to a decade, spending that time working with the Beastie Boys. So now he’s back and you can see him! Exciting. Aside from his appearances with Yo Gabba Gabba for Vivid, he has a sideshow, Thursday 9 June at Oxford Art Factory.


THE DRUM MEDIA 17 MAY 2011 • 29 •


HAIL THE REV Lovers of rock and roll, gospel and the blues will have their prayers answered when Reverend Beat Man and Delaney Davidson come to town together in July. Hailing from Switzerland, Reverend Beat Man is the founder of the influential Swiss record label Voodoo Rhythm Records and the leader of cult band The Monsters, and is also regarded as one of the most important figures in the contemporary garage rock movement. Delaney Davidson comes from a little closer to home, from New Zealand, and joins Reverend Beat Man at The Vanguard on Saturday 23 July. Tickets are on sale Monday.

ON THE BLACKLIST

TELEVISE THIS

What was supposed to be a mini-version of Soundwave has evolved into something just as big as the original festival. The full Soundwave Revolution lineup is upon us and it is massive! Headlining bands include Van Halen (with David Lee Roth - pictured), Alice Cooper, Bad Religion, Machine Head, Hole and Danzig, joining acts such as Kevin Devine, Panic! At The Disco, The Pretty Reckless, The Used, Sum 41, Thursday, Yellowcard, Dashboard Confessional, All Time Low, Devin Townsend, The Damned Things, Every Time I Die, Make Do And Mend and heaps (no seriously, heaps) more. The Sydney event is happening Sunday 25 September at a venue that’s yet to be confirmed and tickets for Soundwave members are available from 9am next Wednesday 25 May. For the rest of us, Thursday 2 June is the sale date, 9am sharp from either Soundwave Revolution’s website or Ticketek.

Black List has made its new home at Club 77 and the first night there happens Friday 3 June, with cheaper drinks and later closing times for all those rockers waiting for a chance to rage well into the night. Bands appearing on the night include Sydney-bred, London-based outfit Tres Calaveras and Swingtanicsextet, and keeping the tracks pumping through the night are DJs Caterwaul (Ascension), Seccers, Rach Hell and a host of house DJs. Add Noir Notoire and Cleo for burlesque and pole respectively, and roller derby team The D’Viants, and you have a hell of a night.

CALL ME SMITH Hailing from the Gold Coast, world music purveyors A French Butler Called Smith have delivered their high-energy Latin/funk/ instrumental fusion tunes to audiences around Australia for the past two years. The band now has new members who have lifted the already huge sound to new heights, especially as seen at their recent Bluesfest performances. They’ve been working on their new album, set to be released later this year, but first they’ll launch their new single, Driving Home, at the Macquarie Hotel on Saturday 28 May.

3THINGS TO CHANGE WORLD

46)7)287

Oxfam Australia’s 3things brings you Hip Hop Approach, an event aimed at the best rappers, beatboxers, DJs and VJs in Australia, to create a fun day of music, hosted by Kween G (KillaQueenz) and VJ Spook, that also has a social conscience. The acts featured – Ozi Batla, Dialectrix (with Joe New and Plutonic Lab), Tuka, The Last Kinection, DJ Gabriel Clouston and beatboxers Rivals and LC Beats – will all talk and jam about the three things they can do which will change the world for the better. All proceeds for the show will go back to Oxfam Australia. The event happens at Oxford Art Factory on Thursday 30 June.

STEEL ROCKING They first came to Australia in 2007 and were met with strong reactions from audiences here, and Steely Dan’s return to our shores in October should incite just as enthusiastic a response, especially considering that British vocalist Steve Winwood is coming along for the ride, his first visit here in over two decades. Both artists have won multiple Grammy awards for their work, which has been respected in musical circles for many years. Steely Dan will be backed by the eight-piece Miles High Big Band and trio The Embassy Brats. The shows happen Saturday 22 October at Bimbadgen Winery in the Hunter Valley and Tuesday 25 at the Sydney Entertainment Centre. Tickets are on sale Monday.

Channel [V]’s next Guerilla Gig returns to Sydney Thursday, but they’re not telling us who will be doing the honours, just that “It’s a massive Aussie rock band who are about to release another album early June.” Okay, as always, it’s a free gig but the only way to get invited is to check into vmusic.com.au or the [V] Music Facebook page, so check it out.

a new band featuring Neil and Sharon Finn

Award-winning video-art pioneer Chris Cunningham, who has made clips for acts as diverse as Aphex Twin and Bjork, has added a second performance to his visit to Sydney as part of this year’s Vivid LIVE program, 5pm Sunday 5 June, his 8.30pm performance having sold out. The unstoppable Bonjah has signed to Shock Entertainment, which will release their second album, Go Go Chaos, in July. Sonic Youth’s Thurston Moore releases his fourth solo album, Demolished Thoughts, produced by Beck no less, Friday.

MONDAY 13 JUNE

OXFORD ART FACTORY

Friday sees the release of the debut album, Burning Bush Supper Club, from Brooklyn four-piece Bear Hands, whose recent US single, High Society, made them one of the few punk bands ever to land a Top 5 place on the Billboard Dance Singles Chart.

+ SPECIAL GUESTS

UK drum’n’bass DJ, producer and musician Danny Byrd releases his latest album, Rave Digger, Friday.

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Melbourne’s Big Scary frontman Tom Iansek has just released his debut solo album, Man Of Leisure, under the moniker Dads. You might not have heard of Parisienne duo Discodeine, who release their self-titled debut album Monday, but you’ll recognise the singer featured on the first single, Synchronize – Jarvis Cocker.

WWW.PAJAMACLUBMUSIC.COM

Texan psych-punk rockers White Denim release their fourth album, titled simply D, Friday 27 May. Friday 27 May sees the release of a remastered and expanded 30th anniversary edition of the debut album, Beauty And The Beat, from Californian all-girl group The Go-Go’s. With song titles like Don’t Sit Down ‘Cause I’ve Moved Your Chair and Love Is A Laserquest, Arctic Monkeys release their fourth album, Suck It And See, Friday 3 June.

• 30 • THE DRUM MEDIA 17 MAY 2011

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THE DRUM MEDIA 17 MAY 2011 • 31 •


TRIAL KENNEDY HAS A NEW LEASE ON LIFE. SINGER TIM MORRISON TELLS DANIELLE O’DONOHUE WHY.

TRIAL

S

pending over ten years in a band together is a pretty hard bond to replace, but when Trial Kennedy bassist Aaron Malcolmson left the band in the wake of their hectic debut album tour schedule, the three musicians left in the Melbourne band – vocalist Tim Morrison, guitarist Stacey Gray and drummer Shaun Gionis – were faced with that exact prospect. Never a band to rush things – their debut album New Manic Art came out almost ten years after the band first got together as 17-year-old high school friends – choosing a new band member could’ve become a long and arduous process. Or they could do what they’d done when the band initially started and find another old friend and get them on board. “Thankfully and luckily for us we knew Richie [Buxton],” lead singer Morrison explains of the band’s newest member. “We’d known Richie for a long time. We’d known each other from playing in bands and through mutual friends. We highly respected Richie as a musician and as a person. He’s always been a supreme human and he is a fucking amazing bass player.”

But knowing Buxton and having him join the band were two entirely different concepts, and Morrison says it took a while for the obvious to make itself apparent to both parties. “When we first started thinking about new bass players, he was not even in our thoughts because we thought he would never go for it and he was in another band. He was basically a session muso because he was that good, so we didn’t even think about it. “He found out that Aaron left through a mutual friend bringing it up in conversation. He never sort of asked because he was probably too embarrassed and we didn’t ask him because we were too embarrassed. It was exactly like a bad prom date. You’re looking at her, she’s looking at you and you’re like, ‘Nah, there’s no way she’s going to go for me. This is not going to happen’. Then five years later you’ve got bloody babies.” Buxton started putting feelers out, with the band doing the same, until a lunch meeting over a couple of beers. Suddenly Buxton was in the band. “We had a really loosely based idea of what we wanted to do and where we wanted to go if he was to join forces with us and he was really excited. We had a pretty clear view of where he stood in the band. He was great. He was very upfront about everything and very mature in the way he presented himself to Trial Kennedy away from being our mate, which I respected.” Writing for the band’s second album was done without a record company on board. Sony had put out New Manic Art but had ended the relationship. Now the band is proudly independent and new album Living Undesigned is being released through MGM. • 32 • THE DRUM MEDIA 17 MAY 2011

Releasing music independently isn’t an entirely new concept for the band. In the almost decade before Trial Kennedy released their debut album, they’d already released two EPs and a split with Melbourne posthardcore rockers Horsell Common on indie Helltrack Records. EPs Present For A Day, Picture Frame and split The Birds And The Bees introduced the band’s soaring rock sound and built a fanbase for Trial Kennedy long before they signed and were released from their contract with Sony. But even with a new bass player and a fresh outlook, the band has had to overcome recent obstacles. Buxton’s full time job initially didn’t allow for a whole lot of rehearsal and writing time.

It just came to us like it was a new band. It was like, ‘Holy crap, where did this come from?’

“We knew that was going to be a difficult process when he had a high, demanding job,” Morrison says. “The three of us [Morrison, Gray and Gionis] were writing, but Richie just couldn’t come and rehearse. Writing songs without bass parts is pretty hard. But then things shifted. His work was a little more lenient and he got a little bit more time off and it was great. We just put our heads down and we couldn’t get together much, but the times that we were together we were literally writing a song a day. “It just came to us like it was a new band. It was like, ‘Holy crap, where did this come from?’ I think it was quite surprising and shocking to everyone. I think it really exceeded all of our own expectations as individuals and a collaboration. It was crazy. There’s a whole memory of writing now that was swift and organic. It’s a memory that I can’t even fathom anymore because it was just so good. It happened so quickly. I wish every frickin’ record was like that.” But Buxton’s high demanding job wasn’t the only reason album number two took longer than fans would’ve liked. During the writing process last year, Morrison had to take time out to have heart surgery and recover from an accident that left him a little worse for wear. Falling off a ladder at work put him out of action for a while and resulted in the singer getting staples in his head, but while his band members are happy to give their lead singer plenty of ribbing in interviews about how careful

AND ERROR they have to be of their buddy, Morrison himself would much rather talk about the band, though he is happy to report that a year on from both incidents he is fit and healthy and is a lot more careful on ladders. And once Morrison had recovered it was all systems go on Living Undesigned. Trial Kennedy has always been a band to craft songs and work with them in the writing process until they’re just right before taking them into the studio, and this time the process was no different. “We’ve never been a Living End kind of band that writes 80 songs and culls them down to 25 and then the producer culls them down to 15. I don’t know if it’s because we couldn’t be that band. There’s nothing wrong with it. But we don’t see the purpose or the need in writing 80 songs and culling them when you’re only going to use ten anyway. We were really clear minded about what we wanted for this record. And I think that’s why. We walked in there with ten songs and not a song more.” Originally working with US producer Eric J (Weezer, Art Vs Science), the band ended up scrapping its sessions with him and returning to the first choice of producer Haydn Buxton, Richie’s brother. “We actually did go to Haydn to produce the record first up. He was our first choice but he had demands of other work that he couldn’t start for like a month or so and we really had to get the record moving. But [Eric J] didn’t work out for reasons I don’t wish to put in print, so we ended up using Haydn anyway. Unfortunately you don’t know these things at the time.

“It’s the same record but it’s sounding completely different. It is the same songs but sonically… The way it is now that you hear and the way I hear it, it did not sound that way. Working with Haydn sort of gives us that ‘if it ain’t broke don’t fix it’ vibe. He was a great guy to work with. And now we know he is, I think he’d definitely be working with us in the future. Absolutely.” Morrison admits that you probably won’t see Trial Kennedy back at a major record label anytime soon. “Everyone around us is doing a good enough job without a label. And that’s no disrespect to record labels. Sony were our record label and they have great people working internally, but there’s not a huge demand or need for record labels anymore. It’s just the sad truth. So there you go.” Now about to head out on the road for their second national tour in as many months, Trial Kennedy version two is settling back into life as a touring band. But even an 18 month gap between national tours wasn’t enough for the band to get out of the habit. “We got back into it pretty quickly. I guess too because we have toured for so many years,” Morrison says. “We’re not young whippersnappers anymore.” WHO Trial Kennedy WHAT Living Undesigned (MGM) WHEN & WHERE Thursday, City Diggers; Friday, Cambridge Hotel; Saturday, Annandale Hotel

FROM BIG THINGS LITTLE THINGS GROW

Trial Kennedy certainly isn’t the first band to go from a major label to an indie. These days plenty of bands left without a record deal are returning to the kinds of labels where they started out.

The Living End – After four albums through EMI, the act with the reputation of Australia’s best live rock band found itself signing to Brisbane indie Dew Process, home to the likes of Sarah Blasko, Bernard Fanning and The Grates. The band’s first album with the label, White Noise, may just have missed the top spot on the ARIA chart on debut (kept off by the Mamma Mia soundtrack of all things), but the platinum seller was definitely a hit. You Am I – Spending most of their career on BMG (either directly or via subsidiary RooArt), You Am I produced a couple of albums for Virgin/EMI before last year releasing their ninth album on new label Other Tongues. The selftitled effort debuted at 18 on the album chart, only a couple of places lower than previous effort Dilettantes. Thursday – Heading further afield, these New Jersey rockers were snapped up by Island Records when it was obvious post-hardcore was the hot new thing ten years ago. After their relationship with the label soured, a split EP with Japanese band Envy was released on a boutique label the band had long admired, Temporary Residence, and then the band announced it was signing with legendary punk indie Epitaph. The two albums the band has released on Epitaph – Common Existence and latest No Devolucion – have been acclaimed as visceral and scorching examples of their genre.

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THE DRUM MEDIA 17 MAY 2011 • 33 •


ORDINARY PEOPLE

DESPITE THE MULTITUDE OF SUCCESSFUL WORLD TOURS, THERE’S NO PLACE LIKE HOME FOR BYRON BAY’S METALCORE SUPERSTARS PARKWAY DRIVE. BRENDAN CRABB FOLLOWS FRONTMAN WINSTON MCCALL DOWN THE YELLOW BRICK ROAD.

doing nine to five. You’re playing amazing shows and travelling. It can be tough, but to put it in perspective, it doesn’t feel like a hard day’s work at all.” The morning of the day Drum’s conversation took place, the video for new track, Karma, was officially released online. Set on Dolphins Beach, Byron Bay, the clip presents Parkway Drive in their absolute element, a place where heavy riffs meet the serenity of the shoreline and hardcore breakdowns mesh with offshore breaks. It features the band – all of whom are known to be passionate surfing enthusiasts – performing on the beach and also on their boards, mastering both surf tricks and heavy music.

A

lthough they have spent significant chunks of the past six years touring the world – and winning a major international following in the process – an Australian tour is still one very special event within the Parkway Drive camp. A vital fixture of each jaunt to these shores is a hometown show. It’s much like any homecoming… if your house was filled with a manic group of punters decked out in board shorts, singlets and metal shirts crowd surfing, stage diving and hardcore dancing from every direction. “If you want to see some of our craziest shows, come to Byron,” Parkway Drive vocalist Winston McCall laughs, speaking from the very town he describes so lovingly, at the time enjoying a break before a UK tour with Bring Me The Horizon. “It’s pretty much the only place we play without a crowd barrier. It’s like anything goes. It’s hard, because you have to try and play, but it can also be hard to get out of the way of everyone stage-diving. It’s ridiculous, but it’s so, so much fun. It’s a thousand people on a basketball court with no security. It’s absolute mayhem.” It’s that modus operandi, of having fun, that drives every aspect of Parkway Drive’s activities. Now in the enviable position of being able to select almost any metal or hardcore band throughout the world to support them here, the quintet took a different approach to the upcoming Mix ‘N’ Mash tour. Featuring eclectic Ohio up-and-comers Miss May I, American pop/punk act The Wonder Years and Aussie hardcore favourites Confession, it combines friends of the band with a diverse bill of acts. When Drum suggests there are few things more tiresome than a multi-band gig solely featuring derivative, soundalike metal acts, McCall quickly leaps in to agree. “That was exactly our outlook. But we didn’t

When it’s jokingly suggested this is taking their ethos of having fun with everything band-related almost too far, McCall laughs. “Not many bands have that connection with the beach and can actually surf without any stunt doubles or crap acting. It’s definitely not a metal video clip; it’s definitely us, though.” know if anyone else figured the same. We grew up on those shows and we appreciated that, a bit of everything. You may not be able to mosh your head off to the whole thing, but it’s a chance for a breather. It’s covering a lot of ground. I’m not sure how it will work out with the order [of bands]. People can destroy each other and hopefully appreciate what the more melodic bands have to offer.” Has the band ever considered performing an album – such as latest disc, concept record and ARIA Awardwinning (in the inaugural “Best Hard Rock/Heavy Metal Album” category) release, Deep Blue – from start to finish live? Doing such things has become decidedly trendy for bands with albums both new and old. “I’ve never really considered it. I’ve never really thought of it until you just mentioned it,” the vocalist laughs. “It could be something to think about. The problem for us is the kids are so attached to the old stuff I’d hate to deny them that – and I love playing those songs as well. I’m not sure we have the self-discipline to do it either,” he adds, laughing again. “The new stuff goes over really well live though, better than we could have anticipated. The crowds are so into it. We’ve only played half of the new record; [there are] so many we’re yet to play live.”

The upcoming Australian jaunt will also be the first events filmed for the band’s next DVD, the follow-up to the entertaining and informative (not to mention mega-selling) The DVD, released two years ago. The first release documented their rise from their hometown’s almost nonexistent hardcore scene to world-conquering heroes. “It’s not so much a sequel to the last DVD, but we’re going to film about a year of the band’s existence. We loved the last one, but that was six years of existence crammed into an hour and a half. We’re going to try and go a bit more in-depth. We’ll be trying to encapsulate what it’s like in this band and the world people have kind of created for us. If people weren’t supporting us and coming to the shows, we’d still be five guys in Byron. It’s become bigger than ourselves and that’s a wonderful thing. We’re simply a soundtrack to what people have taken on board,” he says with trademark humility. “We just make the music, get on stage and do what we do and the people take over from there. They give it meaning.” This profile piece will include looking at the day-to-day rigours and triumphs of being an internationally touring outfit. “Being away is a thrill in itself. It’s not like you’re

Besides, in the internet and social networking age, video clips don’t really have the same impact as decades past, when a few spins on MTV could spell a major spike in interest and sales. “Exactly,” McCall says. “We’re not going to sell millions of records or have a smash hit single off the back of a video. So we just said, ‘Let’s get our friends to do it – something that will get a smile from people and so we can have an excuse to surf.’ It’s pretty much the opposite to the Sleepwalker video. We could be trying to portray ourselves as hard-arse metal guys, but we’re not.” His next comments capture a large aspect of their ongoing appeal to the masses. “We’re just regular guys; people like that,” McCall suggests. “I think people can relate to it and I think the DVD worked in that it showed who we are – ordinary people in an extraordinary situation.” WHO Parkway Drive WHEN & WHERE Friday, Hordern Pavilion; Saturday, Newcastle Panthers; Sunday, WIN Entertainment Centre

thurs day 19 May

NEW WEIRD AUSTRALIA

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THE SOUND OF YOUNG CANBERRA

& OCTOPUS PI

fri s

t en

CLUB FUTURE BEAT

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satur

GHOSTWOOD

8pm $8 pre $12 door

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day 20 May 8pm $5 FBi Supporters $10 Regular

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THE DRUM MEDIA 17 MAY 2011 • 35 •


WANDERING TIME

AFTER A BUSY SUMMER ON THE FESTIVAL CIRCUIT, GYPSY & THE CAT EMBARKS ON THEIR FIRST SOLO NATIONAL TOUR. TROY MUTTON TALKS RECORD LABELS AND KYLIE MINOGUE WITH ONE HALF OF THE MELBOURNE DUO, XAVIER BACASH.

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t’s hard to believe that just over a year ago, a little track called Jona Vark filtered through the triple j airwaves and into the nation’s collective consciousness, its dreamy, ‘80s-inspired synth-pop and catchy chorus sinking its nails into a growing fondness for nu-disco delights. Fast forward to November last year and young Melbourne duo Xavier Bacash and Lionel Towers (they chose Gypsy & The Cat from a child’s fable) released a fully realised, critically adored debut album in Gilgamesh, which would be home to an impressive three tracks in triple j’s 2010 Hottest 100 poll. It seems a little weird, then, that their first national tour off their own back would be to launch Jona Vark as a single. “Yeah, I had a discussion with the manager about it today actually,” relays a rather relaxed-sounding Bacash. “It’s just weird hearing it on the radio now. I said to him. I really wanna go on to another single quickly just because I feel like... For too long that’s been the linchpin of our sound; that people think that’s what we sound like. “But in retrospect we don’t sound anything like that anymore. It was a rare moment in the album where we sound like that, but most of it’s very Bee Gees slash Coldplay electronically.” It’s a sound Bacash and Towers are pretty excited to explore further, with very early-stage thoughts given towards album number two, especially now they’ve finished piecing together their own studio. “Yeah, [the studio is] all done... yeah, trying to get back into the swing of writing again because it’s really difficult. I’ve been really scared to start writing again because it’s been a year and a half and so I was really petrified about it,” admits Bacash, who does the bulk of the songwriting. As the conversation continues it becomes quite clear that Bacash and Towers enjoy the creative process on their own terms. and that wherever they can limit any outside influences, they do. “We hate people in the room with us. We’d never be the type of band where our record label would take us into a big studio and have a producer and an engineer there and work through songs together. That’s not how we work.” You can’t really fault them either – the duo had Gilgamesh basically finished before they showed any labels and look how that’s turned out. “It’s just really good when you walk in, like what we did last time, with a finished album saying, ‘This is it, take it or leave it.’” It’s a pretty ballsy move that has paid off with the album peaking at number 15 on the ARIA charts and number two on iTunes. and discussion continues towards Bacash’s distaste for outside influences. “It’s just human nature I guess. Human egos come into things and have their say, but realistically their opinion doesn’t really matter, ‘cause they’re not music people, they’re just music business people. And it’s a different thing. We just try and not contaminate our ideas.” Bacash is refreshingly candid when it comes to discussing record companies and labels, particularly with regard to the scene in Australia and the penchant for some acts to get stuck here. Perhaps Gypsy & The Cat are in a relatively luxurious position to talk about record labels, but he’s honest and it was obviously a very clearly thought-out process for the duo, backed up by some serious talent. “That’s why we started overseas. It’s okay to start overseas then come home, which is what we did. It’s really hard to start in Australia and get a record deal overseas. It’s just a weird tall poppy syndrome kinda thing. People in Australia don’t want to give away their acts. Like triple j, for example, are really great at playing new bands, but unfortunately and sadly they’re not the biggest radio station in Australia. And the big radio stations don’t necessarily play a lot of Australian music, which is sad. “It’s a catch-22; do you cross your fingers that you’ll get played across all radio stations, or do you try and go overseas where there’s no stigma... In the record industry, if you get signed by someone fresh, from overseas, then they feel like they’re the champion of you and they found you. Whereas if you’ve been going in Australia for five years, everyone knows you already and there’s no point in pushing them. It’s all about claiming your involvement in something.” Clearly Bacash and Towers played the right card, one which now sees them not only embarking on this upcoming tour, but immediately following it supporting none other than Australia’s own singing budgie and pop diva, Kylie Minogue. It’s a pairing that came about all too easily and a coupling that makes plenty of sense, the more you look at it. “Yeah, she tweeted about us and then a couple of days later we got asked to support her and we were like, ‘She’s massive’. People can criticise us, with her being really pop or whatever, but she’s the queen of pop really.” She is indeed – and to be honest, who the hell would pass up an opportunity like that? “She’s one of the biggest female artists in the world and we didn’t really think about it; we’d love to support her. “And seeing what it’s like to be big, you know? It’s so hard for bands to become that big anymore – or any artists – and it’s just gonna be fascinating to see how many make-up artists she’s got, or if she’s got someone to give her a massage when she sits down,” Bacash laughs, with only a hint of sarcasm. “I think the stage is worth $11 million itself, which is just a joke. If I earned that in my lifetime I’d be happy.” WHO Gypsy & The Cat WHEN & WHERE Thursday, Wollongong Unibar; Friday, Metro Theatre; Saturday, Cambridge Hotel

• 36 • THE DRUM MEDIA 17 MAY 2011

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NEVER TAKE A DAY OFF

NEW YORK BORN AND BRED BLUES GUITARIST JOE BONAMASSA HAS CARVED OUT AN IMPRESSIVE CAREER THROUGH THE MAJORITY OF HIS LIFE. HE CHATS TO DAN CONDON BEFORE HIS RETURN VISIT TO AUSTRALIA ABOUT HIS NEW RECORD DUST BOWL AND HOW HE MANAGES TO GET SO MUCH DONE.

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he shelf life of guitar prodigies has varied wildly on a case-bycase basis over history. Take Australia’s own Nathan Cavaleri for example. He seemed destined to be one of the world’s true blues greats after capturing the attention of some of the world’s best players in the early 1990s and though he continues to be an astonishing player, he never did find the degree of fame many thought he would. On the flipside, however, is an artist like Joe Bonamassa. He began playing guitar at the age of four and it’s been reported that by the time he was seven years of age he was able to ape the styles of Jimi Hendrix and Stevie Ray Vaughn with startling proficiency. After being mentored by the late great Danny Gatton, with whom Bonamassa would sit in when he played in New York, the young artist began turning heads, opening for B.B. King at the age of 12. By 14, Bonamassa had formed his first band, a bizarre kind of supergroup featuring young guns whose parents were all professional musicians (Erin Davis – son of Miles, Waylon Krieger – son of The Doors’ Robby and Berry Oakley Jr – his father of the same name an Allman Brother). That band split after its 1994 eponymous debut, which spawned a minor hit in Stone Cold Hearted.

There is an urgency to the record that my others ones don’t have because I was so edgy about everything.” C U R A T E D

B Y

S T E P H E N P AV L O V I C

In the year 2000, Bonamassa launched what was to become a highly productive, not to mention successful, solo career. The title of his debut record, A New Day Yesterday (borrowed from the Jethro Tull hit of the same name), spelled out where the influence for this artist’s work was coming from – while he has a respect for traditional American blues, this guy is a proponent of ‘60s British blues through and through. Since that record, Bonamassa’s list of live and studio releases has hit double figures and his profile has lifted considerably, his just-released Dust Bowl debuting in the Billboard Top 40 and topping the blues chart. Bonamassa doesn’t seem surprised at its success – he thinks it might be his best work yet, though is willing to leave it open to debate. “I’ve done a dozen records now and people will debate back and forth which ones they like better and which they don’t,” he says just before he’s set to hit the stage in Saginaw, Michigan. “But for me, I’m proud of the record, I’m proud of the work that we did and proud of the people that are on it; I mean, gee, John Hiatt and Vince Gill and Glenn Hughes. It’s a cavalcade of stars, as they say.” There was a definite sense of spontaneity when it came to penning some of the tracks, the artist admitting to cramming a lot of his writing in between tours. “I don’t do any writing when I’m touring, not unless it’s absolutely, absolutely necessary. A lot of these songs just kind of came to me on the spur of the moment. Songs like Dust Bowl and Last Matador, all the stuff was like, boy, it came down to the wire. It was a tough record for me to make, truth be told, because I was very taxed and very busy on the road, but I’m very proud of it. There is an urgency to the record that my others ones don’t have because I was so edgy about everything.” Bonamassa once again worked alongside South African-born Australian producer Kevin Shirley on the record. It is their sixth album together and, as creative collaborators, they seem to click perfectly. “It’s really paying off. He’s like my best friend. He’s like part of the family. It boils down to the point where he and I have found a real creative collaboration and a real trust between artist and producer. There’s none of that second guessing drama. I trust Kevin always to do the right thing by the records and I’m just part of the ensemble that makes them. I think Kevin will make every record that I ever make from here on out until I decide not to make them. Or until he decides he doesn’t want to make them. It’s that kind of gig.”

THU 2 JUN. CONCERT HALL.

Dust Bowl was released precisely 12 months after his previous effort Black Rock and he informs that there will be a new record from supergroup Black Country Communion released next month. The mind boggles at how he manages to fit everything into his schedule, but Bonamassa offers some simple advice in that regard. “The easiest way to find time is to never take a day off,” he says without a hint of a laugh. It was also just over 12 months ago that Australian audiences were treated to performances from the guitarist for the first time and he said the prompt return is just to capitalise on the overwhelmingly positive response they received after appearing at last year’s Bluesfest. “We wanted to come back out to the festival and get a good spot and then come out and do a full gig, because we were doing cut sets, just an hour. It was a good thing, but festivals are definitely just a taste for everybody. We’re excited to come back to play the gigs. We had a real blast last time, we loved the country and it’s great to be able to put aside time to get back there and really cultivate it.”

‘ T H E G R E A T E S T L I V I N G T E N O R S A X O P H O N E P L AY E R . ’ ‘ T R U LY, W E W I L L N O T S E E H I S L I K E A G A I N . ’

+ + + + + ‘UNCHALLENGEABLE’

N E W YO R K T I M E S

THE INDEPENDENT

THE GUARDIAN

‘IN AND OUT OF JA ZZ, A R OLLINS PERFORMANCE IS A N E S S E N T I A L E X P E R I E N C E ’  JA ZZTIMES

So what can we expect from the Joe Bonamassa show a year on? According to the man himself, things are going to be very different, though that is hardly surprising.

‘ A J OYO U S P E R F O R M E R A N D T H E E S S E N C E O F O C T O G E N A R I A N C O O L ’ UK TELEGRAPH

“New material, different material, new drummer... The show has changed a lot since we were there last year. It is great; the whole thing about this band is that every night is a different mission. Every night is very different, it’s a different... everything.”

T I C K E T S

&

F U L L

L I N E –U P

SY D N E YO P E R A H O U S E .C O M / V I V I D L I V E WHO Joe Bonamassa WHAT Dust Bowl (Only Blues Music) WHEN & WHERE Wednesday, Civic Theatre; Friday, Enmore Theatre

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THE DRUM MEDIA 17 MAY 2011 • 37 •


STILL RUNNING, STILL HIDING

SINGER, SONGWRITER, PERFORMER, RACONTEUR, FASHION ICON, ONE-TIME KING OF POP – DAVE GRANEY NOW ADDS AUTHOR TO HIS ACHIEVEMENTS. “YOU FORGOT MY RADIO SHOW,” HE TELLS ROSS CLELLAND, WHO DUTIFULLY CORRECTS THE LIST.

ferocious. It’s a kind of tradition – Howlin’ Wolf, Muddy Waters, to Waylon and Willie, they all often went back and re-recorded their songs.” The explanations are really quite thoughtful and reasonable. “These are the songs that belong to the people really. They’re among the ones people always seem to ask for. There are songs here written twenty years ago – been in our set and many have gotten stranger and tougher, and none of the people in this band – other than me and Clare – played on the originals. And I wanted to let them loose on it, like Stu Perera, our guitarist now. He’s dynamite and hasn’t really featured on records like he has on this, where live he’s such a big part.”

T

here’s always been that feeling that Dave Graney just knows ‘things’. A touch of one of those hard-boiled private eye types from a noir movie, with just enough smirk and cocked eyebrow to make you feel you’re being laughed with, rather than at. Through over 30 years in this sometimes silly music ‘business’, Graney – most often with partner, the charming and patient Clare Moore – has stayed true to himself. As much as his music has told many stories, a book of the long strange trip it’s been seems a natural progression. And so he obliges, with 1001 Australian Nights. But, as you’d expect, it’s not the typical rock biography. “Tried writing it a couple of times. But a musician writing about your career as a musician – it often ends up just being same story,” Graney explains with some sense. “Then I found a more interesting way of coming at it. More a mythic story, where the people are like characters in an heroic journey – including myself, of course.” And there’s that smirk. “So I started it from my first trip from South Australia, up through the coast of NSW. And the internal journey I was going on as a teenager ‘escaping’ from Mount Gambier.” So, part one of the tome is a slightly skewiff vision of the making of an artist as a young man, culminating as his then-band, The Moodists, made the obligatory early-‘80s pilgrimage along with The Birthday Party, Go-Betweens and a variety of others to the perceived bright lights and riches of London. Most ended up living in squats, making not much. Graney’s memories may be some of the more reliable. “Yeah, there’s millions of words about the time before, but not really much about this ‘postpunk’ era. All these books, the rise of ‘new rock’ and so

• 38 • THE DRUM MEDIA 17 MAY 2011

It’s an interesting contrast to what seems currently in fashion. But it’s Graney and hardly surprising he’d go another way. “We’ve always kept a band going, when a lot of others have just gone and done the solo singer/songwriter thing. I’ve done that a couple of times, but I really don’t enjoy it as much. I love the dynamics, the power – just the noise – of being in front of a rock’n’roll band. much history has been condensed, crushed. And some important people overlooked.” Being ever the outsider has given him a sometimes different view of events: “I’m the blue-collar guy from country South Australia. My experience of so many of these ‘working-class heroes’ rock stars – they’ve been privateschool boys, money-from-home types who walked in oozing confidence.” This more realistic experience of life is perhaps why he never fell into the ‘glamour’ of sticking needles in the arm, as many of his contemporaries did. He’s honest and dismissive of the lifestyle. “The effect of seeing people on heroin isn’t really very attractive. People scratching themselves with their eyes closed, telling you how great you are. And thinking they’re putting one over on you,” he chuckles darkly. “It’s kind of sadly comical.” But they did go with another strand of Australian weakness. “Oh yeah, we did have periods of being serious boozers,” he happily admits. “That was us finding our roots and influences more in the 1940s rather than the 1960s. I was looking at Robert Mitchum and reading Raymond Chandler books. We kind of liked being more of an anachronism. Still do, really.”

Some never quite ‘got’ the Graney attitude. Among them, the music media, whom he dismisses as “arse-polishing, pen-pushing sons of bitches that can just clear out.” Geez, Dave, I thought we were friends? What follows is a long and hearty laugh. “I was just channelling a bit of my inner Dirty Harry there, Ross. Just my sense of humour – I’ll write you an apology in the next edition,” he promises. “I’ve never been one for the critics. I shit them. I’ve lived my life in spite of critics. Ha, in spite, to spite, despite?” he laughs more. “The book wasn’t really out to seek any conflicts. It’s in a way, it’s actually quite positive. I truly have enjoyed, really liked the bands and collectives I’ve been a part of. Different ones have different pressures, different mixtures of personalities.” That leads nicely to a new album, featuring the latest ‘mix of personalities’ he has surrounded himself with, The Lurid Yellow Mist. Rock’n’roll Is Where I Hide takes songs from across many Graney guises of the last three decades – The White Buffaloes, The Coral Snakes, The Royal Dave Graney Show – reworked by his latest lineup. “It’s very much a rock record,” the leader of the band(s) accepts. “We’d often be playing with softer textures on the records, but the live shows could still be very

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“It’s just more exciting,” he goes on. “The up-tempo stuff – I’m better being like an old r’n’b singer – the occasional goofy falsetto shriek here and there – that doesn’t really make much sense when you’re just standing there with an acoustic guitar. But it’s a performance; that’s all part of what it should be about.” For all the pantomime cockiness and humour in the Graney character, there really is a respect for the history of and in the music: “You bring your story along with you. You should invest the audience with that.” WHO Dave Graney WHAT Rock’n’roll Is Where I Hide (Liberation) and 1001 Australian Nights (Affirm Press) WHEN & WHERE Thursday, Notes; Friday, Vault 146; Saturday, Coogee Diggers; Sunday, Clarendon Guesthouse; Thursday 26 May, Lizotte’s Dee Why; Friday 27, Lizotte’s Kincumber; Saturday 28, Lizotte’s Newcastle; Thursday 30 June, Transit Bar


CAMPFIRE SONGS

THE MAN WHO GAVE THE WORLD AMAZING, ALEX LLOYD, IS CURRENTLY TRAVELLING THE COUNTRY AS MAD BASTARDS WITH TWO OF THE PIGRAM BROTHERS. MICHAEL SMITH DISCOVERED HOW THIS CAME TO BE.

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ou know you’re working a world away from rock’n’roll when the interview, happening in an extremely well-appointed hotel suite overlooking Circular Quay, is being held up by a commercial TV channel’s film crew, but like old troopers, Drum joins Alex Lloyd and brothers Alan and Stephen Pigram out on the balcony while they take advantage of a break to up their nicotine content. We’re gathered here of course to talk about what, on paper at least, might seem an unlikely collaboration – between a chart-topping pop balladeer and two of the most laidback, unassuming Broome-based Indigenous musicians you’ll find anywhere – and the filmmaker who brought them together to create the soundtrack for his feature film, Mad Bastards, writer, director and producer Brendan Fletcher. “Back in the late ‘90s,” Stephen Pigram starts, “Brendan was doing stuff with Alex and came up and did some stuff with us. With us he did some music videos and we did a short movie in 2000, a couple of documentaries working with communities there, educational DVDs and stuff. So that introduction to what he was coming up there for, he was translating back to Alex as a friend.”

The music became a part of the land and I think that was Brendan [Fletcher]’s foresight to put together and make us go on these trips.”

“He would come home to Sydney,” Lloyd takes up the story, “and tell me all these stories of fishing trips or hunting dugong, all these sorts of things that from a city kid’s perspective sounded amazing. Then he played me their music and showed the documentary and eventually, he asked me to do the score for his feature documentary, 2006’s 900 Neighbours. “So about five or six years ago, he said, ‘D’ya want to come to the Kimberley?’ and I was like, ‘It’s about time you asked me!’ I was in London at the time [where Lloyd still lives], so it was a bit more of a trip and basically they were rec’ing for the film, looking for the talent and still writing the script for what became Mad Bastards. So I came and met these fellas and we spent a few days in the studio and I was a little unsure at first, ‘cause I had a way of doing things and they had a way of doing things that were pretty different, but once I kind of got into the groove of ‘Broome time’. “Then I was able to slip into the groove of Kimberley time and go off on a journey with these guys and I met some amazing people because these guys are a pass into all the communities up there. We played music and started writing and I’d see the land and hear stories. It was inspiring and it was so different and maybe I was looking for something more weighty as a theme really that came along in the form of Mad Bastards.” The film itself, which essentially evolved from the stories of the characters, none of them trained actors, whom Fletcher cast, follows the journey of the central character, TJ, who goes back to his community of Five Rivers in the Kimberleys in North-West WA where he’s confronted by the local cop and the two hard men set about battling to do the right thing by their families. Rather than have Lloyd and the Pigrams sit down and watch the film in order to come up with a score or collection of songs appropriate to the images they were seeing, Fletcher took them around with him as the filming progressed, incorporating their performances into the film. “It was almost like, ‘This is a good scene, this song,’” Lloyd laughs. “The music was written with a context of doing something,” Stephen elaborates, “and somewhere along the line in the movie, that doing something would arrive and the song was able to be popped into that spot rather than the other way round. So we were making music about places, people, feelings, whatever, knowing we were doing the movie. So we were obviously talking all the storylines and bits and pieces, so it’s filtering into your system but you’re going consciously, ‘Oh, I’ll write about that now’.” “That was the thing,” Lloyd picks up the thread. “Some of the songs – we wrote between 20 and 30 tracks and obviously not all of them made it onto the soundtrack CD or even the film– some of them are really literal, not intentional, but the stories often seen and heard in the Kimberleys are too literal to use in the film, but may be good for another record somewhere down the track. That’s one thing we really noticed; the music became a part of the land and I think that was Brendan’s foresight to put us together and make us go on these trips. Not that he had to force us! ‘London in the winter… Kimberley anytime?’ So he’d already decided that the music would be written at the same time as the script, developed in the same manner.” Not all the songs that make up the soundtrack CD on the back of which Lloyd and the Pigrams have been touring, as Mad Bastards, were written specifically for the film. Two come from the Pigrams’ 2004 album, Jiir, while Lloyd revisited Slow Train, from his 2008 album, Good In The Face Of A Stranger. “Villaret [from Jiir] spoke strongly to Brendan,” Pigram explains, “about a good feel of the land, the slow transition in the film to the Kimberley, getting somewhere, so it’s an introduction to this place.” All the songs you see the Mad Bastards perform in the film are shot live – no miming – and it all came so easily and naturally it was obvious that they should then take those songs and more out on the road, which is exactly what happens this week. WHO The Pigram Brothers & Alex Lloyd WHAT Mad Bastards (MGM) WHEN & WHERE Friday and Saturday, Notes

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THE DRUM MEDIA 17 MAY 2011 • 39 •


CONNECTING WITH PEOPLE

JOHN GRANT WILL PRESENT A STRIPPED-BACK VERSION OF HIMSELF, BUT COME ALBUM NUMBER TWO, THE AUDIENCE WILL CONNECT WITH HIM IN A DIFFERENT WAY, GUIDO FARNELL LEARNS.

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ast year John Grant teamed up with Midlake to produce Queen Of Denmark, a collection of haunting bittersweet songs that elegantly slips into the world of an alienated outsider who’s emptying his head across this glorious debut solo effort. Tempered by self-deprecating humour, Grant takes amusing pot shots at ex-lovers as he takes us on the downward spiral into his hellish world of depression and substance abuse whilst dealing with suicidal thoughts and contending with homophobia. Grant undoubtedly has a flair for the melodramatic, but what saves Queen Of Denmark is his wry wit and the way in which he applies a relatively light touch to the seriousness of what he’s singing about. Still, Queen Of Denmark is one of those albums that punches you about in the nicest possible way, if it doesn’t reduce you to tears. Queen Of Denmark was reportedly recorded at Midlake’s insistence after the band had fallen in love with Grant’s dreamy baritone croon at a time when he was about to ditch music entirely after the dissolution of the alternative rock band he fronted, The Czars. Grant is on the phone to talk up his upcoming tour of Australia and the conversation starts somewhat tangentially when he’s asked about his rather haunting cover of Angel Eyes with The Czars. “It’s funny you should bring that up right now because I am in Sweden with two Swedish girls and we were just listening to ABBA. It’s so appropriate that you are asking me about ABBA right now. We were just doing an impromptu photo shoot and one of these girls has bright red hair and the other is blonde and they sort of look like the two girls from ABBA. It’s so awesome,” says Grant, sounding very amused. “Actually, Angel Eyes is not really one of my favourite ABBA songs, but you know I really loved the harmonies in that one. It’s one of the favourite songs I have ever recorded. The harmonies in that song sound

amazing when you slow them right down. I did that song live just the other night and was thinking about what a great tune it is.” Totally thrilled to be touring Australia for the first time, Grant plans on giving us an intimate showcase of his last album. “I am just travelling with one other guy and we present the tunes on piano and synthesiser. It will be a very stripped back show. I really like the intimacy of presenting the show in this way. I think it’s a good way to introduce myself to Australian audiences for the first time. I have wanted to go to Australia for many years and it just never happened.” Grant is hanging out in Gothenburg these days while he is working on his next album with beats producer Andreas Kleerup, which sees him tending towards electronic sounds. “I don’t think it’s going to be just a dance album, but it’s turning out to have more of a Peaches vibe. I love her music. My record label feels a little jittery about that because they think it might confuse my fans a little too much. In order to get to

NOW AND THEN

“My father was a great dancer and before we left [the UK] to go to Australia [in 1965], we stayed for a couple of weeks with a friend of his in Slough [about 35km west of central London], so there was always this thing – they would dance and go [in posh BBC accent] ‘Slow slow quick quick slow’ – that was like a joke between them, which I always found strange as a child [laughs]. “I’m kind of fascinated by that post-war period. Britain was so kind of bleak and that’s where I grew up, so I have this kind of mythological memory of it. We used to go into Butlin’s [a chain of twee family-focused holiday camps] and my father could sing and dance and there was always this sense of the variety show was never that far away [laughs], whether it was variety shows in Butlin’s or The Gaiety Theatre in Ayr [Scotland].” The album’s title track, with its slide guitar solo • 40 • THE DRUM MEDIA 17 MAY 2011

“I understand that I have a lot to learn and probably need to learn to let go a little bit more, but it is

“It is a lot like food. If you are like me then you like simple food with fresh ingredients, done really well. I think that’s what those guys from Midlake do, but at the same time they can get really theoretical and technical and do whatever you envision. It’s really exciting to be able to work with people like that, because I am really not that kind of a musician. I don’t want to put myself down or anything, but I quit learning the piano when I was starting to get really good. I didn’t really want to learn the scales and all that. If I had the foresight and perspective I probably would have continued, but I guess I didn’t have the discipline for it.” WHO John Grant WHAT Queen Of Denmark (Bella Union/Shock) WHEN & WHERE Friday, The Vanguard

PIGEON JOHN STANDS ON HIS OWN TWO FEET AND WRITES FROM ANOTHER PERSON’S MINDSTATE, HE TELLS RIP NICHOLSON.

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ost recent album Dragon Slayer has revealed the soul of MC Pigeon John, a record that has challenged him as the writer, artist and producer and one that seems to be the most satisfying for (Pigeon) John Dunkin. This skateboard nerd was not about to front his hip hop with the stereotypes of the reality rap that consumed culture around him. He’d rather impress the Beach Boys, model his hip hop after the Native Tongues movement and perform like the Tin Pan Alley/Vaudeville acts of the early 20th century.

“I

Though that feeling of loss may have informed some of the songwriting for Gathering Mercury, only two songs refer specifically to Hay’s father, most obviously Dear Father and the more whimsical Family Man. It’s funny how the odd phrase or a name can evoke a period so completely for some listeners, though it’s unlikely the bulk of Hay’s followers will necessarily pick up on “slow slow quick quick slow”, a catch phrase from the 1950s/ early ‘60s Britain courtesy cheesy orchestra leader Victor Sylvester and the BBC program, Dancing Club, quoted in Family Man.

An uncompromising attitude in the studio has come with a price for Grant, who is finding that this project with Kleerup is taking longer to gestate than first anticipated. “It’s progressing very slowly and I don’t think it will be out as quickly as we first thought. I mean, we are just getting to know each other as people as well as professionally in the studio and generally just understanding how the other works. We are both pretty strong personalities in the studio so it has taken a while for us to get used to each other. Neither of us is usually willing to compromise on anything and I am even less likely to compromise than he is.

While Grant’s relationship with his old band The Czars was also reportedly difficult, was recording Queen Of Denmark with Midlake a similarly difficult process? “Recording with Midlake was easy. It was mostly us just smiling and laughing a lot, which was a really new and amazing experience for me. Paul Alexander, the bass player from Midlake, was just constantly making me smile and giggle with excitement with the basslines he would come up with, because I had never worked with such an amazing bass player before. I have always been a fan of anyone who has mastered their instrument. It is always a joy to listen to someone who can play well but I think a good drummer like McKenzie Smith and a bass player like Paul Alexander have the ability to completely transform the music with really simple techniques.

DIFFERENT RULES

MOST ARTISTS FEEL THEIR LATEST ALBUM IS THEIR BEST, BUT FOR COLIN HAY, HIS NEW ONE, GATHERING MERCURY, IS PROBABLY HIS MOST PERSONAL. HE TALKS TO MICHAEL SMITH ABOUT IT.

recorded what I thought were the best songs that I had and at that particular time. The emotional context of everything seemed to be the fact that my father had just died,” begins Colin Hay, whose Scots accent is still strong, but will always be synonymous with the Australian band he led, Men At Work. He’s on the line from his home for the past 20 years, Topanga Valley, just out of Los Angeles. “Everyone goes through some kind of tragedy in their lives but that was really my first, you know, feeling of devastation that follows from losing somebody that you really had a lot of emotions for who’s not going to be around anymore.”

know me and let me connect with people, I think it is important for me to express that side of myself, because it is such a huge part of who I am. I listen to a huge amount of electronic music and am always looking for to new stuff,” says Grant, who confesses to be a crate digger from way back.

sometimes hard to do that because you don’t know what somebody is going to do to your music because you don’t fully know their style of working. There is some nice trust developing between us, so hopefully that will help us to produce the goods a little faster. I think the record will move from pop dance music to eerie electronic soundtrack music, kind of like a David Lynch soundtrack. I am always using his name because I like what it evokes.”

deliberately recalling George Harrison, is probably as close as Hay gets to pondering his own death, but like all his songs, it’s more celebratory and upbeat than reflective and sombre. The rest of the album is a mix of love songs and songs about connecting. “It’s a funny thing, that connection thing,” he suggests. “I really enjoy that connection with other people and I really seem to enjoy that quest, if you like, of getting to know who you are. I don’t really mean that in a pompous way – it’s almost in a very practical way, you know. The more I travel, the more I play for and connect with different kinds of people, the more it happens on a personal level, the more connection you feel to yourself. So it’s a circle in a way.” Gathering Mercury is the second Hay album on which American singer/songwriter Michael Georgiades features, co-writing and playing guitars on opening cut Send Somebody, while Hay covers Georgiades’ Half A Million Angels. “Michael lives up the road from me and I wrote a couple of songs with him for my last album [2009’s American Sunshine]. He was born and brought up in California and I’d always wanted to do [Half A Million Angels] – that was my favourite song of his.” WHO Colin Hay WHAT Gathering Mercury (Compass/MGM) WHEN & WHERE Tuesday 24 May, The Basement Circular Quay

“I knew from the giddy-up – even in skateboard culture – that you had to be yourself and there’s no way you’re gonna fake it, at all,” says Dunkin, who grew up inside L.A.’s Hawthorne and Inglewood districts. “My paths didn’t lead my life to the gangs or the late night parties, 40 ounces in the hood stuff. My path went through the youth group, skateboarding and girls at the mall. So when I started writing for myself I knew that I had to be real and keep it honest, so it just came out pretty naturally.” His story began in the early ‘90s at the Good Life Cafe in South Central LA alongside those who would become The Pharcyde, Jurassic 5, Freestyle Fellowship and Black Eyed Peas. He honed his skills at the open-mic nights and took favour with the east coast classics of whom he felt more of a connection to than the local acts cropping up. “The golden age of hip hop – A Tribe Called Quest, De La Soul and Jungle Brothers – that’s my holy trinity. They were a connection for skaters living out on the west coast,” explains Dunkin. “We weren’t gangsters or jocks, just nerds on skateboards. When we heard De La Soul it felt like they were us already. At that time everybody in New York had that one style. Them coming from the suburbs just outside of New York, they had a different take and the same with us growing up outside of the city, we really related to that.” Dunkin aligned himself with the Brainwash Projects and later LA Symphony, gaining a reputable status through their underground releases and by 2002 his debut solo LP, Pigeon John Is Clueless, came out with plenty of praise in hip hop print. His fourth LP, Pigeon John And

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The Summertime Pool Party, was released in 2006 on Quannum Projects (home to Lyrics Born, DJ Shadow, Lateef The Truthspeaker and Blackalicious), which was a move that later proved pivotal for Dunkin’s career. For 2010’s Dragon Slayer, the Pigeon had flown the coop, away from the sampling and the electronic musical instrument Music Production Center (MPC) work, Dunkin employed French producer Herve Salters (General Electriks) to help him record and chop up the instrumentation of the album. “Being a student of hip hop, most of the time is spent on the MPC or for hours listening to records. In the same fashion as Beastie Boys’ Check Your Head where they picked up the instruments because they were influenced by the records they were sampling on Paul’s Boutique. They figured instead of trying to get their sound, let’s try and be better than them. Let’s really play baseball. So with this one I really wanted to stand on my own two feet. “It takes a long time for a person to know himself, especially if he’s stripped from everything he’s stood upon. It’s almost like black is white and white is black and all the rules are totally different. I wanted to write from this point of view, the way a writer does it in a novel. It can get so freakin’ extreme where you’re in the writer’s mind, I really wanted to try and do that with my music,” admits Dunkin, after penning one of the most soulbaring albums of his catalogue. “It’s taken a long time for me to get out of myself and write in another person’s mindstate. From an artistic point the possibilities are endless, but I just scraped the surface, to be honest.” WHO Pigeon John WHEN & WHERE Friday, Tone


DREAMER ROCK

SENDING A MASSAGE

THEY CALL HIM LEADFINGER, THOUGH HIS MUM CALLS HIM STEWART CUNNINGHAM. MICHAEL SMITH CHECKS IN ON ONE OF WOLLONGONG’S FINEST EXPORTS AND HIS LATEST ALBUM.

ON THE RELEASE OF THEIR SECOND ALBUM, THE BLACKWATER FEVER’S SHANE HICKS TALKS WITH SAM HOBSON ABOUT EXPANDING THEIR SOUND AND HIS SECRET DESIRE TO MOVE INTO FILM.

“I

H

t started just as me on my own,” singer, songwriter and guitarist Stewart “Leadfinger” Cunningham begins. His CV explains he was a founding member of Wollongong’s pre-grunge punks Proton Energy Pills back in the mid-‘80s, going on to form Brother Brick, Asteroid B612, Challenger-7 and Yes-Men. “It was just Leadfinger – just a nickname I had – and I kind of had some idea, inspired by Leadbelly and that, I was gonna do like open-tuning stuff, which I did do a lot of and still do, then cut a record [2007’s The Floating Life]. “Then eventually I thought I’d get a band for the next record so I got a rhythm section, so we did [2009’s] Rich Kids as a three-piece more or less and then those guys moved interstate. But I’d still kinda written it all and they just came in and played the parts, whereas with this third album, I made sure I had a solid lineup, decided to make it more stable and try and kind of develop something more. We wanted to go in there, have some fun and try different things. Even since recording the album, it’s amazing how much better we play that material.”

That third record, now by a definitive band called Leadfinger, is We Make The Music, which certainly shows a far more diverse set of influences and interests than you might expect. “I think people these days listen to all sorts of music – I know I do – and that probably comes out on it. I don’t just listen to rock stuff, I listen to a lot of folk and country as well as pop. And it’s a new band so I guess we were experimenting to see what we could do.” It was inevitable really that Leadfinger would become a band. After all, bands have been Cunningham’s natural habitat for most of his musical career. “Leadfinger I started out to do something different on my own and it was quite a confronting experience after being in bands for nearly twenty years, up there on your own, just you and a guitar trying to fill out a sound in a room. It’s quite humbling and you learn a lot from it – you crash/burn or develop a thicker skin and a lot more

confidence. It certainly made me think I’d better write better songs, more interesting songs and relate to people and not rely on the sonic capabilities I had with a band.” It’s not every songwriter brave enough to admit up front that the initial inspiration for much of an album was Willy Wonka And The Chocolate Factory. “Hey, it’s a great concept mate!” Cunningham assures us. “I’ve got a young daughter and obviously introduced her to that movie and, I mean, Gene Wilder, when he says – and it makes sense – it’s like, ‘We are the dreamers of the dreams; we are the musicmakers.’ It’s actually from a poem written by a nineteenth century poet [from an Ode by Arthur O’Shaughnessy] – that’s where it comes from originally – and for me it’s a really powerful statement about creativity.” Like so many Australian indie acts in the ‘80s and ‘90s, those early bands of Cunningham’s got a lot more attention overseas, particularly in Europe, than they ultimately did in their homeland, which explains why all three Leadfinger albums to date have been released first in Spain. “With bands like the Protons and Asteroid, often we’d get offers from overseas and you’re not going to look a gift horse in the mouth. So the first two Leadfinger albums came out through European label Bang! Records and they’ve done everything from Brother Brick and Asteroids to Yes-Men and they’re doing a European vinyl release of We Are The Music.” WHO Leadfinger WHAT We Make The Music (Impedance) WHEN & WHERE Thursday, Annandale Hotel

TEAM WORK

“It wasn’t about getting someone that was a massive producer that was going to cost us every cent that we’ll ever earn for the next forty years. We were more worried about getting someone that we knew that we could connect with and knew the genre back to front. We knew he had a good grasp of the genre that we play. And we’re so stoked on how the album’s turned out and Paul did a great job. “The songs were one hundred per cent done before we went over and Paul just came in and said like, ‘Maybe you should try this here,’ and it was the little parts; he polished them up. It was good to have a second opinion on them. Our whole first album [Life Of The Party] we didn’t have a producer. It was good to have that outside opinion that wasn’t connected to our band.” And with a week in LA and a night in Vegas to get their party on, Heroes For Hire now have their feet firmly

“We recorded it locally,” Hicks recalls, “at Borough Studios – Skritch’s place, from Mary Trembles – we finished recording it in January last year and we probably started it the end of the year before that. We just sort of did it in dribs and drabs.” And the album’s definitely

And for the band’s future, Hicks sees a larger potential still. Having just commissioned one of their tracks for the upcoming Aussie horror-sensation, The Tunnel, he reveals something of a fondness for breaking into the film world at large, citing influences ranging from Hollywood blockbusters to the collaborations between Nick Cave and John Hillcoat. “I hope we sort-of get a relationship going there,” he gushes, speaking of the deal the band’s brokered with The Tunnel’s producers. “We have some tracks on some HBO ads in the States and I’d really like one day to get into that cinema [side of things.]” Perhaps we’ve a budding Tarantino on our hands, footfetishes and all. WHO The Blackwater Fever WHAT In Stereo (Plus One/Shock) WHEN & WHERE Thursday, Wickham Park Hotel; Friday, Lansdowne Hotel; Saturday, The Junkyard

W

T

It may not have been the city’s appeal that drew Heroes For Hire to Baltimore, but there was certainly one hell of a good reason to be there. Producer Paul Leavitt has worked on albums by All Time Low, Circa Survive and Senses Fail and there wasn’t anyone else the pop/punk band wanted helming their second album.

Onto recording and In Stereo is a beast of an album. Shoving a defiant middle-finger at the proverbial pitfalls of the second album, the Brisbane two-piece – who, post-album have in fact recruited a third member, Jed Walters, playing bass and keys – have fashioned a snarling, hulking brute of a record, an affront to their statistically limiting size and one bolstered by some truly excellent production.

“To play live and to write as a duo, it is limiting. It’s kind’ve cool to work with something so minimalistic, but then when you record it’s open-ended; you can put one hundred guitars on one track if you wanted to. We didn’t want to be duo purists or anything – [we didn’t want to make an album] of just how we played live.” He intimates that, while they can’t bring the same exact largeness to their live shows, the next best thing is to have a ‘what-if’ record that can speak to that potential for them in the meantime.

FRONTMAN LUKE ‘WAILIN H’ MONKS EXPOSES THE DIRTY LITTLE SECRETS CONSISTING THE BIG, FILTHY SOUND OF GAY PARIS TO JUSTIN GREY.

he mean streets of Baltimore hardly seems the place where young dreams regularly come true, but for five Western Sydney musicians, Baltimore could just as easily have been the sparkly city of Oz.

“Baltimore is… think of the roughest place in Sydney and times it by ten,” frontman Brad Smith says cheerfully. “We didn’t come across any trouble but let’s just say our producer on the first day we got there told us we were in a quiet part, but if we walked down the street we were allowed to turn left. That would be fine but if we turned right, we’d probably get mugged and stabbed. So that was a good feeling.”

“We have lots of ideas for visuals; clip ideas and stuff. We just never really got around to doing that,” the vocalist and guitarist explains. “That teaser, it’s meant to be a bit of a joke – some people get it and think it’s great, while some just don’t understand it. They take it onboard that we’re literally trying to be sexy and play sexy blues – and set this theme up of listening to our music while rubbing your partner’s feet and having a glass of wine.” He pauses to laugh, perhaps a little embarrassed by the whole thing. “It’s meant to be totally tongue-in-cheek… In the end we’d rather just be recording the music.”

worth the wait. Carrying ‘size’ this time as a core aesthetic different from what was heard on their debut, Sweet Misery, Hicks goes on to describe the freedoms the studio brings a band of such (technically) small stature.

A REAL BAND

FROM THE MEAN STREETS OF SYDNEY’S WEST TO THE MEAN STREETS OF BALTIMORE. DANIELLE O’DONOHUE TALKS PERSONAL SAFETY WITH HEROES FOR HIRE’S BRAD SMITH.

Heroes For Hire decamped to the city in Maryland, USA for five weeks to record their new album, Take One For The Team. It certainly wasn’t the glitz and the glamour that led them there.

ead to the website for Brisbane rock’n’roll/ blues/soul band The Blackwater Fever and you’ll be greeted by something that, while not a promotional tool in its essence entirely different for a band to put out, is nonetheless a refreshing approach to drumming up some hype. It’s a video teaser for their second album, In Stereo. But instead of being the ordinary montage of tracks set to studio footage and backstage happy-snaps, they’ve settled on a dark, fetishised noir-short about a foot massage. Yes, a foot massage. With no sound but the aching flange of a bluesy guitar and with the fading images separated only by seductive French subtitles, it’s indeed a striking thing to behold. Watching this it’s ostensibly apparent that image is an important facet of the duo’s aesthetic. But it’s all a send-up, claims The Blackwater Fever’s frontman Shane Hicks; a blackness in comedy far more than it is in colour.

planted back on Aussie soil, album in hand and with the hard work about to start. First there are a couple of intimate album launch shows before the band heads out in July with good mates Short Stack. “Short Stack we’ve known for years, so we go to all their shows when they play. We did a similar tour with Boys Like Girls when they came out. They have kind of the same crowd as the Short Stack boys so we’re kind of used to that. It’s going to be a really big tour. The crowd gets into it so it makes our show more fun.” Unfortunately for bands, not all support gigs come with quite so welcoming a crowd, but the ever-affable Smith laughs when recounting his band’s most recent support gig. “We did a tour with Unwritten Law and Unwritten Law fans are Unwritten Law fans and that’s it.” But Smith says his band approached the tour with their typical same good humour and sense of fun. “We knew coming into that tour that it was going to be like that. Our goal was to try and convince as many people as possible that we were a decent band. It was good. We still put on the same show and we did win over a lot of people, but there were still a lot of people who were like, ‘Who are these guys? Just put Unwritten Law on’. If they’d had their way it would’ve just been Unwritten Law playing for two and a half hours.” WHO Heroes For Hire WHAT Take One For The Team (Shock) WHEN & WHERE Friday, Rock Lily; Saturday 11 June, Blacktown Masonic Hall

hat makes Gay Paris’s current situation particularly unique, apart from the fact that they’re peddling some seriously inviting and unbridled rock’n’roll, is that their first full-length effort, The Skeleton’s Problematic Granddaughter, was released a mere month ago. But for a number of not unjustifiable reasons – searching for the right record label, band members being overseas and others leaving the fold and being replaced – the band has actually had their impressive beast of a debut album in the can for almost two years. “We finished recording it so long ago I don’t remember how long it took,” frontman Luke ‘WH’ Monks chuckles. “The youngest song would be two years old, so it’s good that it’s out now because we’ve been sitting on it for a really long time.” What Gay Paris have been holding so tightly to their collective chest these last two years is a lyrically and musically complex set of nine songs that take as much cue from Australia’s long line of quality swamp/blues rock acts as they do from prog-metal bands. Monks says the band’s combination sound – part Beasts of Bourbon, early Nick Cave and Mastodon – is the inevitable end result of the musical history of its four members. “Everyone in the band drags their dirty little secrets into the mix-up. It’s just a big, filthy sound – every band that everyone’s been in beforehand comes into this band. So you end up with a guy who’s played in a prog metal band who’s also played in these pop/punk bands. I’ve played in metal and hip hop bands and we’ve got a funk bass player who played death metal.” While The Skeleton’s Problematic Granddaughter must by now almost feel like old news for its creators, Monks remains happy with how the record has turned out and agrees that finally having a recorded document of their wares available for public consumption will make it considerably easier to raise the profile of the band. “I’m glad that it’s out and I’m happy with it being in a physical form as well. It looks cool and it just reads like a book. A year and a half ago I was like, ‘Fuck yeah! This is an amazing record and I love listening to it,’ but actually holding it now, it’s my little baby and it feels

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really good. It’ll definitely make [promoting the band] easier now – we’re a real band now, so that’s actually fun. And now that we’re engaged in the capitalist nature of the cycle people can take us seriously.” Gay Paris are now gearing up to “tour relentlessly”, which Monks says was actually one of the aims of releasing the album. Putting plans for album number two on the backburner for now – the four-piece have sketched out the lyrics and riffs for it and have even pounded some of their more solidified ideas into demos – the lads this week kick off a tour schedule that will keep them on the road through to September. But you won’t hear Monks complaining. “This is what the band’s about,” Monks enthuses. “I want people to buy the record and listen to it at home, but I want them to do that so they can work out their dance moves. The thought behind it is incredibly cerebral, but at the end of the day it’s about letting it all hang out live. And we haven’t done that with this band yet – we haven’t been on the road forever trying to make sure we don’t lose our jobs. I’m hoping by the end of this we’ve toured so much that everyone in the band’s crawling on their hands and knees begging Centrelink for a handout when we get back.” WHO Gay Paris WHAT The Skeleton’s Problematic Granddaughter (MGM) WHEN & WHERE Thursday, Phoenix Bar Canberra; Friday, Great Northern Newcastle; Saturday, The Vanguard; Saturday 2 July, Blood, Sweat & Beers THE DRUM MEDIA 17 MAY 2011 • 41 •


WITH ROSS CLELLAND

DREAM KIT Future Tense Two Bright Lakes Too much of what’s passing for electronic music lately seems to be of the ‘find sample and/or loop, press repeat’ model. This, happily, is something different. Taking sidetracks within its own tracks, the eclectic approach of Declan Kelly (yes, son of Paul…) means the devil is in the detail. It’s careful and really quite intricate in places – though retains some humour in itself. Which is a tough ask in instrumental music, when you say it like that. There’s some reggae, and it actually manages to get rather funky in places. Clever.

BOY & BEAR Feeding Line Island Sent away to Nashville and given an American producer to point them around, B&B gain exactly the richness and depth those with an eye on the commercial prize had in mind. Almost lush in parts, although some of the slight menace in their rougher edges is still intact, particularly just after the whistle solo. Yes, the whistle solo. All the necessary modern-pop-with-beard-and-folkie-bits references will hopefully be made by the market it’s aimed at. Whether that leaves the rest of us behind remains to be seen.

LIAM FINN Cold Feet Liberation What was that about eclectic offspring up there? But here’s Liam with the most classicist piece of melodic pop he’s probably delivered. It has passion, it has craft, it has hooks, it has thoughtfulness in the absence making the heart grow fonder of the lyrics. With the generational shadows hanging over him, the world has maybe never quite been able to regard him as his own man. This might be the true turning point. Even if some of us start unconsciously singing Blur’s The Universal over the verses. So very good.

AN HORSE

BILL CALLAHAN

CAKE

Mom + Pop/Shock

Spunk/EMI

Upbeat Records/Inertia

Walls

Apocalypse

Howard Redekopp – longtime studio collaborator with Tegan and Sara – did such a good job mixing the debut An Horse album that they brought him back for round two, upgrading him to producer and engineer for Walls. You can hear tinges of the Canadian siblings in here (no more obviously than on title track, Walls), as well as similarities to fellow boy-girl two-piece Lemuria. But despite this, and the band’s stronger reception overseas than at home, they still sound undeniably Australian, Kate Cooper’s vocals captivating with girl-next-door charm and a slight Queensland twang.

The apocalypse has often been the source of inspiration for artists. The great British painter John Martin spent a large part of his life dedicated to mankind’s final hour. His The Great Day Of His Wrath is perhaps the most haunting of all, depicting a doom apparent; clouds rolling, mountains falling, lightning and lava the only colour in a darkness that consumes the canvas. People perish, being pushed to the earth, as hell on Earth abounds.

Showroom Of Compassion Cake was born alongside ‘90s alternative eccentrics such as Weezer and Beck, but while many of these bands either fell by the wayside, or changed their sound to fit shifting trends, Cake has stood defiant in sticking with their fundamental sound. Vincent DiFiore’s glowing trumpet, the upbeat melodies partnered with sardonic wit and John McCrea’s iconic voice are all still there. The monotone combination of singing and talking that lead singer McCrea is famous for, and the less than inspired lyrics – “That Italian guy over there, the one with the polyester, pin-stripe suit” (aptly titled Italian Guy), “With the moustache man on the carpet of his van” (did you guess it? Mustache Man) – sees Cake sticking to what they know, the recipe that has worked for them for over a decade.

100 Wales is given space, echoing as though through the depths as it progresses. The endearingly pessimistic Airport Death has a suitably nonchalant edge, a bitter and infectious melody. An impassioned tale of unrequited love, Know This, We’ve Noticed is a garage indie anthem, a standout on the album that shows the band’s ability to slink between light, crisp pop to hard-hitting grunge with ease. There’s not a dud on this album, just be careful making eye contact with anyone while listening to it, because the songs themselves are enough to make you feel as though you’re falling in love.

Bill Callahan is a little more poetic with his version of the end of the world. “The real people went away,” Callahan introduces on Apocalypse. In many ways the album, thematically, works as an alternate soundtrack to John Hillcoat’s The Road; abandoned and isolated, the world has collapsed around us and our narrator recounts what has been, what will be, and what simply is. The end of an era, the end of what Bret Easton Ellis calls the “Empire”, the end of America’s unrivalled dominance on the world. It’s an apocalypse of power, of greed, of humanity. There’s acid in Callahan’s wit, from the simple act of placing an exclamation mark at the end of America!, which hits a third of the way through the record; it’s as unsubtle as the country’s recent “victory” celebrations. Every time he mutters the word ‘America’ is a question never answered. “America, what’cha doing?” “America, what happens now?” While Callahan could never have predicted the album would be released in such a climate in the wake of recent events, this album’s taken on new meaning. An apocalypse less literally, more metaphysical.

Dave Drayton

DCR

Christine Caruana

CAT’S EYES

DELS

Shock

Big Dada/Inertia

GENTLE BEN & HIS SENSITIVE SIDE

Everything about Walls has a misleading simplicity; the gentle vocal melodies, the understated rhythm guitar, Cooper’s stunning lyrics and delivery: “This is significant since” served sweetly, one syllable at a time, before the gently plead explanation “It’s overwhelming me”. But behind this simplicity is a wonderful knowledge of melody, song structure and balance. Cooper’s vocals and Damon Cox’s ambiguous backing vocals sit quite high in the mix above tightly-wound grunge pop, putting the focus on the great melodies.

While most of the record remains in familiar territory, there are some other flavours to sample along the way. The instrumental track, Teenage Pregnancy, adds some zest to the mix, with a combination of cheerful, yet morose undertones that captures the mood of the title. Long Time is a standout track that epitomises the laid-back nature of the record. Perhaps, being recorded at the band’s own solar-powered studio, the relaxed vibe really shines through to the music. Showroom Of Compassion may not be as much of a stunning comeback from a seven-year hiatus that one would expect or might have hoped for, but the Cake that fans enjoyed before is being served up once again, and fans are surely indulging.

PANEL OF JUDGES Coconut Trees/Dainty Vagabonds Mistletone Panel Of Judges have been doing their slightly scrappy take on pop for quite some time now, but – like many – have never quite broken clear of their own Melbourne indie ghetto, warm and comfortable as it may be. A double A-side – on vinyl, naturally – shows a typical range of racket. The first all jaunty, built on correctly farting opshop saxamaphone, while the other is somewhat, well, daintier. The shirts would be flanno, the couches have some stuffing falling out, and they’re waiting for the pides to arrive.

PHIA Garden Of Youth Independent Classically trained pianist – though a fine and witty multi-instrumentalist on parts of this. The voice has the lilting breathlessness that seems well in fashion at the moment. And there might be the problem. Phia is good, and talented, and enthusiastic, but in a world of Blaskos, Blackmans and Bowditchs, there might not be quite enough to set her apart just yet. Although her use of kitchen utensils as found background noise shows some imagination. Sweet, occasionally bordering on twee, but not without redeeming features.

DEVON SPROULE I Love You, Go Easy Tin Angel/MGM Originally Canadian, but possessing of one of those Southern accents that lilts whether seducing or reflecting - or even threatening. It’s folkie and Americana-traced, though certainly more Joanna Newsom than Emmylou. There’s a lighter touch through much of this, perhaps due to her finding an already formed unit as backing band, The Silt, whose mix of the usual noises with some cracked woodwinds and some humming old synths colour her music with the mix of old and new(-ish). Will find friends. • 42 • THE DRUM MEDIA 17 MAY 2011

GOB

Cat’s Eyes

Faris Badwan flexes his vocal chords outside the shoegaze of The Horrors with Canadian soprano and multi-instrumentalist Rachel Zeffira in their new project Cat’s Eyes. On their debut record, the pair are ethereal in their penchant for marrying ‘60s girl group harmonies with dark strings and razor sharp lyrics. Zeffira is the superior personality throughout the record; she sings lead on the majority of the songs, a beguiling voice often swimming under gothic synths and overwhelming percussive crashes, like the spaghetti Western-flecked Bandit. Badwan is refreshingly raw by contrast, a wayward baritone from whom words seem to flow recklessly and carry a scolding severity that is charismatically fearsome on Face In The Crowd. The record depicts relationships in decline, friendships faltering and all the little facets of love often overlooked in simple yet tender words. Zeffira easily transforms from a softly-spoken songstress on Not A Friend, to empowered in Over You, as bombastic horns and organ propel her words of “what you do, what you say, who you see, who you are, don’t matter anymore.” Elsewhere she is shy, self-deprecating to the point of depression; in I’m Not Stupid, in a heartstring tugging ballad she laments, “I can see she’s better than me.” I Knew It Was Over closes the barely half-hour record, a trickling piano and enigmatic choir backing Badwan’s genuinely beautiful vocals, riddled with pathos heretofore unheard in his previous musical efforts. Calm and serene, the song ends an all too short journey in a realm where gothic rubs shoulders with classic, and just enough percussion to do the twist. Sevana Ohandjanian

This is solid stuff. It’s too short, it’s punctuated by Dels’ obsession with avoiding the descent into hell (that is, being eaten by The Gob), and it features a reflection on two of rap’s worst cliches: retrospective salvation from child abuse and the horror/romance of prostitution. But if you can manage to wade through the clumsiness of some of the subject matter then you, like me, will be disappointed when proceedings are brought to a conclusion after a little over half an hour. You’ve probably heard Shapeshift. It’s Dels having a bouncy moment of nostalgia, reminiscing about the power of the imagination he had as a boy. Melting Patterns is neat. Someone’s spiked Dels’ drink and we stay with him as reality slips through his fingers. Trumpalump is comfortably the album’s highlight. Swagger over a blip-blop beat switches 90 degrees halfway through to a reflection on what comes next. “I once dreamt a dream in a dream/In a dream In a dream” heralds the switch and Joe Goddard’s (from Hot Chip!) haunting hook closes the track perfectly. A joy. Oddly – and it’s not prominent or recurrent enough to be called a ‘theme’ – the joys (and logistics) of after work drinks pop up occasionally on GOB. These reflections, and moments like them, ground our host’s journey into abstraction, cliché and non sequiturs (at one point Dels warns, “Cameron better steer clear of my arse.” Quite). There’s real pleasure to be had with this. Should’ve been longer, though.

James d’Apice

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Magnetic Island Spooky/MGM

Brisbane’s Ben Corbett is one of the more dynamic indie artists doing the rounds these days, splitting his time between equally impressive Brissy outfits Six Ft Hick and Gentle Ben & His Sensitive Side. After exercising his inner wild child with the former over recent years, Corbett is back with his more reserved, crooning musical persona for Magnetic Island, the third Gentle Ben album. With one of Brisbane’s finest producing and providing assorted additional instrumentation throughout the album in the form of Custard’s David McCormack, there’s a top-notch, informed quality to Magnetic Island – just check out the superbly arranged and splendidly executed Tomorrow Afternoon and Rally Around. Tipping his hat to the four years that have passed since 2007’s Sober Light Of Day, Corbett opens the album with a curt, “OK, I’m back” before enticing guitar lines chime in escalating opener Regret It. Corbett has a real penchant for lyrically being simultaneously heartfelt and lustful. This reviewer is getting married later this year and the gentle Lay Down With Me is so sincere and romantic that it’d be a shoe-in for my wedding playlist if not for its lines about “touching each other inappropriately... both on our knees”. Elsewhere there are a handful of succinct, intelligent and well-penned song-stories including Ninety Grand, Suicide Machine and The Story Of The Swan. And Corbett’s aptly rough around the edges croon is underscored by a band with acute pop sensibilities. Paying tribute to fellow Brisbanites The Go-Betweens, Corbett rounds out the album with a howling take on Was There Anything I Could Do – a fitting addition to an album of noir pop tunes. Justin Grey


Helena Beats(ish) organ chords drive Miss You, but then in comes a dancey breakdown that sounds as if the monkeys with human faces from Basement Jaxx’s Where’s Your Head At? video have been herded into the studio to help out. We’ve come to the final track and it’s elephant stamps all ‘round! Foster The People haven’t even been around two years yet their debut album celebrates organic and electronic elements united in holy matrimony in heaven and with The Beach Boys (when they were kids) dressed as cupids, hovering above reverentially.

GIRL MOST LIKELY

HURRAY FOR THE RIFF RAFF

Bryget Chrisfield

Independent

Longtime Listener/Other Tongues

FACT FILE

Empty Room

Considering this album comprises at least five sessions across five studios with the producer’s hat equally shared among half a dozen people, it’s remarkably seamless and crystalline – bright, airy and limpid clear. All of which suits the material beautifully, from the quiet tension and supple bruised cynicism of Ha Ha Hey to the inevitable building rush of Save It and Take It In. Singer and main songwriter Sarah Aubrey may do a bit of acting on the side, but it’s obvious that the real main gig is this music lark and she tackles it with a real sense of the drama of the stories she tells, simple snapshots of life lived as the edges crumble or defying the inevitable, the oncoming disappointments and the potential of shadows seeking to take it all away.

Hurray For The Riff Raff

The ensemble with whom she has surrounded herself is equally supple and the members add their own colours with a real understanding of where to leave the air to shimmer without them, yet know when to raise the tension to allow a song to beat, however subtly, large against the banalities, as they do on Shout. Multiinstrumentalist Christopher Campbell, in particular, becomes an essential element as the male vocal counterpoint on Yesterday, Fine and the aforementioned Shout. The only jarring note, perhaps, is the oompah of The Drinking Song, but that’s only because, at least for me, it comes as something of an intrusion in a mood that has otherwise been so carefully cultivated to that point. That mood is restored by the bleak observations of Pigeon Park, complete with the telling banality of “Everyone locked in silence/with music in their ears”. The small tragedies have never sounded so sweet.

Hurray For The Riff Raff is a peculiar country/folk entity in that it effuses a lilting Americana with clouded truths and romantic wanderlust, yet the band’s first label signing is with the UK’s Loose Music. What that speaks of the US’ appreciation is unimportant, because this release brings to Australia the combined favourites of their two prior, self-released albums and the creative charm of driving force, Alynda Lee Segarra. They have a focused integrity and love for song keynoted by their New Orleans genesis, which the banjo and accordion accentuates. The album is full of longing, hope and mantric iterations of heartbeat-skipping memories from a bedraggled and ordinary life. Each song is calm with lingering melancholy, but musically simple, unhurried. Images are not obfuscated by intricate or overly specific lyricism, yet there is a gentle power to her voice like any great songstress. Daniella and Slow Walk illicit compassion through quick metric repetitions and creative aural techniques such as whistling over the languid banjo strumming, which allude to an empty road and the lonesome walker. Other songs, like Take Me and Too Much Of A Good Thing, expose Segarra’s ability to extend her vocal reach while never breaking the pensive, folk composure of a heavy heart. It feels broad in musical hope, yet narrow in poetic scope, focusing on stories and slivers of love or wandering, indulgences in the immediate and infantile. For all its folkish simplicity and country-blues/swampland charm, the album shows a band’s minimalism capable of evolving into nearly anything, even more layered and precise storytelling, but for now it’s plainly haunting.

Michael Smith

Jarred Keane

Strong sexual references, nudity, coarse language and drug use

FOSTER THE PEOPLE Torches Sony

Anyone who heard Pumped Up Kicks on the radio and didn’t instantly have a ‘life’s good’ epiphany is the kind of person who insists people stop dancing and sit down at concerts (AKA a wowser or a fun sponge). There hasn’t been such an irresistibly catchy slice of pop wonderment since Peter, Bjorn And John’s Young Folks hit the airwaves and this comparison goes way beyond the fact that both ditties contain whistling refrains. A feeling of trepidation seeps in as you press play and prepare to listen to the entire set within which such a strong lead single simmers – you’re rooting for the band, but there’s also a battle to keep the naysayer in you at bay. In Foster The People’s case we’ve also heard Helena Beats, a vastly different beast from its predecessor, which opens Torches.

Length: 10 tracks, 39 minutes. Moods: Chilled, summery and dancey.

DID YOU KNOW • The band’s first single, Pumped Up Kicks, made a big impact in Australia, landing a spot at #32 on the Hottest 100. • Bassist Cubie Fink and drummer Mark Pontius originally moved to L.A for film school before being swept up by the Foster The People whirlwind. • The band have cited The Beach Boys and The Clash as big influences of the sound on this record, citing specifically the latter’s Combat Rock.

The unique and dramatic piano guts of Call It What You Want, our first unfamiliar tune, could also come from another band entirely – there are RiRi-esque “eh!eh!eh!”s in the chorus and frontman Mark Foster showcases yet another vocal personality. A whistling intro puts Color On the Walls (Don’t Stop) and you’ll instantly become a Bobblehead. We’re already past the album’s halfway mark and there’s still not a stinker in sight! Nothing’s samey, but there’s also cohesion somehow. Houdini’s fat opening beats call to mind Billy Squier’s I’ve Got The Big Beat – there ain’t nothing these guys can’t tweak and make their own.

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THE DRUM MEDIA17 MAY 2011 • 43 •


ONLINE MUSICAL WIN WITH DCR

YEASAYER Everybody likes to make a mix. Whilst a “mixtape” these days is rarely actually committed to tape unless you’re a retronaut or hang around in DIY scenes and, thanks to the ease of making iTunes playlists, you can rattle out a mix in an hour or so, medium of delivery aside, there will always be the personal nature of the mix that is at the core of why we make mixes in the first place: to impress someone. A few years back, a service called Muxtape launched. Users would upload MP3s to the site, arrange them in the order they wanted them to appear in and then publish the mix for an audience. Listeners could then stream the mix, legally. The site relaunched in 2009 with a service for bands to upload and sell their music directly, hoping to cash in on the exodus from MySpace. Muxtape then quickly disappeared and Bandcamp appeared to fill the gap (or, at least, it became popular around this time). At the time of writing, Muxtape is currently unavailable. A couple of weeks ago, a friend introduced us to a new service called 8tracks, which had just launched an iPhone app and was subsequently getting a bit of attention. The idea of 8tracks is simple: you upload eight songs of your choice, and publish. Their license stipulates that you cannot name any more than three artists or song titles in your description, which adds a nice surprise element to the listening experience. It also means that you have to get creative with your artwork and mix description (which you really should be doing anyway). Another unique element is that the track order shuffles each time you listen to a certain mix, which means that each listener will only ever hear the tracks in the order you intended once. This might not be to everyone’s taste, but it does change the way you construct a mix. Certainly, there are a lot of people who use 8tracks who will simply upload a bunch of songs with no real thought, but for the majority of people who make mixes, the idea is to plot a narrative through song, with precise starting and ending points. You can’t do this with 8tracks, so you have to approach each song individually, without worrying what’s before it and what’s to come next.

JESSICA LEA MAYFIELD

ROYAL CHANT

RUMER

Warner

MGM

AtlanticWarner

Tell Me

Raise Your Glass And Collapse

If you don’t know who Jessica Lea Mayfield is then pay attention, because hers is a name you are likely to be hearing a heck of a lot in the future. Fans of The Blacks Keys will perhaps already know of her, as she was the first guest voice ever to be heard on one of their records, when she was just 17. Tell Me is the second album from the now 21 year old country singer from Kent, Ohio and, just like her acclaimed debut, is produced by Dan Auerbach, who also performs some vocal duties as well as playing moog and guitar. With her tendency to deliver bleak, dark yet beautiful songs at such a tender age, Mayfield comes across like Laura Marling’s country-lovin’ American cousin. Her melancholic words certainly have a similar weight and weariness as she is perpetually trailed by ominous storm clouds. “I can’t let you fill my head with lies,” she sighs on Grown Man. Her words may be cynical, but they are contrasted interestingly by some lovely, melodic countryfolk-indie tunes, not least the raw guitars and thumping drums of opener, I’ll Be The One That You Want Someday. When light does occasionally shine through the cracks in what is a largely dark and bruised album, it leaves a lovely glow. “This heart of mine is ready for the spring... suddenly I can see blue skies again,” she sings hopefully on Blue Skies. Tell Me is shrouded in beautiful, dark emotional resonance, and the fact that it was authored by someone so young makes it an even more impressive achievement. A marvellous record.

At the end of Empire Records, Renee Zellweger and Coyote Shivers perform the latter’s song, Sugarhigh, on a rooftop. It’s a ripper of a tune – a perfect blend of raw garage and polished melody, mixing brutal honesty with a gentler musical edge that makes for arresting listening. That’s the same kind of feeling that emanates from this album’s first single, Ghosts – it’s full of high energy, yet pays close attention to crafting a memorable melodic line that sits perfectly against its rawness. This is the first album from the quartet, hailing from the north coast of NSW, and Ghosts is a fairly good indication of what you’re in for. Melody is a strong focus, guitar lines often complementing those of the vocals well (on opener, Hey Hey, the contrast is just right) and garage fuzz dominating a fair amount of tracks too (A Series Of Sighs and [Other], in particular, crank up the distortion to delicious levels). Choruses here are committed to memory instantly, especially on Shattered Alright – after a few listens of the album, you’re guaranteed to be mouthing, if not screeching, along. Unlike a lot of other albums, there’s not really a slow moment here, no ballads or introspective emotional pieces – it maintains palpable and infectious dynamism from the word go. The quartet’s sound is certainly not one that hasn’t been touched on before – in a lot of ways it’s pretty similar to early Vines, right down to expat American frontman Mark Spence’s voice – but this is a solid release that cuts the crap and goes all out in delivering balls-to-the-wall rock that’s both well-crafted and catchy.

Seasons Of My Soul While the UK has been producing a rash of both pop girls like Lily Allan, blues rock chicks like KT Tunstall, and soul girls like Amy Winehouse, it’s been a while since we’ve seen a young woman working that other end of the pop spectrum, the gentle, romantic pop ballad a la Dusty Springfield. Enter the Anglo-Pakistani Rumer, who started life as Sarah Joyce, and as soon as she starts to sing it’s obvious why Burt Bacharach was immediately taken by her – for him she would have recalled not only Dusty, albeit in a minor key, without those big notes Springfield was able to bring to heighten the drama of her work, but also, and perhaps more accurately Dionne Warwick and Karen Carpenter. That said, it’s also obvious why, they were crying out for and for the most part got the kind of lush Bacharach orchestration within which Dusty and Dionne were always presented, though it’s English producer, multiinstrumentalist and, on three tracks, cowriter Steve Brown who has created Rumer’s string arrangements. You should be getting the picture by now – Seasons Of My Soul is very much a late night, post-party, candles and slow-dancing kind of affair, holding your significant other drowsily and swaying around the coffee table hoping you don’t tread on the cat’s tail and spoil the mood. Even her paean to the Grand Dame of Soul, Aretha, never really comes within coo-eee of a “big soul” moment, opting for the reflective reflex a la Karen Carpenter. Essentially then this is one for the romantics. There must still be a few out there.

Rob Townsend

Giselle Nguyen

Michael Smith

The accompanying iPhone app is beautifully designed and very easy to navigate. It’s free, and you don’t need an account to stream the mixes. It works over 3G but it’s highly recommended that you listen whilst connected through Wi-Fi. Each track loads individually (annoying, yes) so there will be gaps between the songs.

TEETH & TONGUE

TIMES NEW VIKING

YUCK

Check it out at 8tracks.com. We suggest you start with the Pitchfork and Hype Machine mixes.

Dot Dash/Remote Control

Wichita/Popfrenzy

Mercury/Universal

Uploading the songs is made easy through either the website or via an application you download and install on your computer, which allows for drag-anddrop from iTunes. It’s pretty sweet.

Another service for creating mixes is Mixcloud, which has a lot of backing from British media, including The Guardian, who are sharing their ‘City Guides’ soundtracks via the website. Currently they have city-specific mixes from Yeasayer for New York City, Young Turks (The xx) label owner Caius Pawson for London and French jazz musician Olivier Hutman for Paris. If you access the mixes via the newspaper’s website (guardian.co.uk/travel/city-guides) you can get a run down from the names behind the mixes as to why they chose each track. London boasts songs from Pulp, Aphex Twin, Burial, Elvis Costello and The Clash, New York City features Suicide, Gang Gang Dance, Bobby Womack and Talking Heads, whilst Serge Gainsbourg, Edith Piaf and Django Reinhardt pop up on the Paris mix. The players pop out so you can browse elsewhere whilst listening. We’re only passive users of Mixcloud at this stage, but it’s worth a look around and unlike 8tracks, you can list titles and artists and the track listing order doesn’t change. Head to mixcloud.com/GuardianTravel for a direct link to the above mixes. Of course, these services offer an entirely different method of creating mixes. Often it’s for the one you love that you craft a mix, or a friend who’s yet to experience shoegaze or dubstep, and for that 8tracks offers the option for making mixes private.

With cassettes making an unexpected comeback (albeit not quite as widely as vinyl), the mixtape may in fact one day return to the tape, but in the meantime, 8tracks and Mixcloud are offering a neat (and simple, and legal) way to share mixes dedicated to the ones you love. • 44 • THE DRUM MEDIA 17 MAY 2011

Dancer Equired

Tambourine

Yuck

Like many other bands these days, London’s Yuck has taken the best parts of a past era and thrown them into 2011 – vintage spruced up with the joys of modernity. Stephen Malkmus would be proud of the band’s debut album, sounding remarkably like Terror Twilight-era Pavement in all its DIY slacker glory.

Cornelius is at her best lyrically on gentle heartbreaker, To Be Alone, where she dejectedly concludes a failed relationship by deciding who’ll take the records and who’ll take the CDs. She also shines on the cautionary Unfamiliar Skirts, which has a classic pop ring to it. With Cornelius’s ethereal delivery grounded by Regueiro-Mckelvie’s guitar flourishes throughout, Tambourine is a hypnotic affair.

The fifth album from prolific Ohioan trio Times New Viking finds them moving on from the impenetrable ‘no-fi’ aesthetic that characterised their previous work into the field of ‘lo-fi’ – they even recorded in a studio for the first time – with intoxicating results. The familiar sounds are still there – spider-thin guitar lines and distorted synths, plus the entwined male/female vocals of Jared Phillips and Beth Murphy – but now it’s allowed a bit more space the results are instantly more accessible. They’ve always had a gloriously ramshackle aesthetic and this hasn’t been sullied by this new approach. They profess to have listened to a lot of Fleetwood Mac in the lead-up, but the guitar line from opener, It’s A Culture, sounds like it’s lifted straight from The Clean and you’d hardly hear album highlights like the bubblegum pop/punk of California Roll or the thrashy, fuzz-imbued Fuck Her Tears on commercial radio. Murphy’s keys wind glorious webs throughout the captivating Ways To Go, while Don’t Go To Liverpool contains more hooks than the proverbial fisherman’s basket. Such hooks and melodies are abundant throughout Dancer Equired, albeit often enmeshed or buried so as to require numerous listens to unleash their full grandeur – a lot like fellow Ohioans (and recent touring partners) Guided By Voices. There will be some inevitable backlash from ‘cooler’ indie quarters for their sonic evolution but that’s just because some people fear change (and covet the ‘uniqueness’ of their tastes) – Dancer Equired is a fantastic record and if there’s any justice it’ll introduce Times New Viking to a whole new world of fans eager to devour the tantalising, pop-ridden contents hidden within.

Justin Grey

Steve Bell

Giselle Nguyen

Teeth & Tongue, the Melbourne-based project of singersongwriter Jess Cornelius, has undergone a transformation since releasing its well-received debut album, Monobasic, in 2008. For album number two, Cornelius has downsized the band from four to two members (three live), with nimble new guitarist Marc Regueiro-Mckelvie joining as the primary contributor to Tambourine’s ten tracks. A new percussion element has come to the fore, with Cornelius fully embracing drum machines in place of the real thing across most of the album. Recorded mostly in the home studios of Cornelius and producer Simon Grounds, Tambourine trades in the often rough around the edges, live band feel of its predecessor in favour of a more deliberate tone, as if these songs were patiently whittled down little by little. Regueiro-Mckelvie proves a major asset here. While never overplaying his hand, which ensures that the songs maintain the bare character of their predominantly sparse arrangements, Regueiro-Mckelvie brings these songs to life with some invigorating lead guitar. Halfway through album highlight, Rot On The Vine, he single-handedly changes the whole direction of the song with slow, industrial stabs of feedback before sweeping the song away with an epic refrain reminiscent of The Edge. Elsewhere, he adds a Middle Eastern groove to Love As A Word and simple yet effective little jangles to Happiness.

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The guitars – recorded in guitarist Max Bloom’s bedroom – revel in their distortion to create the lo-fi fuzz that’s seen a recent resurgence, and on opener, Get Away, it’s teamed with a synthy guitar punch and rough vocals from Daniel Blumberg. The vocals are an integral part of Yuck’s sound – there’s often a muted edge applied to them, like on The Wall and Operation, so that they take on the same jagged aesthetic as the rest of the sound. The slower tracks on the record are a real treat, throwing back to Spit On A Stranger – Shook Down and Sunday allow Blumberg’s voice, completely smooth in these cases, to shine through against even guitars and harmonies, singing heartfelt (and often heartbreaking) thoughts. The similarly downbeat Suicide Policeman, littered with percussive flourishes and muted brass, introduces Ilana Blumberg’s voice, making for a beautiful counter (also heard in Georgia, which features absolutely heavenly guitar melodies). Closer, Rubber, brings that heavy distortion back in both guitar and voice for seven minutes of glorious, messy noise. There’s not much on Yuck you won’t have heard before. It’s very much derivative, but in spite – or maybe because – of this, it’s a ripper from start to finish. For those who rocked out in the ‘90s and those who wish they could have, put your Chucks and flanno on and bliss out to this.


CANNES 2011 CRITICS’ WEEK COMPETITION

WINNER

AUDIENCE AWARD 2011 ADELAIDE FILM FESTIVAL

SNOWTOWN ★★★★★

“BRILLIANT” R H Y S HO W L E T T, 8 9 1 A B C A DE L A IDE

“MASTERPIECE” JIM SCHEMBRI, T HE AGE

SNOWTOWNTHEMOVIE.COM

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THE DRUM MEDIA 17 MAY 2011 • 45 •


METAL AND HARD ROCK WITH CHRIS MARIC

www.utopia.com.au

Well, if things were looking a little slim on the live front over the coming Vinter season, rest assured, things got a whole lot busier over the last week and you will have plenty of gigs to see to warm your little footsies in the months ahead.

DONALD TARDY

METAL MEOW For your heart-warming piece of metal news this week (really now, what else are we here for?), we bring you a report from the Tampa Bay Online about drummer Donald Tardy, who hits the skins for Floridian death metal veteran band Obituary. When he’s not furiously providing beats, Tardy is caring for kittens. Caring. For. Kittens. He tends to over 140 cats in his spare time – they’re all feral cats roaming the area (in total there are over 200,000), and he takes care of over 20 colonies. Some colonies have one or two cats, others have up to 30. He protects their locations so that no one will perform acts of cruelty on them, checking up on the felines every day to feed them and, when needed, get them veterinary care. “It’s kind of wild when you think about it: This crazy metal dude who headbangs and plays death metal spends hours every day feeding and caring for wild cats,” Tardy told the publication. “It cracks me up. “To think a cat could be out there hungry, suffering, it eats you up inside. I can’t live with my mind at peace knowing that.” Now that’s metal. We can only hope that the cats use his beard as some kind of joyous swinging toy.

The biggest announcement of the week by far – and unless you live in a world without the internet, you would surely know by now – is that the one and only Van Halen has been confirmed as the main headliner for Soundwave Revolution. Joining Diamond Dave, Eddie, Alex and, um, Wolfgang, at the top of the bill will be Ms Courtney Love’s Hole, who I didn’t even realise were still around! And the legendary Alice Cooper, Bad Religion and Machine Head. There are 59 bands now confirmed for the festival but the ones I think you really need to concern yourselves with are Danzig, Sisters Of Mercy, Alter Bridge, Gojira, Hatebreed, Watain, Kvelertak, Times Of Grace, Steel Panther, Devin Townsend, Black Veil Brides, Whitechapel, Hellyeah, Skindred and The Damned Things… That’s more than enough for a day’s rocking, don’t you think? Saturday 30 July sees the return of Avenged Sevenfold (aka A7X) and the most awesome Sevendust. They will play Sydney Entertainment Centre, which gives me some hope for the future of metal. I thought arena bands had all died out! Ticket presales start on Thursday. With their hunger for the stage only strengthened by the recent tour with ZZ Top and The Poor, it’s excellent to see Rose Tattoo getting up close and very intimate by playing two shows back to back at the Sando Friday 25 June and Saturday 26. It’ll be like the band’s old days, minus flying tables, chairs and fists – or not. Joining Angry and the boys will be the kick-arse Melody Black, Hell Crab City, Nat Col & The Kings and The Lazys. And to round out the gig announcements for such a huge week, Karnivool will be heading east during June and July. It will be their only Austrayan tour for the year so grab a ticket since they are selling very fast. They take in ANU Bar on Wednesday 15 June, then hit Waves in Wollongong the next night, Thursday 16, and make their way to Panthers in Penriff (that’s two f’s) on Friday 17. The big Sydney show is on Saturday 18 at The Roundhouse, UNSW and then it’s north to Newcastle Panthers on Sunday 19. Who knew there were so many venues with the name Panthers, eh? Parkway Drive hits the Hordern on Friday, Newcastle

KARNIVOOL Panthers on Saturday and WIN Entertainment Centre on Sunday but I’m sure Sister Sarah will tell you more about that tour. The last two weeks have seen a couple more local bands decide to call it a day. Both Black Asylum and the longrunning Daysend are hanging up their gear. I don’t know if it’s a reflection on the live scene or a change in individual needs and direction, but it’s sad to see the metal community lose such heavyweights.

FRIDAY (TOMORROW IS SATURDAY AND YESTERDAY WAS THURSDAY) The Bald Faced Stag will be in white hi-top sneaker overdrive as they host the Sydney leg of the In Malice’s Wake Oceanic Assault tour. The band is supporting its second full-length album, The Thrashening. Joining them are Melbourne’s thrashtastic maniacs, Desecrator, and playing for the home side are Dark Order and the tireless guys from Havoc. Doors open at 8pm and entry is $13.

SATURDAY This sounds pretty interesting… The Devolved Technologies Show isn’t Devolved per se. Rather it consists of five original members of Devolved playing songs from the #1 Australian metal album, Technologies. John Sankey is still in the US with the official band, so joining the guys is one of the fastest and most respected drummers in Australia and the world, Todd Hansen, of The Berzerker, so things will be a notch or two faster than normal if that was at all possible. The tour comes closer to home in the coming weeks; however, if you’re anywhere near Lismore tonight and somehow sourced a Drum, you can check them out at the Tatts Hotel. More

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http://ncpic.org.au /go/gpsurvey • 46 • THE DRUM MEDIA 17 MAY 2011

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info on the rest of the tour next week. The Lucky Australian out in St Marys is doing its bit for the locals by hosting another afternoon and early evening of rock and roll for the kiddies, who of course must be supervised by a responsible adult, not a pissed one. Kicking things off at 2.45pm we have Killing Lennon and then, in good 30 minute slots complete with an additional five-minute loading time factored in (nice one Mr Stage Manager!), you can see the likes of Engage The Fall, Bones & All, Resonator and Kunvuk with Jordan Howe’s Beware Of The Dog having things wrapped up by 8pm for all involved. Entry is a flat ten bucks. At the edge of the cold heart of the city, Venom has been providing that little bit of sweet symphony you all like to call metal every Saturday now for a few months, and the growth has been astounding! They told me to thank you big time and they plan to keep bringing you the best metal and rock every Saturday night playing all the latest and hottest bands to the classics you all love! This week Wolfkahn will be hitting the Venom stage after a lengthy break, with My Hollowed Fantasy and Seconds Till The End rounding things out. As usual they have a bunch of giveaways and album launches, and this week it’s Texas In July and Seether who get a go and they have a few copies of Poison’s Greatest Hits to give to those young enough to not already have them all on a C-90 somewhere. heavy@drummedia.com.au


PUNK AND HARDCORE WITH SARAH PETCHELL IT’S FINALLY HERE (and I’m going to go a bit into non-punk/hardcore territory here) – the headliners have been announced for Soundwave Revolution. And it is bigger and better (though some might argue otherwise) than anyone ever thought. We’re talking Van Halen (with David Lee Roth), Alice Cooper, Bad Religion, Machine Head, Hole and Danzig. You can also add to that Alter Bridge, Sisters Of Mercy, Kevin Devine and Versa Emerge and you round off a festival that, for me at least, is pretty mind-blowing. I mean … DANZIG! On a negative note, Thrice has unfortunately “pulled out” of the lineup, so my dream combination of Thursday and Thrice playing the same show has fallen apart. Eighteen-year-old me is crushed! According to the band’s Facebook page, Thrice claims they never actually confirmed that they were to play Soundwave Revolution despite being announced in the lineup stating, “Hey Australian friends. Sorry you were misled. We never confirmed anything with Soundwave and are sad to hear that you were told otherwise.” It’s neither here nor there who is at fault; however, a replacement is expected to be announced shortly. At present, Thrice is holed up in a studio recording the follow-up to 2009’s Beggars. There have been a few changes to the Parkway Drive Mix‘N’Mash tour lineup, with the announcement stating that Bleeding Through and You Me At Six have both withdrawn from the bill. No word on why Bleeding Through left the tour, but the boys from You Me At Six have had to extend their recording schedule so will spend the next few weeks in the studio completing their new album. There of course has to be a replacement, and in this case it is Ohio’s Miss May I. Formed in 2006, Miss May I has been touted as the new face of heavy music by various U.S. music press, blending death metal, thrash and melodic hardcore. Their most recent effort is 2010’s Monuments, and they are playing this year’s Vans Warped Tour, so it will be neat to see them in Australia. You should also check out their cover of Savage’s Swing if you want a little bit of a giggle as well. The bill will also be rounded out with locals opening each show. So The Wonder Years and Confession are still holding strong on the lineup and tickets are still available for all the shows happening over the weekend. First up is Sydney, where the tour hits the Hordern Pavilion on Friday. Then on Saturday, it heads to Newcastle Panthers, and finally WIN Entertainment Centre on Sunday. All three of these shows are licensed, all ages shows.

STEPHEN CHRISTIAN

VIDEOS GALORE BAD RELIGION No Sleep Til 2010 visitors, the blokes from Alkaline Trio are set to release a collection of unplugged favourites with a couple of new tracks thrown into the mix this July. Titled Damnesia, the new record will feature a selection of beloved fan favourites selected from the band’s extensive back catalogue, presented in a semiunplugged format. It will also include a cover of the Violent Femmes song, I Held Her In My Arms, as well as two brand new Alkaline Trio songs, Olde English 800 and I Remember A Rooftop. This is a cool way for the band to celebrate the fact that they’re in their 15th year together. Damnesia will be released 8 July through Heart & Skull/Epitaph (through Shock). Also announced in the last week was that No Use For A Name will be touring Australia this July and August. They will be bringing with them their reputation of “debaucherous awesomeness” (or so the press release claims…) that spans nine albums, five continents and a lineup more ready to shred punk rock songs than ever. Guitarist Chris Rest from Lagwagon and drummer Boz Rivera from the Mad Caddies join Tony Sly and bassist Matt Riddle for a bunch of regional and city shows. First up on Wednesday 27 July the tour hits the Cambridge Hotel, on Thursday 28 July it heads to Wollongong Unibar, on Friday 29 July this tour joins up with Frenzal Rhomb tour for a show at ANU Bar, and then there is a bit of a break as the tour heads round the rest of the country before finishing up in Sydney on Sunday 7 August at the beloved Annandale.

Sydney pop/punk act Heroes For Hire released their second studio album last week. Called Take One For The Team, the guys headed to Baltimore last November to record with producer Paul Leavitt (All Time Low, Senses Fail) and the result is yet another collection of dynamic, hook-ridden pop punk in the vein of Blink 182, New Found Glory and All Time Low. As I said, you can go and pick up the album now, but the band is celebrating with two Sydney-based album launch shows. The first is this Friday at Rock Lily, a new venue within Star City Casino. It is and 18+ show, however it is free. Heroes For Hire will be joined by Chemical Transport, Dividers and Soapbox Summer. For you underage fans, there is an all ages show happening on Saturday 11 June at Blacktown Masonic Hall. Joining them at this show will be The Bride, Wake The Giants, Sunny Side Up and Highways. Both shows are a must for any pop/punk fan, so check out the album and head on down to one of the shows. Just to end off for this week, make sure you get your hands on the new Balance & Composure album, Separation. It is quite possibly one of the best things that you will hear all year, especially if you’re a fan of melodic pop/punk. Which I’m not really (I like things a little heavier), so it’s surprising how much this album has completely blown me away. The tracks Stonehands and Progress, Progress are definite standouts.

Ska punks Less Than Jake are gearing up to release a new DVD collection in June. Anthology, comprising four discs, will hit shelves on 21 June and features footage of the band performing songs from albums Pezcore, Losing Streak, Hello Rockview, Anthem, In With The Out Crowd and Borders And Boundaries in full over different nights in 2007, as well as bonus videos and material. The high-energy band was last seen on our shores at Soundwave over the summer, and there’s also a new EP in the works.

SAFE SPACE Anberlin frontman Stephen Christian has selfpublished a short book, You Are Safe Here, online. The piece is based on a journal penned by Christian’s grandfather, Anton Kosachuk, written in a hospital during the ‘70s. Christian read the journal only recently when it was translated from German into English, and was inspired to turn it into a book, keeping the events and characters factual. You can read it at youaresafehere.tumblr.com. Christian has previously had another novel, The Orphaned Anything’s, published.

GIMME MORE The ever-prolific Me First & The Gimme Gimmes seem to be in the final stages of another 2011 release, having dropped Go Down Under earlier in the year. Fat Mike said recently, “New Gimmes record is almost done, and let me just say that it’s like nothing we’ve ever done before. I don’t know if that’s a good thing or not.” Considering that guitarist Chris Shiflett also plays with Foo Fighters, who are just now jetting off on an extensive tour, rumour is rife that the album could be complete already.

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THE DRUM MEDIA 17 MAY 2011 • 47 •


HIP HOP WITH VIKTOR KRUM Have you ever heard the expression, “Because hip hop is not a competition, it’s a movement!”? Not me. It struck me as interesting. Like I’m just chewing some gum. Why? Oh, because hip hop is not a competition, it’s a movement. Hm. Now firstly I’m not sure how a type of music/way of life/excuse for smoking marijuana could be considered a competition anyway. I win at liking rap songs, you guys! So, yeah, there’s that. I totally agree that hip hop is not a competition. I imagine you do too? Cool. But – riddle me this – is it a movement? That’s arguable. Some might say it was a movement. Some might say it will be. Some might say that dancing on cardboard and getting paint stains on your sneakers is more of a hobby or pastime than anything else. Anyway, we’ve picked apart a strange expression and we agree: hip hop is not a competition and, depending on your point of view, it may or may not be a movement. If you think that hip hop is a movement, then what could that thought inspire you to do? How would your belief influence the way you behaved and looked at the world? Well, for the Electric Elements Crew, it would make you want to put on a live show and invite unknown rappers to step up and rap on your beats. Saturday 30 July at the Brighton Up Bar, EEC is inviting five unknown emcees to drop verses on their joints. Also playing on the night are Dutch, Last Credit, Stories For Nothing and the Rabbit Hole DJs. You can submit your verse (or your friend’s!) to EEC for them to consider via their Facebook page. Maybe you should enter and spit some flames with some people you’ve never performed with before. What? Why would you do something like that? Well, because doing something like that is not a competition, you guys, it’s a movement. Now I’m not saying that grime is the cool new thing to like. It was the cool new thing to like about six years ago. I think we can all agree that it had its moment. But – what’s this? – we seem to be seeing something of a local resurgence. Whether it’s an impressive Rapaport mixtape, a direction change from That’s Them and Swarmy, a massive Sky’High verse or an intriguing Claws & Fangs remix there seems to be something going on. Well, what better way for us all to join the reborn bandwagon than to get pumped for Wiley’s new record? It’ll be with us in July and it’s called 100% Publishing. Wiley’s pretty good. He’s made some grime. He’s made some pop music. (He’s also made some poop

ALL AGES WITH DAVE DRAYTON What with Youtoob, and Facespace, and Mypage and all the rest ruling the internet, bullying has taken an interesting turn recently, often happening online or being unjustly glorified through the above sites. Online youth mental health service Reach Out is taking a stand against bullying and encouraging you to do the same with its Don’t Stand By, Stand Up campaign. Head over to facebook.com/ReachOutAUS and post a pledge to take a stand against bullying. Pledges can be images or words, so get creative. The best five pledges as voted for by peers will receive a $500 JB HiFi voucher that you could spend on an iTelephone or something similar.

OZI BATLA music. Burn!) Now he’s back on Big Dada and this new album could be good. Your younger sibling is already pumped about it. Why not join him/her? Oxfam Australia is chucking on a show. Win win. You’ll be heading to Oxford Art Factory on Thursday 30 June. Tickets are $5 and all of the proceeds go to Oxfam Australia. Win win win. The night is called 3things Hip Hop Approach. The line up features Ozi Batla, Dialectrix with Joe New and Plutonic Lab, Tuka (if you haven’t caught his album and listened to Illtronic yet, go and do yourself a favour), The Last Kinection and Rivals and LC Beats beatboxing. Kween G will be hosting and there’ll be a VJ: VJ Spook. It’s about raising funds and publicising the 3things initiative. It’s cute actually. Essentially Oxfam is challenging each of us to think of three things that can help change the world. There’ll be video cameras there on the night recording, so you have your three ideas immortalised and – with a little luck – put into action. I know you think it’s silly but, remember, cynicism is the easy option. If you’re going to this show, why not actually spend a moment or two reflecting on how you could change the world for the better? getittogether@drummedia.com.au

If you are up in the North Shore/Hills area be sure to keep an eye out for Erebus, Cyanide and Fuzzfox, all three young local bands who are making waves. They competed in the second heat of the Rock The Block youth band comp at Cherrybrook Community Centre to an impressive crowd of 200 people. Out of the seven acts, these three were selected by a panel of judges and audience votes to progress through to the final. They will join previous heat winners Glasshouse, Stolen Signs and The Usual Suspects on Friday 3 June at Berowra Community Centre. Speaking of band comps, things are heating up with the Penshurst RSL competition. The second round of heats takes place on Friday with Will & The Indians, Broke Down Engines, Paradox Park, The Multiplier Effect, Summer’s Mixtape and Calling Mayday playing from 7.30pm. Tickets are $10. As a (somewhat) young person who writes for work, I can’t stress how good it is to see initiatives like National Young Writers Month. Run by Express Media, this June will see them host a series of forums, workshops, lectures and podcasts to help young people with their writing. They have ambassadors doing school visits too, and it’s not too late to register, so head over to expressmedia.org.au/nywm and state your interest. And with that it seems as good a time as any to present this op-ed piece from high school student and all ages reporter Jessie Hunt: There have already been questions raised about what FBi Social will do for the Sydney Metro music scene, but I think it’s important to ask (if somewhat belatedly) if we really need yet another 18+ music venue in Sydney.

POP CULTURE THERAPY WITH ADAM CURLEY In a not unlikely turn of events, last week saw the release of two of the most hyped up pop-culture products of the year so far, and both about the same thing: pissy pubescent males. The most talked up Australian show in recent memory, Chris Lilley’s Angry Boys, had its premiere on ABC1, while Californian rapper and OFWGKTA member Tyler, The Creator made his ‘label debut’ with his Goblin album (XL/Remote Control). The occurrence wasn’t unlikely because there are plenty of mass-marketed products focused on angry teenage boys released every week – in music, the almost constant influx of hardcore/pop crossover bands is perhaps the best example – but it was significant due to the media and word-of-mouth publicity each has generated and also to their differing approaches to their subject matter – and also to their similarities. Angry Boys, PR-fed media coverage of the show stated, would cause a public stir over Lilley’s use of race slurs and shock-tactic scenarios. Case in (their) point: in early previews for the show, Lilley revealed the character of S.Mouse, a young, black American rapper attempting to play up to the expectations of his peers by ‘keeping regular’ on top of a car in a video for a song, Poo On You (or, more likely, Poo On U). As yet, however, as reviews of the eightepisode show have rolled in and ‘the public’ has had an opportunity to voice its horror, there’s been no outcry to speak of, no controversy worth reporting. Everyone, it seems, ‘gets the joke’ or is at least unwilling to be the person to raise their hand and call offense. Likewise with Goblin, Tyler, The Creator’s gore-heavy second solo album, which blurs the line between fiction and earnestness through the use of three central voices: Tyler himself; Doctor TC, the therapist introduced on Tyler’s debut, Bastard, and the voice of Wolf Haley, who acts as the archetypal devil on Tyler’s shoulder. On Goblin, Tyler’s barrage of sexual assault fantasies, as well as his sexist, homophobic and racist slurs, are blatantly spelled out as fiction by the rapper in an early “disclaimer”, but unlike Angry Boys, where every line can be taken as a comment on the current state of adolescence, there’s always (and intentionally) the hovering question of what’s intended as knowing comment and what’s intended as gratuitous pornography, torture or otherwise (or the third option, which is harder to calculate but could be argued is the beauty of the record, what’s intended as self-as-art: Tyler’s ultimate and intentional portrayal of himself as unknowing angry teen). As • 48 • THE DRUM MEDIA 17 MAY 2011

far as the content goes, as opposed to the production, we’ve been here before with Eminem/Slim Shady, which is maybe why even traditionally conservative media are staying relatively quiet on Goblin – the time of conservative media outrage over baiting music personalities has largely passed and no one wants to look like the one who ‘doesn’t get it’. The failure, however, for any significant outcry to arise over either Angry Boys or Goblin also seems to have stilted any real conversation of their merits as social commentaries. The collective decision not to be offended by Lilley’s use of ‘un-PC’ language seems to have closed the book on any greater discussion of why he’s using it in the first place. No one’s accused Tyler of hiding behind a fiction device to irresponsibly glamorise hate crimes, but no one is talking about the wider message of the album, which is clearly laid out: family breakdowns, powerlessness and social pressures creating self-loathing and frustration, which turns to anger. There’s been no conversation about the pressures on young males to make ever bolder displays of their irreverence towards society and where that’s coming from. And there’s an immediate problem caused by this lack of conversation. As Eminem’s career arc and Lilly’s Summer Heights High showed, as one part of society is busy proving it ‘gets the joke’, another is reappropriating the message with the help of giant marketing machines as a voice that legitimises their anger. Those ‘Dictation’ t-shirts marketed after Summer Heights High may have been fairly benign, but they did change the larger conversation about the show. Maybe it’s time to stop ‘getting the joke’ and start considering why it’s being made. breakdown@drummedia.com.au

When you’re underage, lonely and anxious about the future, music becomes a comforting hand on your shoulder, a kindly whisper in your ear. It’s a route of escape from the social Darwinism and unrequited love and brewing anarchy that is high school; music becomes the cornerstone of what makes you different to everybody else. Live music, then, becomes so much more important. Be it a concert or festival, live music becomes this expression of individuality, of identity. You go see live music and it’s cathartic: ATARs and History Extension and whether that guy in your maths class knows your name yet—and all that other stupid shit we waste our youth on—becomes immaterial. Last weekend I attended Groovin’ The Moo in Canberra (all ages—they’ve got the right idea). There I was, thinking about how fantastic it all was, when I overheard some hip, pretentious twentysomething remark, “All festivals should just be 18 plus.” As far as I could tell, this guy wasn’t being swamped by sixteenyear-old fangirls or begged to buy alcohol for underage punters; I’ve got no idea what made him so disgustingly world-weary and inhospitable. What are a couple more people in a mosh pit? What difference do underage punters make? Why can’t we share the music scene? That’s what we need to do. Share the scene. What Central Sydney really needs is an intimate all-ages venue, where ID gets checked at the bar. We need the kind of venue which can book international and local acts in an intimate setting. And, please, check your world-weariness at the door. allages@drummedia.com.au

TALES FROM THE BIG APPLE WITH TOM HAWKING “The subway is a porno,” goes a lyric in Interpol’s NYC, and while this might make you wonder exactly what sort of thing Paul Banks likes to Google surreptitiously when his girlfriend’s not at home, after enough trips on New York’s iconic metropolitan transit system, you do kind of get what he means. The subway is New York City’s great leveller. Unless you’re one of the city’s genuinely superrich and travel by helicopter or hyperspace transfer or something – or you have a particularly strong liking for sitting in traffic and looking out the window of a taxi – then you catch the subway like everyone else, rich or poor, black or white, young or old.

TYLER, THE CREATOR

CALLING MAYDAY

Given that New York is one of the world’s most ethnically, socially and, um, mentally diverse cities, this means that a ride on the subway is one of the world’s great people-watching experiences. There are the daily commuters, of course – suited executives, yammering school kids, balding weary men in polo shirts and chinos who smell of coffee and stale sweat and desperation and all called Walt or Jim. The occasional carbuncular secretary studying the ads for Dr Zizmor’s famous fruit acid chemical peel very carefully indeed. Laughing graphic designers and advertising types, comfortable in their stylish affluence. Grizzled MTA contractors carrying lights and esoteric tools, all with the tired but satisfied air of a long night of track work behind them. There are the tourists who shuffle on at 42nd St, clutching shopping bags and furtively studying subway maps trying not to look like tourists. And there are the musicians who entertain the tourists. The fresh-faced drummer on the platform at 14th St with a full kit and MIDI percussion pad, who NY Conversation saw getting fined by the police one night and who hasn’t been seen since. Gospel singers good and bad. Several different Mexican mariachi bands. The break dancers, who work the long non-stop express journey between 125th St and 59th St with a little portable stereo and a routine that’s so well-rehearsed and well-oiled that it feels tired and somehow a little sad. There are the homeless people sleeping on the platforms during the winter, and the characters you see from day to day. Large intimidating potential gangsters with small effete dogs. The watery-eyed Courtney Love lookalike reading a “Welcome to Narcotics Anonymous” pamphlet. A gentleman in a cape and English highwayman gear. Creepy Christian families with children in matching outfits. An old man quietly and carefully pissing into a bottle.

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And then there are the bona fide lunatics, like the sinewy veteran crackhead who’s often seen running around in circles and talking to her reflection in the window of the carriage, smoking a cigarette all the while – although once, in a glorious only-in-America moment, another commuter produced a can of air freshener from her handbag and sprayed it pointedly in the direction of the smoking crackhead, who eventually put her cigarette out and then resumed her sad, broken laps of the train. The small Christian lady in shorts and large heavy hiking boots who attempted to convert said crackhead to a life of Jesus-lovin’ evangelism, with predictably disappointing results. The seven-foot Amazon in leopard print dress and heels who took quite a shine to NY Conversation, prompting visions of a potential Kip/LaFawnduh scenario and a distinct sense of relief when our station came around. The derelict magician whose tricks involved producing various items from his “magic box”, including lacy (and possibly soiled) underwear and, implausibly, an actual live dove, which took off and flew around the carriage, terrifying pretty much everyone until he managed to convince it to return reluctantly to the confines of the box. And, of course, there’s always something to challenge your own preconceptions. A while back NY Conversation sat across from a dignified-looking late-middle-aged African or West Indian man with greying dreadlocks and an elegant olive green suit. As we watched, he extracted a Borders bag from his leather satchel and turned it over in his hands a few times. As we waited for him to remove its contents, we amused ourselves trying to guess what sort of erudite reading matter he’d purchased – a Toni Morrison novel perhaps, or some sort of post-colonial discourse by Edward Said – and started thinking about how great it was that New York attracts such intellectuals from around the world, men who’d probably be persecuted in their own countries but here were free to express themselves and contribute to the greater good of humanity etcetera. As we sat basking in thoughts of glorious intellectual liberation and the betterment of man, the gentleman opened the bag and produced... A three-DVD box set of The Complete And Unadulterated Best Of Benny Hill. More at http://nyconversation.com!


ANI’S MENTOR DIES BLUES AND ROOTS WITH DAN CONDON Blues guitarists tend to get their influence from all sorts of different, varied places. There are a couple of names that tend to get thrown out there more than others when it comes to having said artists list these influences, though, and there is no doubt that Eric Clapton is one of the more commonly mentioned among them. For decades Clapton has been considered to be a god amongst the guitar community and he continues to influence and inspire guitarists all across the planet with his stunning playing. Some of Australia’s best blues guitarists are coming together to pay tribute to Clapton in a couple of months’ time, as the Crossroads show hits the Enmore Theatre on Saturday 11 June. Kevin Bennett, Paul Berton, Mal Eastick, Rex Goh, Jak Housden, Dave Leslie, Kirk Lorange, Phil Manning, Ray Beadle and Peter Northcote will all be there playing tribute to EC’s entire career from The Yardbirds to Derek & The Dominos to his solo material. No blues fan ought to miss out; tickets are available from the venue and Ticketek right now for $89. He started off playing as Phil Tuffnell’s number two at Middlesex County Cricket Club and since shifting his career focus to that of music, he has gained exposure through having his songs featured in shows like Grey’s Anatomy and films like Wedding Crashers. But UK born and bred charming folkster Jont has been lingering around Australia for quite a while now, beginning his time on the beautiful Thursday Island before making his way down to the equally beautiful Byron Bay and then finding himself on stage at the Peats Ridge festival

MAJECTIC SILVER STRINGS over the new year. After that he made his way to Bondi where he has begun to work on some new material and he has spent the past couple of weeks making his debut performances in and around the Sydney area. He has one big date on the horizon – he’ll drop by Lizotte’s Dee Why on Sunday 29 May. Tickets are available from the venue right now for $28. Buddy Miller is one of the most reliable names in modern country music. Honestly, this guy’s resume is nothing short of incredible, his solo albums are all top notch and he is considered to be an ultimate gun for hire both as a guitarist and a record producer. He’s played alongside Emmylou Harris, Steve Earle,

Shawn Colvin, Linda Ronstadt, Jimmie Dale Gilmore and Lucinda Williams and recently produced Patty Griffin’s stunning Grammy Award-winning Downtown Church album of last year. Oh, and Robert Plant! But Miller has stepped it up; yes, he’s enlisted the talents of none other than Marc Ribot, Bill Frisell and Greg Leisz (guitarists, pick your jaws up off the floor) to form The Majestic Silver Strings and together they have made an absolutely stunning eponymous debut record. While these guys are arguably the best guitarists in the world right now – and the playing here is certainly proficient – at no stage is it overbearing, needlessly over the top or, in a word, wanky. The focus is on the songs; for the most part it’s dark but lush country music and with vocal appearances from the likes of Emmylou Harris, Patty Griffin, Ann McCrary, Lee Ann Womack, Marc Anthony Thompson (his song, Dang Me, is an indisputable highlight), Shawn Colvin and, of course, Buddy’s wife Julie Miller, you can bet that this is top class from go to whoa. The Majestic Silver Strings is out now on New West Records/Shock and I’m going to say that it is the roots album of the year so far. Continental Robert Susz is keeping as busy as ever these days and he has two shows on the cards for this week. Firstly he’ll perform with his Continental Blues Party at the Rose Hotel, Chippendale tomorrow night from 7pm; entry is free. Then on Sunday afternoon the band will be hitting the Bondi Icebergs Club from 4.30pm if that kind of things takes your fancy. rootsdown@drummedia.com.au

He may not be a household name, but to those in Buffalo, New York – and particularly to Ani DiFranco – Michael Meldrum was invaluable. The folk musician, who passed away a couple of weeks ago from liver disease at the age of 60, was a central figure in the Buffalo folk scene for over three decades, known for his Monday night music sessions at a local joint called Nietzsche’s, where he also ran the popular annual Bob Dylan Imitators Contest, and for bringing big name artists like Suzanna Vega and Townes Van Zandt to town through his Buffalo Song Project. Notably, he was DiFranco’s guitar teacher throughout her teen years and accompanied her as a visiting artist in local schools when she was still a high schooler. DiFranco released his debut album, Open Ended Question, on her Righteous Babe label in 2006. Meldrum, who is survived by his wife and two children, was inducted into the Buffalo Music Hall of Fame in 2006.

BLUES GET GOLD The Blues Foundation presented its annual Blues Music Awards in Memphis Thursday 5 May, with Buddy Guy taking away five awards - the B.B. King Entertainer of the Year gong, Contemporary Blues Artist of the Year, Song of the Year and both Album of the Year and Contemporary Blues Album for Living Proof. Guy, whose career has spanned over half a century, has released almost 50 studio albums. The late Solomon Burke, who passed away in October 2010, was posthumously named Soul Blues Male Artist of the Year and won the Soul Blues Album of the Year award for Nothing’s Impossible. Willie “Big Eyes” Smith’s Joined At The Hip, his collaboration with the late Pinetop Perkins, was named Best Traditional Album.

SMOKY JAZZ JAZZ/WORLD WITH MICHAEL SMITH James Valentine Quartet + Edwina Blush – The Golden Sheaf

Thursday and Friday night, the Sound Lounge hosts, direct from the US as part of the SIMA International Jazz Season 2011, the Aaron Goldberg Trio, featuring Reuben Rogers on double bass and Greg Hutchinson on drums. Pianist and composer Goldberg has worked with the likes of Joshua Redman, Wynton Marsalis and Madeleine Peyroux, but on this visit, he’ll be showcasing his most recent album, Home. Saturday, the SIMA International Jazz Season continues at the Sound Lounge with the Australian/Canadian collaboration, Quinsin Nachoff’s Forward Motion. New York-based Canadian saxophonist and composer Nachoff brings along three Melbourne musicians – trumpeter Peter Knight, Fender Rhodes piano player Marc Hannaford and drummer Rajiv Jayaweera. After three years of presenting his take on the seminal Miles Davis album, A Kind Of Blue, guitarist John Hardaker is setting out on a new journey, reinterpreting the compositions of Thelonious Monk with a very different ensemble. Sunday Hardaker takes a nine-piece featuring three flutes and three clarinets, special guest vocalist Crystal Barecca and poet Patrycia Nedziak prefacing each item with a piece written specifically for it, into St Johns Anglican Church, Darlinghurst, from 3pm, for Monk Moods. Swedish clarinettist Martin Fröst is performing the Latin and jazz-influenced Clarinet Concerto, originally written for Benny Goodman, as well as gypsy music and more with the Australian Chamber Orchestra Sunday in

WEDNESDAY Pollen Trio + Gerard Masters (solo) - 505 Juliet Pang & Didi Mudigdo – Jazushi

THURSDAY Jess Green & The Pre-Loved – Colbourne Ave, Glebe

ALI MCGREGOR

Siren Big Band – Macquarie Hotel

Sydney Opera House, and Tuesday 24, Wednesday 25 and Saturday 28 in the City Recital Hall. Congratulations to this year’s Bell Jazz Awards winners Elly Hoyt - Best Australian Jazz Vocal Album, Mike Nock Trio – Best Australian Contemporary Jazz Album for An Accumulation Of Subtleties, The Subterraneans – Best Australian Jazz Blend Album for their self-titled debut, Leigh Barker – Best Australian Traditional Jazz Album for The New Sheiks, Eugene Ball – Best Australian Jazz Song of the Year, the Australian Art Orchestra and Young Wagilak Group – jointly Best Australian Jazz Ensemble, Johannes Luebbers – Young Australian Jazz Artist of the Year and pianist Tony Gould, who was inducted into the Hall of Fame.

TUESDAY

Jason Bruer/Greg Coffin Duo – MosCafé Mark Isaacs Resurgence Band – Wollongong Conservatorium

FRIDAY Wyatt Moss Wellington – 505 Jonathan Hollowell – Colbourne Ave

SATURDAY Yuki Kumagai/John Mackie Jazz Band – Wollongong Golf Club Chris McNulty – 505 Jeff Duff, Frank Bennett & The Mighty Jeff Duff Big Band – The Basement Circular Quay

Ali McGregor – The Basement

Ali McGregor – Riverside Theatres, Parramatta

Marcello Maio Trio + The Debonair Gentlemen – 505

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ROCKABILLY/PSYCHOBILLY/ALT.COUNTRY WITH PEDRO MANOY One of the standout documentaries at this year’s Sydney Film Festival is the much-awaited I’m Not Dead Yet, directed by Janine Hosking, which profiles the remarkable Australian country music legend Chad Morgan. Morgan has apparently lost count of the number of times he’s been reported dead, hence the title. Narrated by Tex Perkins, the doco looks at a career spanning almost 60 years that’s taken Morgan all over Australia, won him a Lifetime Achievement Award at Tamworth and seen him release such classic records as The Sheik Of Scrubby Creek. It’s hard to believe that Morgan, who is instantly recognisable with those trademark teeth, released his first record back in 1952, in the era of the old style shellac 78rpm. He’s recently put out a live DVD so he’s certainly spanned the technological eras. Morgan and Perkins will both be special guests at the screening so maybe there’ll be some spontaneous live music as well! Check out the Sydney Film Festival program for screening times. It’s hard to believe so much entertainment could be rolled into the one night but The Black Cherry Club this Saturday at the Factory Theatre has pulled out all stops to make its biggest event ever. For starters there are no less than six very swinging combos – The Satellites from SA, Los Capitanes from the ACT featuring the legendary Peter Porker, the Pat Capocci Combo featuring Pia Andersen, The Corps, Whipped Cream Chargers and Jungle Rump. There are both male and female burlesque, DJs Toz Riot and Brian and special guest MC and performer Mikelangelo. The action is

Anderson & Her Band plus a host of special guests.

THURSDAY Ray Beadle swings the funk blues at 505.

FRIDAY

CHAD MORGAN spread across three rooms and there are prizes for the best dressed and the coolest dancers. There’s always been a strong rockabilly scene in the greater Newcastle area so it’s rewarding to see the popular Wickham Park Hotel will host the Newcastle Rockabilly Festival Saturday 28 May. The main stage features Pat Capocci, The Flattrakers, Danny & The Cosmic Tremors and Wes Pudsey & The Sonic Aces along with Miss Leah and Twilight Rhythm Boys gigging in the beer garden. The Fest runs from 5pm through ‘til midnight with the added attraction of stalls selling all kinds of goodies. Melbourne’s Andy Baylor has just announced a huge night at the Bridge Hotel Saturday 4 June under the billing of a Roots Music Extravaganza (aka the Roots & Blues Garage Clearance Sale!). The night will feature Andy’s celebrated Cajun Combo, Continental Robert Susz, Melbourne’s gospel queen Tracey Miller and Pia

Jump Jive & Wail, a monthly jamboree for all jivecats at the atmospheric Hotel Chambers in the Sydney CBD, sees DJs Limpin’ Jimmy & The Swingin’ Kitten spin the platters and there’s lots of room for dancers. The fun kicks off at 9pm and entry is absolutely free! The Flamin’ Beauties play the Mortdale Hotel from 8pm and Jonny Gretsch’s Wasted Ones whip up a storm at the Excelsior in Glebe.

SATURDAY Darlinghurst’s historic Cell Block Theatre hosts Cell Block Swing with the Swing Patrol Crew and DJs spinning the best in Shim Sham, Jitterbug Stroll, Big Apple and Group Charleston. It’s also the launch night for the Rhythm Cellar at Hermann’s Bar at Sydney Uni with DJs playing the hippest sounds in ska, freakbeat, Hammond grooves, soul, R’n’B and Mod.

SUNDAY The Hoo Haas have been a staple of the Newtown music scene forever and once again take control of the street level bar at the Sandringham Hotel from 4pm. Melbourne’s Blackhill Ramblers play the Marrickville Bowlo from the mid-afternoon inwards. swampshack@drummedia.com.au

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Opera soprano turned cabaret songstress Ali McGregor launches her debut album, Jazz Cigarette, in a run of shows this week, starting tonight at The Basement Circular Quay and then the Street Theatre Canberra Friday and the Riverside Theatres Parramatta Saturday. The album, on which jazz legend James Morrison features, sees her cover songs that inspire her. Drum sat the chanteuse down for a pow-wow.

Billie Holiday and Ella Fitzgerald seem obvious choices to cover, but why Britney – and how did you convert Oops, I Did It Again? These songs are quite literally the songs that made me want to sing and Britney does that almost as much as Billie and Ella do. I believe a good song is a good song no matter what genre and Britney seems to choose perfect pop songs (don’t get me started on Toxic). I decided it would work as an old time New Orleans stride number and having managed to fool James Morrison that it was just that, I think we succeeded!

How easily did you transition from opera to cabaret? Did your opera training teach you anything that helps with your chosen genre? I think of them quite differently. I liken it to driving a Rolls Royce and driving a Harley Davidson – both have similarities but need to be approached very differently. I started singing jazz before I ever even knew about opera so it felt like a nice homecoming to return to where I began. My operatic training has given my voice a strength and versatility. It has also taught me a lot about narrative and its importance to delivering a performance of any kind.

20 LOVELY LADIES A recent special on the Country Music Channel in the US has named the 20 greatest women in the genre of the last two decades. What’s Your 20? 20 Greatest Women, 20 Years, which aired Friday 6 May, collated fan votes to determine the ranking. Coming in at number one was Reba McEntire, who’s been in the business for 35 years and has had dozens of Top 10 country hits in the last two decades. Coming second and third respectively were American Idol 2005 winner Carrie Underwood and internationally recognised superstar Shania Twain, with pop songstress Taylor Swift taking the fourth spot. Rounding out the top five was Martina McBride. The list, in full, reads: 1. Reba McEntire, 2. Carrie Underwood, 3. Shania Twain, 4. Taylor Swift, 5. Martina McBride, 6. Dolly Parton, 7. Faith Hill, 8. Alison Krauss, 9. Miranda Lambert, 10. Jennifer Nettles (Sugarland), 11. Sara Evans, 12. Trisha Yearwood, 13. Dixie Chicks, 14. LeAnn Rimes, 15. Hillary Scott (Lady Antebellum), 16. Patty Loveless, 17. Wynonna, 18. Emmylou Harris, 19. Lee Ann Womack, 20. Gretchen Wilson. I HEART THE USA Papa Miley sure loves his country. Love him or think he’s a bit of a lol, Billy Ray Cyrus is inescapable and he releases a patriotic album, I’m American, in late June. The album features appearances from Jamey Johnson, Craig Morgan, Darryl Worley and Amy Grant, and also a re-recording of Some Gave It All, the title track from his 1992 debut album. First single, Runway Lights, is also the theme song for his upcoming TV series, Surprise Homecoming, which focuses on Cyrus reuniting families with their soldier relatives serving abroad. A true American… THE DRUM MEDIA 17 MAY 2011 • 49 •


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THIS WEEK IN

ARTS

WEDNESDAY 18 The Music Of Quentin Tarantino — a celebration of the music featured in the films of Tarantino, such as Kill Bill, Pulp Fiction and Reservoir Dogs. Features live performances from Mikelangelo and Saint Clare, Johnny Wishbone from The Snowdroppers, Azzy T from Zombie Ghost Train, and Kira Puru, burlesque from Tasia, and hosted by Jay Katz. The Vanguard, 6:30pm. Repeats tomorrow. Silent. Disco. Shut up. Dance in celebration of Griffin Theatre Company’s current production, Silent Disco, Griffin and atyp are teaming up to host an actually silent disco at GoodGod Smallclub. Tunes delivered directly to your ears, surrounded by theatre types. Sounds like our kind of night. GoodGod, 8pm. Walking With Dinosaurs — the arena spectacular where dinosaurs come alive, albeit in the safe confines of Acer Arena, not Jurassic Park, so you’re safe to presume you won’t get eaten - animatronically. Opening night. Acer Arena until 29 May.

SATURDAY 21 British Liaisons — stunning new production from The Australian Ballet showcasing three works by three British choreographers spanning three different generations: Checkmate, by Ninette de Valois (1937), Concerto, by Sir Kenneth

MacMillan (1966) and After The Rain, by Christopher Wheeldon (2005). Closing night. Opera Theatre, Sydney Opera House.

SUNDAY 22 Glittering Fröst — first Sydney show in a string of them happening this week, featuring Swedish clarinettist Martin Fröst playing Copland’s notorious Clarinet Concerto, Ravel, Mozart, Brahms and the Australian premiere of Hillborg’s Peacock Tales. Sydney Opera House, 2pm.

ONGOING Baal — the first play by the almighty Bertolt Brecht, as translated by Simon Stone (The Wild Duck) and Tom Wright, about the titular character, an “outsider poet, schizophrenic singer/songwriter, middle-class bum. With an insatiable appetite for sex and booze, Baal lives his life for the moment, regardless of consequence. Baal is pure pleasure principle.” It comes with an 18+ warning too. Wharf 1, Sydney Theatre Company until 11 June. The Kiss — director Susanna Dowling brings together four plays all titled The Kiss that deal with four different interpretations of the titlular act from four very different authors: Anton Chekhov, Kate Chopin, Peter Goldsworthy and Guy de Maupassant. Downstairs, Belvoir St Theatre until 5 June.

WALKING WITH DINOSAURS

THEATRE SMART CASUAL: THE STORY OF CAPTAIN ENTRÉE Sound Lounge at Seymour Centre There once were two boys from the city Who made people laugh with their ditties They developed a habit, the fans grew quite rabid And soon their jobs seemed so shitty. So they set sail and took to the sea With Captain Entrée, a captain he be! • 50 • THE DRUM MEDIA 17 MAY 2011

SYDNEY FILM FESTIVAL - HOBO WITH A SHOTGUN

REVIEW They would scrub at his back and all drink from his sack (grow up, don’t let our childish mind ruin a good limerick) And soon wrote new songs with glee. Jokes about food and strange fashion For travelling they exhibit a passion. The songs were alright, ‘twas a pretty fun night, Seems the high seas were quite full of action. It’s musical comedy. Joke songs (look up). Flight of the Tripod. Great chemistry. Pretty darn funny. Season finished DAVE DRAYTON

SYDNEY FILM FESTIVAL UNVEILS PROGRAMME The city’s premiere film event, the Sydney Film Festival, has unveiled its 2011 programme, which boasts its most blockbuster lineup of films in years. The festival will open Wednesday 8 June with the espionage thriller, Hanna, from director Joe Wright (Atonement) and starring Saoirse Ronan as a 16 year old hell bent on revenge, Cate Blanchett as her target, Eric Bana as her father, and boasting a score by Chemical Brothers, whilst closing night, Sunday 19, will screen Beginners, Mike Mills’ (Thumbsucker) humorous tale of a graphic illustrator (Ewan McGregor) whose father (Christopher Plummer), at the age of 75, reveals that he’s gay and dying of lung cancer. In-between, there’s a smorgasbord of delights, from the Murakami adaptation, Norwegian Wood (featuring a score by Jonny Greenwood), to the documentary on deceased Formula One icon Ayrton Senna (Senna), the gloriousand creepy-looking Sleeping Beauty from first-time Australian director Julia Leigh (screening In Competition at Cannes); Miranda July’s The Future; Terrence Malick’s long-awaited and long-gestating The Tree Of Life, which is arguably the most anticipated film of 2011 let alone of the festival, starring Brad Pitt and Sean Penn in a film that spans millennia; I’m Not Dead Yet, the story of country singer Chad Morgan, narrated by Tex Perkins; the much talked about Michelle Williams-starring atypical Western, Meek’s Cutoff; Takashi Miike’s (Ichi The Killer) samurai film, 13 Assassins; Sin Nombre director Cary Fukunaga’s Jane Eyre, starring Mia Wasikowska and Michael Fassbender; Project Nim, a documentary about a chimpanzee raised by humans in the 1970s and taught to communicate through sign language, from Man On Wire director James Marsh; Tom Tykwer’s (Run Lola Run) Three; Sundance 20112 Documentary Prize winner, How To Die In Oregon, which documents terminally ill patients the state’s legal doctor-assisted death; Béla Tarr’s Jury Prize, Berlin Film Festival-winning The Turin Horse; Paddy Considine’s debut behind camera, Tyrannosaur; Steve Coogan and Rob Brydon’s re-teaming in Michael Winterbottom’s The Trip; the Rutger Hauer grindhouse flick, Hobo With A Shotgun, and LBF, based on Cry Bloxsome’s novel, Living Between Fucks, set in Sydney and starring Toby Schmitz, Bianca Chiminello and Gracie Otto. And that’s just a small selection of the 161 films from 42 countries that will be screening during the festival. Head to sff.org.au for tickets and session times.

HOMAGE TO TARANTINO’S MUSIC TASTE, LIVE The films of Quentin Tarantino are, in some circles, as popular for their soundtracks as they are the scripts — think of Stuck In The Middle With You or Miserlou or Bang Bang (My Baby Shot Me Down) now and certain images (often bloody) spring to mind. His films have given past masters a new lease on life, restored interest in classic film scores (Morricone’s spaghetti westerns, for example), and reappropriated many a classic. Two nights at The Vanguard will pay tribute to and celebrate the great music that has featured in Kill Bill, Pulp Fiction, Reservoir Dogs, Jackie Brown, Death Proof and Inglourious Basterds. Performing on the night will be Mikelangelo (of the Black Sea Gentlemen fame), Johnny Wishbone from The Snowdroppers, Azzy T from Zombie Ghost Train, Kira Puru and burlesque from Tasia, and the host is Jaykatz, who’ll be screening additional films. The Music Of Quentin Tarantino is being held at The Vanguard Wednesday 18 and Thursday 19 May.

GRIFFIN HOSTS REAL SILENT DISCO Griffin Theatre Company’s current production Silent Disco is garnering rave reviews across the board from critics. “A vibrant look into a world of absent mothers and missing absent-minded fathers and Speds and Bitches. The play is a fun, daring and insightful look into youth in Australia and is just a pretty sexy-great way to spend an hour. It’s a thing.” Those are their words, and we’re not going to argue. An actual, real-deal, completely non-fiction silent disco is going to be held Wednesday 18 May at GoodGod Small Club, hosted by Griffin and atyp, just because. If you’re yet to attend a silent disco now’s as good a chance as any, with DJs spinning tunes IN THE NAME OF THEATRE. Totally rad idea, right? Let’s hope Griffin keeps this up with their next play by hosting

TARANTINO

an And No More Shall We Part-y. Silent. Disco. Shut Up. Dance kicks off at 8pm. See griffintheatre.com.au for more info.

HEAD ON HIGHLIGHTS The Head On photography festival is in full swing and as such there’re ample exhibitions to check out. In fact there are so many, it’s often difficult to chose where to begin. So here are four particular highlights worthy of your attention. Photography On Oxford makes good use of the shopfronts along Oxford St from South Dowling St to Paddington Town Hall, with a dozen photographers exhibiting in shops such as Wayne Cooper and Sass & Bide. It runs until 29 May. Next is Peter Eastway’s Rockhopper: Islands of the Southern Ocean, a series of dramatic photos of the Falklands, South Georgia, Booth, Elephant and Deception islands, being held at Gaffa Gallery, CBD until 30 May; Meyer Gallery, Darlinghurst plays host to Kule Hardy’s Dragonfly exhibition, inspired by Buddhist notions of incarnation HEAD ON PETER EASTWAY - FOYN GUVERNEREN WRECK

and reincarnation, the result of nine years of work (until 22 May); and Light Touch, a series by Christine Godden based around the concept of ‘touch’. This exhibition is held at Gallery East, Clovelly until 22 May. Head to headon. com.au for more info.

BEACHED AZ AND JON LAJOIE TOUR The hilarious short-form comedy series Beached Az has come a long way since its origins online. Having evolved into a TV series (which is available to watch on YouTube or DVD) the creators are now taking the show on the road to do it live on stage. We’re not entirely sure how that’ll work (cardboard cutouts? Costumes?) but we’re looking forward to finding out, aye. And as a special guest Canadian comedian and musician Jon Lajoie (Show Me Your Genitals, Mel Gibson’s Love Song) will be joining the roadtrip. You can catch Beached Az Live & Jon Lajoie at Lizotte’s, Newcastle Thursday 26 May, Hoey Moey, Coffs Harbour Friday 27, Wollongong University Saturday 28, The Comedy Store, Melbourne Sunday 29, and The Basement, Sydney Monday 30. Tickets through the venues.

TATTOO ART AUCTION FOR CHARITY In the name of raising much needed funds for Japan and New Zealand in the wake of their recent disasters, Lo-Fi Collective, Shanghai Charlie’s Tattoo Parlour and MA Gallery are teaming up for Give Heart, an exhibition of works by tattoo and visual artists including Jasmin Austin, Stevie Edge, Alison Manners, Shanghai Charlie’s crew, Ocean Ink crew and more. All artworks will be for sale. Give Heart will be held at Lo-Fi Thursday 19 May, 6pm. Head to wearelofi.com.au/ collective for more info.


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THE HEAT

IS ON

THE MISS BURLESQUE COMPETITION IS BACK FOR ANOTHER YEAR, PRESENTING THE FINEST AND FITTEST FAIR MAIDENS OF THE LAND. PAUL ANDREW FINDS OUT WHAT’S IN STORE, AND WHAT’S NEXT, WITH EVENT ORGANISER CASSANDRA ATKINS.

“It is often said that the most erotic body of all is one partially clothed. It’s the power of suggestion,” says Miss Burlesque organiser Cassandra Atkins. “It’s all about what is secret and hidden, what can’t be possessed; it’s the imagined that matters in burlesque.” Atkins has spent 13 years seminaked, seducing male and female audiences with her sensuous stage routines as a professional “strip artist” in championships around the world. “I love being a

strip artist, and I imagined running a competition of my own at some point,” she says of the origins of Miss Burlesque. “Industry professional Jac Bowie and I were brainstorming one day a comp that would work well in today’s climate, and we came up with the Miss Burlesque title. Neo-burlesque is so popular now — there is no competition like this anywhere in the world — so we said let’s do it. What’s exciting for us is that the new burlesque is less about the

TALES OF THE UNEXPECTED NEXT FRIDAY THE SHOT WITH DESIRE PHOTOGRAPHY WEBSITE CELEBRATES ITS FOURTH BIRTHDAY WITH AN 18TH CENTURY THEMED EXTRAVAGANZA AT NOTES. BETHANY SMALL TALKS TO PHOTOGRAPHER CAT O’NINE TAILS.

“Maybe it’s just my sick fantasies,” says Cat O’Nine Tails consideringly, “but I just thought it would be really fun if people could just come into this world and there’s music and a spanking table and this Marie Antoinette character doing her thing about cake...”

This is her vision for the fourth birthday party of her site Shot With Desire, a subscription-based community focused on nonconventional erotica starring the bodies and fantasies of the punk/ fetish/performance/everything

strip, more about the tease, about the humour.” Atkins cites a list of burlesque legends including US artist Lily St. Cyr as mentors. “Lily was a legend because she understood mystique, that beauty emanates from the inside. The body in the right-shaped costume with the right bits showing is a lot more sensuous than the naked body on its own. It holds the mystery and keeps you thinking and wanting more. It’s like the chasing game of love: if you give them what they want “metalheads and freaks” she inhabits along with her friends and photographic subjects. The eroticism of the images Cat and her models create is one of individuality and self-assertion, of desire as specific and personally-driven agency, and she sees the perfect way of celebrating it’s success as being a night of “like, absolute debauchery. And it’ll be so exciting to have all my performers in the same room!” Her performers, or models, or, as she calls them, her ‘cast’, are a diverse group, reflecting Cat’s commitment to representing a whole spectrum of desire and desirability, to be representative as far as she possibly can not only by taking submissions from as well as recruiting potential models through her website but also by trying to keep to a 50/50 gender balance as far as she can. “I have, you know, walked up to guys on the street and been like, ‘Can I take photos of you naked?’” she admits. “But not like that, of course, it’s professional.” Her sourcing of models started out as friends-based and being shaped by where she was based, but seems to have grown with her name so she now gets given the names (and photos) of people who are “‘so Shot With Desire’, whatever that means!” Cat’s in charge of the aesthetic, but she’s also very much a collaborator, describing her on-shoot tactics as changing shoot-to-shoot and modelto-model. “Sometimes they have no idea and I get to find something in

too soon then you’re no challenge at all, the seeker finds you dull. Keeping yourself covered leaves the special someone, or an audience always wanting more. “The dream now is to hold the first-ever Miss Burlesque International by 2013,” Atkins adds. “We are in the process of franchising the ‘brand’ to producers overseas. Miss Burlesque Canada and South Africa are set to start in 2012. We are in talks for a number of countries in Europe and the USA. Miss Burlesque has been successful here in Australia, and hopefully eventually, an international title. “When we organised the first Miss Burlesque last year we received a lot of scepticism — people putting the competition down, saying the burlesque community doesn’t need a competition, that performers shouldn’t be competing against each other, it will only produce bad for the industry not good, it won’t help your career if you win and on and on and on. I could see some of their points but the truth remains our whole life is a competition, why not have some fun with it? “We watch sport on television and in news programmes there are competitions around us everywhere. We have proved these people wrong. In my life I have never seen so many women in a competitive environment working together as one, supporting each other, being involved in their community and using competition as an opportunity to grow, to make friendships. Watching the WA entrants drinking cups of tea, hand sewing, gluing beads, stitching, helping one another in a sewing circle sharing stories and experiences was so gratifying for me, a sense of belonging. These girls made me cry from happiness. “Oh,” Atkins adds as a final note, “keep an eye out for Mr. Burlesque — that’s next year’s epic.” WHAT: Miss Burlesque NSW / Grand Final WHERE & WHEN: Factory Theatre Saturday 28 May / Saturday 25 June them and bring that out, and other times I know exactly what I want and I’ll ask them for that, get them to perform that.” These scenes vary from classically naughty pin-up vibes to shoots (consensually!) violent enough to get a window broken. The bodies and scenes that come across in Cat’s photos are depicted not only through her literal lens, which she uses in an undramatic style that could almost be vernacular if not for the precision of lighting and focus, but happens through the filter of her imaginary time travel. “The 1700s, no one knows what those times were like... a sinking ship of debauchery!” She sighs this rapturously of the period that’s the theme of her work and her party, and it’s easy to get caught up in her visions of “extreme decadence and orgies and cakes and feathers and flowers.” This is the world she and her cast have set up for the birthday party of Shot With Desire, and with that theme and people getting prizes for dressing up in it and for impromptu stripteases, and the live presence of performers that lots of the crowd will recognise from their photoshoots, Newtown will do that idea justice for the night. Lords and ladies, ribbons and bows, thieves and whores, the whole lot. In corsets. WHAT: Shot With Desire Fourth Birthday 18th Century Themed Extravaganza WHERE & WHEN: Notes Friday 27 May

C U LT U R A L

CRINGE

WITH JAMELLE WELLS Bollywood star and television host Tania Zaetta’s children’s charity has been shut down after an investigation by The Queensland Office of Fair Trading. It’s been revealed Peace For The Children is not a registered charity. The investigation centred around $22,000 raised at two events on the Gold Coast, where the charity auctioned a signed Michael Clarke Ashes 2010 shirt and a tennis racquet signed by Pat Cash. Zaetta also faces charges of obstructing police and public nuisance after an incident at a Surfers Paradise nightclub in March. New fringe theatre venues are always welcome and the latest, District 01, at 74 Oxford St, Darlinghurst, is in a tiny room downstairs. It’s opened with an Apocalypse Theatre company production of Patrick Marber’s Closer. The production stars Cat Martin, Katrina Rautenberg, Tim Wardell and Michael Cullen. Sydney’s Short+Sweet theatre festival is after a new director to replace Alex Broun. He has directed the last three Sydney Short+Sweet festivals, run others in Melbourne, Brisbane, Rockhampton, Auckland, Singapore and last year’s first ever Short+Sweet Delhi in India. Broun will continue to run writing workshops and help develop the festivals in Australia and overseas.

THEATRE RUBY MOON Wharf 2, Sydney Theatre Company Ruby Moon is served as twisted side dish to Version 1.0’s The Disappearances Project; the latter exploring in very real terms how communities deal with a missing person, the former providing a more theatrical point of reference. With ties to Little Red Riding Hood and The Pied Piper (though this is more than mere fable), Ruby Moon is a surreal, grim fairy tale that examines how married couple Sylvie (Eliza Logan) and Ray (Jo Turner) come to terms with the loss of their daughter. While its themes are dark — there are allusions to rape, abduction, murder and mental illness — they are offset with a confident comedy. Aided by impressive dark and quirky lighting the production presents the kind of palatable macabre wielded by Tim Burton. The versatile two-person cast juggle multiple characters playing the residents of Burning Tree Grove with on-stage costume changes. While there are a few duds — a tired and clichéd military vet among them — there is more than enough to win over the vocal high school crowd. Logan’s sultry number as the seductive Veronica sits perfectly before the musky brown drapes and Turner’s awkward and eccentric clown Sid, who recalls Tom Hardy’s stunning portayal of Bronson in the film of the same name, is an absolute showstealer.

One of the film industry’s most sought-after experts on comedy, Steve Kaplan, is returning to Australia in August to run a three-day workshop with a select group of 12 screenwriters. In addition to having taught at UCLA, NYU, Yale and other prestigious universities, Kaplan created the HBO Workspace, the HBO New Writers Program, and was co-founder of Manhattan Punch Line Theatre. He regularly serves as a consultant to DreamWorks, Disney, HBO, Paramount and Touchstone. The outgoing Bangarra chairman, Aden Ridgeway, has called for more money for the dance company. He says despite an international profile, Bangarra is one of the worst funded major performing arts groups in Australia. The new chairman, Professor Larissa Behrendt, who has served on Bangarra’s board since 2005, says the company’s underfunded despite carrying costs other groups don’t incur, such as a big touring calendar, taking its Indigenous dancers to the Outback and nurturing links with aboriginal communities. The Beaconsfield mine disaster is being made into a three-hour long telemovie, produced by John Edwards for the Nine Network. It’s of course based on the disaster that occurred at Tasmania’s Beaconsfield gold mine in 2006. The telemovie will be directed by Glendyn Ivin (Last Ride) and written by Judi McCrossin (The Secret Life Of Us).

REVIEWS

I ONLY CAME TO USE THE PHONE Darlinghurst Theatre The setting steals the show; a rugged and tactile collection of rustic Spanish colours, the set feels like a relic, an abandoned building that holds the stories of those it once housed. Rachel Smith’s lighting illuminates them, giving a sense of the intimate and the surreal that a direct adaptation of Gabriel García Márquez’s short story requires. Similarly, Damian Wright’s live flamenco guitar elicits the mystical lyricism of Márquez’s text. But things begin to unravel shortly after. The original story has over 30 characters, here played by a cast of six. The costuming looks as though the cast is running rehearsal; casual streetwear that is not bland enough to be painted with the numerous personae they assume. Similarly, clad in what appears to be casual wear, director/ actor Netta Yaschin, who sits in the audience throughout the majority of the show, breaks the illusion upon entering the stage and, clipboard in hand, the sense of this as rehearsal rises again.

Early in the play Ray questions, “Maybe our grief has reached its used-by date?” If it remains this entertaining, then surely not.

Last minute addition Fayssal Bazzi, whose main role was as the fierce and strong-armed warden Herculina, shone alongside Annabelle Stephenson’s vulnerable portrayal of protagonist Maria. Where others failed to strike a balance between melodramatic and serious, Bazzi excelled; both fearsome and entertaining. Amidst often-pompous delivery that belittled the audience and mocked the strange sense of the surreal that the story displays it became clear — despite the heavyhanded use of a smoke machine — that plumes of smoke do not maketh Márquez’s magic.

Season finished

Until 29 May

DAVE DRAYTON

DAVE DRAYTON THE DRUM MEDIA 17 MAY 2011 • 51 •


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THE GREAT AUSTRALIAN STORY GUY DAVIS TALKS TO MATT SAVILLE ABOUT BRINGING ONE OF AUSTRALIA’S MOST LOVED STORIES, TIM WINTON’S CLOUDSTREET, TO LIFE ON SCREEN.

STEPHEN CURRY AS SAM PICKLES For two decades, Tim Winton’s sprawling, lyrical and moving novel, Cloudstreet, has been one of the most respected and beloved books this country has ever produced. So why has it taken so long for it to make the journey to the screen? Well, it’s not through lack of trying from producers and directors both here and overseas. But Winton himself had a theory, one he shared recently: “No director wanted to do it. You don’t want to be remembered

as the bloke who stuffed up Cloudstreet.” Matt Saville clearly had no such concerns. Well okay, maybe he did. But he was also so taken with the epic but intimate tale of the Lamb and Pickles families, two very different groups of people bound together by love, luck and fate, that he wholeheartedly embraced the challenge of helping transform the novel into a six-hour TV mini-series.

And it was a challenge. Saville’s a gifted and versatile filmmaker with a variety of productions to his credit, including the Graham Kennedy biopic, The King, the suburban crime drama, Noise, and Chris Lilley’s We Can Be Heroes, but the scale and scope of Cloudstreet was unlike anything he’d taken on before. “It’s twice as big as anything else I’ve ever done,” he admits. “I was very fortunate in that the text itself — the book and Tim’s own

adaptation of it — is so invigorating and so creatively bold.” And while he explains that working on the production for more than a year was at times draining both physically and mentally, the sheer joy of creation and collaboration with a top-shelf cast and crew regularly proved to be a boost. “It’s taxing when you’re working on lesser material, to be honest. If you’re working on exciting material, you gain a momentum. “And the other thing was that the cast and crew were so extraordinary; if you ever turned up to the set feeling tired or uninspired, there was always someone who would quietly offer a suggestion if they saw you struggling. “I know this sounds like PR spin but it was such a privilege to work on this show, and everyone involved felt the same way. That combined creative energy made it not necessarily easy but certainly enjoyable.” Spanning the 1940s and 1950s, Cloudstreet follows its two families as their fortunes rise, fall and constantly shift. They share a large, run-down house located on Perth’s Cloud Street, a house that seems to have a life of its own, and as the years pass their lives become intertwined in good ways and bad. It’s a wonderfully and unabashedly emotional story, one that the superb cast of veterans like Geoff Morrell and Kerry Fox, acclaimed actors like Stephen Curry and Essie Davis, up-and-comers like Todd Lasance and Emma Booth, and new faces like Hugo Johnstone-Burt vividly bring to life. “There’s a cynicism among many modern filmmakers — they think

sentimentality is gauche,” Saville says. “But we made decisions that were bold and unapologetic in evoking certain emotions and reactions. At the same time, though, Tim didn’t want me to make it nostalgic for ‘the good old days’ — these were tough times. There’s definitely sentimentality in the writing and the characterisation, however.” For Lasance, who is currently building a sterling resume of roles in projects such as the Underbelly telemovie, Tell Them Lucifer Was Here, and the upcoming Crownies, winning the pivotal role of the strong but guilt-ridden Quick Lamb was a dream come true. “Everyone in Australia knows and loves Tim’s book, so when I landed this...” he says, smiling, during a conversation on the show’s Perth set, “‘unbelievable’ is the only word I can use. The night before my last day of filming on Home And Away, I got the call telling me that I had the role of Quick. You couldn’t ask for a better change-over.” You’re only as good as the actors you work alongside, they say, and Lasance considers himself fortunate that he was working alongside the likes of Morrell and Fox, who play his parents in the mini-series. “I pinch myself that I’m working with likes of Geoff and Kerry, and having scenes with them makes me feel like I’m developing as an actor all the time. I had a scene yesterday with Kerry and sharing this raw emotion was just exhilarating — you can physically feel the change in yourself.” Newcomer Johnstone-Burt has an equally central role in Cloudstreet, that of the simple-minded but wise and

big-hearted ‘Fish’ Lamb, and admits with a laugh that he “dead-set had a heart attack” when he discovered he was up for the part. “It’s such a loved Aussie story, and it’s an absolute dream role to get,” says the recent NIDA graduate. “It’s a privilege to play Fish. A lot of thought and effort and love have gone into this — we’ve got the essence of the story and the characters. I have 100 percent trust in Matt and my fellow actors, so I think we’ll do a great job.” Saville modestly gives the bulk of the credit for Cloudstreet to its source material and its author, although it’s clear that the director has definitely put his own mark upon it. “Tim’s writing is so visual and detailed, especially in this novel and his adaptation, that the images become very vivid, very crystalline, quite easily to anyone who reads it, whether you’re a filmmaker or not,” he says. What isn’t quite so obvious is how you achieve those images! “I read the book seven-and-a-half times — I made a promise to myself during the shoot that I wouldn’t read any prose that wasn’t related to this story, not even a newspaper. “I had to do it. I had to be immersed, and the more I kept reading and reading and reading things started to clarify. And I made a list of filmmakers I say I referenced but really I just plagiarised. I wanted this to be It’s A Wonderful Life directed by Terrence Malick, with David Lynch on second unit.” WHAT: Tim Winton’s Cloudstreet WHERE & WHEN: Premieres on Showcase Sunday May 22, 8:30pm

for video and new media arts 2011

Ian Burns (AUS/US) David Haines (UK/AUS) and Joyce Hinterding (AUS) Rachel Khedoori (AUS/US) Jae Hoon Lee (KOR/NZ) Arlo Mountford (AUS) Charlie Sofo (AUS)

5 May – 10 July 2011 FREE ADMISSION Late opening every Wednesday until 9pm

Guest curator Justin Paton Updates & artist interviews: www.twitter.com/Unguided_Tours

ART GALLERY OF NEW SOUTH WALES ART GALLERY RD THE DOMAIN SYDNEY 2000 INFORMATION 1800 679 278

www.artgallery.nsw.gov.au David Haines and Joyce Hinterding The Outlands 2011 production still (detail), Courtesy of the artists and Breenspace, Sydney

• 52 • THE DRUM MEDIA 17 MAY 2011


frontrow@drumperth.com.au

RUPTURE

WHAT COULD MAKE AN IMPENDING APOCALYPSE WORSE? IMPENDING FATHERHOOD. DAVE DRAYTON TALKS TO STEPHEN LLOYDCOOMBS, DIRECTOR OF AN IMPENDING RUPTURE OF THE BELLY.

A few weeks ago Osama bin Laden was killed by special US forces and an odd and curiously callous celebration erupted; the culture of fear that so often governs society was once again rearing its head. It’s this fear director Stephen LloydCoombs will be examining with The King’s Fools production of An Impending Rupture Of The Belly. “With 2012 on the way and all these doomsday scenarios and all of what you see on TV with the earthquakes and the droughts and the floods and everything I think it’s kind of a pertinent time to put this play on,” he says.

Despite the serious themes at play, Impending Rupture is at its heart a comedy — albeit a black one — in keeping with the past catalogue of the new company, which LloydCoombs opted to start in lieu of attending acting school. “I thought I could go away for three years to study at VCA (Victorian College of the Arts) because they accepted me in, but then I kind of realised that I could make more of a profile for what I want to do by making a company. So I started up this independent theatre company and I got onto Original Works Online, who’s kind of like a fringetype play base, and started up a

kind of partnership with them and we perform all their fringe comedy shows. I’m at that age now where it’s like I could go away and do no professional work and just train and train and train, but you’re not guaranteed anything. So I thought well, why not start something that you can hopefully get a great group of people together and do the same thing, because your own class of people are definitely passionate about it because they’re taking time out of their lives to do it.” So after some more light-hearted comedy pieces, why pick the darkly

WHAT: An Impending Rupture Of The Belly WHERE & WHEN: Newtown Theatre Wednesday 18 May to Saturday 4 June

THEATRE

REVIEWS

PICTURES OF BRIGHT LIGHTS Bondi Pavilion Theatre A Stepford wife Mother, prim, proper and polite, with Caroline Craig’s sunshine sing-song delivery and her doting daughter planning the perfect birthday for the man of the house. Wonderfully quaint costuming completes the picture. Maree Freeman’s script plays out like variations on a theme, in a manner reminiscent of Queneau’s Exercises In Style, a familiar scene returning and evolving, punctuated by images of Child’s (Eryn Jean Norvill) infatuation with the Storyteller and his story emporium. With powerful movement sequences Norvill occupies a surreal and fantastical limbo between girlishness and womanhood. Each time in alien green lighting she uncertainly navigates a developing sexuality with fistfuls of dirt. Here Kurt Phelan comes to life as the Storyteller, embodying the Peter Pan philosophy of perpetual youth, rejection of adulthood and its associated drudgery. He’s suspiciously theatrical, strung taught between innocent danger and drama and promising untold wisdom with no mention of the risks. With each repetition of the interaction between Mother and Child more is unpacked, more divulged. Gradually picture-perfect presentations of familial bliss crumble as we piece together their reality and are asked to question its importance. Until 28 May DAVE DRAYTON

BAAL Wharf 1, Sydney Theatre Company Simon Stone’s production of Baal - by all accounts an incredibly difficult script - is delivered in true Brechtian fashion. Our protagonist and antihero Baal pushes at us, keeps us at arm’s length with Thomas M Wright’s borderline autistic delivery — though there remains an animalistic magnetism. In their leach-like manner, their desperation for his approval or at very least acknowledgement, a strong cast represent his larger than life sphere of influence. Baal rarely faces the audience, consumed by his own creation, brilliantly realised by Stone, a world of bleak nihilistic hedonism. All of life is hyperbolic; the praise heaped on the tortured artist, the art itself, Baal’s crass and selfish episodic philosophy. And we see it all through Baal’s eyes; at first a cathartic blur of sex and creativity inhabited by “fucking artists”, with a perverse intoxicating effect. Then, as the white set folds in half and the sky opens, we witness Baal at the mercy of the elements as he confronts his own nature. At this extreme there’s little hope for anything but destruction. So we watch it, perhaps uncomfortably, violently unfolding. It ends, drenched in rain. What does it feel like to be ignorant of consequence, to show no concern for others, to reject society in pursuit of unbridled creation? I want to follow, desperately and uncertainly, into the storm. Until 11 June DAVE DRAYTON

UNDER 30? TICKETS JUST $30*

BRECHT’S FIRST PLAY SCREAMS INTO THE 21ST CENTURY

BAAL by Bertolt Brecht

Translated by Simon Stone & Tom Wright

Now Playing! Wharf 1 Sydney Theatre Company STC Box Office (02) 9250 1777 sydneytheatre.com.au/baal Director Simon Stone 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

*Conditions apply, transaction fees may apply

Photo: Terence Chin

THE

funny Impending Rupture? “When I first went over the databases of what plays I could put on I didn’t want to go for anything that’s already been done either by Belvoir or STC or anything like that,” Lloyd-Coombs explains, “I kind of wanted a show that’s never been touched before so I went through all these scripts on this Original Works Online site and ran into Impending Rupture and it’s just such a smart play and it was really funny as well. And I thought for a one-act play this could really do something, because it would be an Australian premiere and something that no one’s ever seen before, it’s untouched over here. I wanted to take up that challenge — it’s quite a challenging script as well; it’s set in various locations and there’s a minimalist set — I just wanted to do something that’s never been seen before; the themes have hopefully never been touched before in this way and that’s why I took it in. It’s just such a great showpiece for the King’s Fools.” In the play protagonist Clay is faced with a suburban quarrel turned sour, resorting to baser instincts that are driven by the impending arrival of his baby. It may sound dull but as Lloyd-Coombs points out, “In this case he goes a bit overboard with that. It’s a really interesting concept to explore because when you think about it, when it comes down to it, he’s just having a border skirmish with a neighbour whose dog keeps defecating on his yard.”

THE DRUM MEDIA 17 MAY 2011 • 53 •


frontrow@drumperth.com.au

ROUGH

TRADE OVER THE PAST THREE YEARS PENGUIN PLAYS ROUGH HAS CATERED TO SYDNEY LOVERS OF A GOOD STORY. NOW THEY’RE BRANCHING INTO PUBLISHING. BETHANY SMALL TALKS TO ORGANISER PIP SMITH.

Talking to Pip Smith, it quickly makes a lot of sense that she set up Penguin Plays Rough. She’s got this intense level of energy and degree of excitedness about everything from screenprinting to a tiny mechanical Charles Dickens to nachos, all of which made perfect sense at the relevant points of the conversation; she’s the kind of person who always says ‘and’ rather than ‘or’; she uses her whole body as well as a lot of very expressive tones of voice to get

• 54 • THE DRUM MEDIA 17 MAY 2011

her emphases across. She says the word ‘story’ like it has magic powers. So, yes, a storytelling night makes sense. But why now a book? Because yes, Sydney’s grimiest yet most velvety regular showcase of stories told to you live by the people who made them up is now a book! (And an audiobook. And an iPhone app.) “The reason we decided to put it together as a book was that in May we got evicted,” Smith explains, “and we

were suddenly like, ‘Fuck, what are we gonna do?! How can we keep this going?!’ and someone sent us a link to the Write In Your Face grant and we applied, just mainly to document the night in case something happened to it, and we got it!” This immediacy and all-in approach is typical of PPR’s history, which starts with a recently graduated and moderately disillusioned with theatre and writing in Sydney Smith taking an eye-opening trip to Melbourne,

“and there were all these, you know, hip magazine launches, and people getting drunk at book launches! And it was suddenly okay to be a writer! “Like, in Sydney people would say, ‘What do you do, do you do theatre, do you do performance art, do you do this or that?’ and I’d say ‘I’m a writer, don’t tell anyone,’ but in Melbourne, you know, it was okay to be a writer, and it was kind of a bit fun, because there was a community, and it crossed over into other stuff.” She took her slight disgruntlement and the giant house she was living in on King St, and together with a flatmate decided “let’s do a writing night, and let’s do it right away!”. “So we made some flyers and we had it like a week and a half later... We had it around our kitchen table and we had about 40 people there, which, I was amazed people came.” It’s grown a bit since these 2008 beginnings and it’s moved house to a new venue in St Peters, which is also Smith’s new home and the impromptu screen-printing factory where the custom screened dust-jackets for the books have been made. But the DIY, come and play aspect of Penguin Plays Rough lives on, right up to and including the book launch at the Sydney Writers’ Festival, where five authors who are in the book and five ‘wildcards’ (the PPR term for those who sign up as open mic presenters) will read out stories they’ve written in response to the ones that’ve been published. WHAT: Penguin Plays Rough book launch WHERE & WHEN: Sydney Dance Cafe, Pier 4/5, Walsh Bay Saturday 21 May

MADE YOU

LOOK

WITH BETHANY SMALL My friend Emily’s Facebook page has always looked better than most people’s on account of her being super-hot, but it’s frankly devastating now that she’s moved to New York and is all ‘on the art scene’ and meeting people who are Big Deals and stuff. So I am totally happy for her and trying not to die of jealousy and very excited that I’m getting my pick of the clothes she’s left behind, and enjoying having a view into whether those much-chronicled ‘art parties’ are as fun and exhausting and pretentious and weird as coverage makes them out to be. Results so far are mixed, but I’m willing to make this one a longtitudinal study. It’s important to me, you see, because if I closely observe the art party scenes in the major art party places I can work out which one to move to when I develop some kind of fiscal viability. And/or, perhaps a little more realistically-albeit-creepily, how I can simulate those conditions in Sydney. New York is the lead case study because, really, it is the gold standard in people thinking it’s their spiritual home, and because everyone pays attention to New York. Don’t get me wrong, though, I’m not being one of those people who is all like “Blah blah blah Sydney is so boring there is nothing to do blah,” because those people are lame. Make some effort, yo! A couple of Thursdays ago I managed to fit

three art openings, the launch of the third issue of a really excellent small journal and a storytelling night put on by a radio station in a library that was open very late, and I did these things between the hours of 6pm and 11pm. That is not a city where there’s nothing going on. So what’s my problem? Well, that I’m not about five inches taller and hanging out with conceptual artists in Berlin. But also that there are very few opportunities in Sydney to get really dressed up in honour of art and/ or then having art done to you. There are so many fewer artists here, too, and tinier even if we apply population ratios number of those have any kind of celebrity value. I was in a room with Charles Blackman and Margaret Olley the other night and there were nearly more cameras than people. That’s totally warranted because both of them are significant and venerable and pretty bad-arse, but think how few artists have that level of standing in Australia? We’re so unused to famous artists that we freak out around them. Freaked out people aren’t great for parties (at least the start of parties) and it seems unfair to put people like Olley and Blackman constantly through the party wringer anyhow. So essentially what we need to do here, you guys, is round up some mid-career artists who are solid in reputation and solid as in robust enough for lots of galas, and trap them on the new roof area at the MCA until they form a civilisation together and start having parties. Agreed?


live@drummedia.com.au THE WOMBATS @ ENMORE THEATRE. PIC: LINDA HELLER-SALVADOR

NATIONAL

THE WOMBATS TORTOISESHELL

Enmore Theatre 09/05/11

Even if you’re not the greatest fan of all ages gigs, it is still hard to deny the fact that there are some definite perks for both the band and the fellow audience members. You can smell the infectious excitement in the crowd as well as hear it and, best of all, every band on the bill is met with an attentive and enthusiastic response. This was certainly the case for Sydney five-piece Tortoiseshell, who opened the evening to a loud, hysterically female scream at a surprisingly packed Enmore Theatre. Their sunny pop songs matched the eager crowd with catchy hooks and jubilant energy. Their influences were obvious in their ‘80s synth lines and typical indie guitar riffs, led by some cute surf-rock style harmonies. Whilst sung too close to the mic, the lead vocals were sleepy, warm and yet had that youthful naivety that makes you want to sing along. They sported trendy hair dos and skinny jeans, but Tortoiseshell had an endearing geekiness that emphasised their pure joy at being onstage for an appreciative crowd. It was not before a high-pitched chorus and thunder of stamping feet had peaked that The Wombats graced the stage. Touring their new album, The Wombats Proudly Present... This Modern Glitch, they performed an array of old and new tracks that ensured an already frothing crowd reached fever pitch. There was much hair flying and guitar swinging on stage and while their music isn’t really anything new, it’s just so much damn fun. Their choruses were perfectly designed for mass singalongs (with which the audience keenly obliged). The trio seamlessly blended garage rock with electro pop complete with distortion, thundering drums and racy synth. Jump Into The Fog raised particular excitement, but it was the track that started it all for them, Let’s Dance To Joy Division, which had everyone dancing and chanting along (even if, due to their age, they had no idea who Joy Division were). The Wombats certainly knew how to work the crowd and keep the energetic juices flowing as people were still singing along well after they left the building. Alex Hardy

MIKE NOGA: May 17 Brass Monkey, May 18 Notes, May 19 Clarendon Guesthouse NICK & LIESL: May 18 Lizotte’s Newcastle, May 20 Clarendon OVER-REACTOR: May 19 Bar On The Hill, May 20 Northern Star GAY PARIS: May 19 Phoenix Canberra, May 20 Great Northern Newcastle, May 21 The Vanguard 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 DELTA RIGGS: May 19 Transit Bar, May 21 CBD Hotel, Jun 5 Waves, Jun 9 Old Manly Boatshed, Jun 10 Lansdowne Hotel THE TRIP: May 20 Fitzroy Hotel, May 21 Park Hotel THE BLACKWATER FEVER: 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 THE MCCLYMONTS: May 20 Hornsby RSL, May 22 North Sydney Leagues 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 BEC LAUGHTON: May 23 505, May 25 The Basement Circular Quay, May 27 Manly Fig COLIN HAY: May 24 The Basement Circular Quay JACKSON MCLAREN*: May 25 The Vanguard, May 26 Brass Monkey 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

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GYPSY & THE CAT

FEATURE TOUR

The name Gypsy & The Cat has become pretty well-known around the country, as the Melbourne duo becomes more and more of an institution, particularly following the release of debut album, Gilgamesh, and its popular single, Jona Vark. With WIM, the band plays Wollongong Unibar on Thursday, The Metro on Friday and Cambridge Hotel on Saturday.

Newcastle, May 26 Blush Nightclub, May 27 Lansdowne Hotel THE GROWL*: May 25 Beach Road Hotel, May 26 Lansdowne Hotel, May 27 The Gaelic, May 28 Oxford Art Factory THE AMITY AFFLICTION: May 26 & 27 UNSW Roundhouse MARK SEYMOUR: May 26 The Basement Circular Quay, May 27 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 MEGASTICK FANFARE: May 26 Kings Cross Hotel, May 27 Otis Bar FRONT END LOADER: May 26 Mona Vale Hotel, May 27 Annandale Hotel, May 28 The Junkyard, May 29 Great Northern Newcastle CALLING ALL CARS: May 27 Spectrum MY ESCAPADE: May 27 The Basement Canberra THE ATLANTICS: May 27 Vault 146, May 28 Coogee Diggers 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 BOTANICS: May 27 Grand Junction Hotel, Jun 2 Beach Road Hotel, Jun 3 Old Manly Boatshed THE OWLS*: May 27 Oxford Art Factory, Jun 11 Great Northern Newcastle, Aug 6 The Gaelic ESKIMO JOE: May 28 The Gaelic A FRENCH BUTLER CALLED SMITH*: May 28 Macquarie Hotel PLUTO JONZE: May 28 Oxford Art Factory, Jun 1 Beach Road Hotel, Jun 4 Kings Cross Hotel THE APRIL MAZE: May 28 Great Northern Newcastle, May 29 Rhythm Hut Gosford ABANDON ALL HOPE: May 29 Blacktown Masonic Hall CUT COPY: May 29 Sydney Opera House Concert 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 OWL EYES: Jun 1 Otis Bar, Jun 2 Transit Bar, Jun 3 The Gaelic THE WINDY HILLS: Jun 1 Brass Monkey, Jun 2 Heritage Hotel, Jun 3 & 4 Old Manly Boatshed, Jun 5 The Vanguard TEETH & TONGUE: Jun 2 GoodGod GHOUL, COLLARBONES: Jun 3 GoodGod BACHELOR GIRL: Jun 3 The Basement Circular Quay THE AVALANCHES (DJ SET): Jun 3 Opera House Studio THE NATION BLUE*: Jun 3 Hermanns Bar, Jun 4 ANU Bar MY FRIEND THE CHOCOLATE CAKE: Jun 3 Heritage Hotel, Jun 4 The Basement Circular Quay, Jun 5 Lizotte’s Newcastle THE PANDA BAND*: Jun 4 Rock Lily BLUE KING BROWN: Jun 4 The Metro EAGLE & THE WORM*: Jun 4 Oxford Art Factory Gallery Bar THE DEVOLVED TECHNOLOGIES SHOW*: Jun 4 The Gaelic, Jun 5 Lucky Australian KYLIE MINOGUE: Jun 7, 8 & 11 Sydney Entertainment Centre THE GAPP PROJECT*: Jun 8 The Basement Circular Quay TELEPROMPTER*: Jun 9 GoodGod, Jun 10 Great Northern Newcastle AIRBOURNE: Jun 9 Bar On The Hill, Jun 10 Wollongong Uni, Jun 11 The Metro SONS OF RICO: Jun 10 Spectrum, Jun 11 Great Northern Newcastle LITTLE RED: Jun 10 The Metro THE ART*: Jun 10 Annandale Hotel [ME]*: Jun 10 Tone DREAM KIT: Jun 11 Marrickville Bowling Club ARREBATO ENSEMBLE: Jun 11 The Studio

ILLY*: Jun 12 Waves KARNIVOOL: Jun 15 ANU Bar, Jun 16 Waves, Jun 17 Penrith Panthers, Jun 18 UNSW Roundhouse, Jun 19 Newcastle Panthers TEX PERKINS & THE DARK HORSES: Jun 16 Factory Theatre STORM IN A TEA CUP feat. HUSKY, TINPAN ORANGE, HARRY JAMES ANGUS: Jun 17 Factory Theatre COERCE: Jun 17 Hermanns Bar THE PAPER SCISSORS: Jun 17 Oxford Art Factory, Jun 18 Transit Bar, Jul 13 Beach Road Hotel, Jul 15 Great Northern Newcastle, Jul 16 Brass Monkey THE MIDDLE EAST: Jun 17 The Metro, Jun 19 Cambridge Hotel GANGA GIRI: Jun 17 Clarendon Guesthouse, Jun 18 Great Northern Newcastle, Jun 23 Camelot, Jun 25 Transit Bar RED RIDERS: Jun 18 Oxford Art Factory THE GIN CLUB: Jun 22 Great Northern Newcastle, Jun 23 Heritage Hotel, Jun 24 Brass Monkey THE MEDICS*: Jun 23 The Gaelic TIM ROGERS*: Jun 23 Annandale Hotel MOUNTAIN STATIC*: Jun 23 Paddington Uniting Church WAGONS: Jun 23 Transit Bar, Jun 24 Clarendon Guesthouse, Jun 25 Annandale Hotel PAPA VS PRETTY: Jun 23 Cambridge Hotel, June 24 Annandale Hotel THIRSTY MERC: Jun 23 Southern Cross Club, Jun 24 Taren Point Hotel, Jun 25 Rooty Hill RSL, Jun 26 Australian Brewery Hotel THE GRATES: Jun 24 Oxford Art Factory ROSE TATTOO: Jun 24 & 25 Sandringham Hotel GOSSLING*: Jun 29 GoodGod, Jun 30 Beach Road Hotel, Jul 1 Otis Bar, Jul 2 Northern Star CLARE BOWDITCH: Jun 29 Lizotte’s Newcastle, Jun 30 Lizotte’s Kincumber, Jul 1 Factory Theatre, Jul 2 Shoalhaven Entertainment Centre, Jun 3 Lizotte’s Dee Why SKIPPING GIRL VINEGAR: Jun 30 Clarendon Guesthouse, Jul 1 Notes, Jul 2 Lizotte’s Newcastle, Jul 3 Lizotte’s Kincumber, Jul 8 Street Theatre THE DRUM MEDIA 17 MAY 2011 • 55 •


live@drummedia.com.au

DARWIN DEEZ

OWL EYES

Metro Theatre 10/05/11 SHORT STACK: Jul 1 Enmore Theatre, Jul 23 Royal Theatre National Convention Centre, Jul 30 Newcastle Panthers FIREBALLS*: Jul 1 Sandringham Hotel, Jul 2 The Patch RED INK: Jul 1 The Gaelic PHATCHANCE & COPTIC SOLDIER: Jul 2 Oxford Art Factory JAMES BLUNDELL: Jul 6 Brass Monkey, Jul 7 The Basement Circular Quay CILLA JANE: Jul 6 The Vanguard, Jul 9 The Front SEEKER LOVER KEEPER*: Jul 6 & 7 Heritage Hotel, Jul 8 The Factory, Jul 11 Lizotte’s Dee Why, Jul 14 Lizotte’s Newcastle, Jul 18 & 19 Clarendon Guesthouse ART VS SCIENCE: Jul 8 Enmore Theatre DAMIEN LEITH: Jul 9 Canberra Theatre, Jul 16 Enmore Theatre DOUBLE DRAGON: Jul 15 Valve DAN SULTAN & ALEXANDER GOW: Jul 15 Brass Monkey, Jul 16 The Basement Circular Quay BELLES WILL RING: Jul 15 Clarendon, Jul 16 GoodGod JINJA SAFARI*: Jul 15 Northern Star, Jul 16 Oxford Art Factory MIAMI HORROR: Jul 16 The Metro NEW EMPIRE: Jul 16 The Lair PAUL KELLY & PAUL GRABOWSKY: Jul 24 Sydney Opera House Concert Hall, Jul 29 Canberra Theatre PNAU: Jul 27 Enmore Theatre, Jul 28 Waves, Jul 29 Newcastle Panthers SOUNDS AFTER DARK feat. TUMBLEWEED, MY DISCO: Jul 28 Sandringham Hotel FRENZAL RHOMB: Jul 29 ANU Bar

INTERNATIONAL LISSIE: May 17 Oxford Art Factory JAMES BLUNT: May 17 State Theatre, May 18 Royal Theatre JOE BONAMASSA: May 18 Civic Theatre Newcastle, May 20 Enmore Theatre FREDDIE WHITE: May 18 Brass Monkey, May 21 Heritage Hotel, May 26 Notes, Jun 10 Vault 146, Jun 25 Clarendon Guesthouse JOHN GRANT: May 20 The Vanguard PIGEON JOHN: May 20 Tone CORNERSTONE ROOTS*: May 21 Beach Road Hotel PROPAGANDHI: May 24 ANU Bar, May 25 Newcastle Uni, May 26 The Metro, May 27 Wollongong Uni AARON GOLDBERG TRIO: May 26 & 27 Sound Lounge 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 • 56 • THE DRUM MEDIA 17 MAY 2011

Performing and recording under the moniker Owl Eyes, singer/songwriter Brook Addamo graced the stage with a shy and passive demeanour. Hoping that this would not affect the delivery of her performance, she shortly proved those thoughts wrong. Falling into her songs with complete confidence, she let herself go by grooving away to her music and setting a level of comfort and warmth that welcomed the audience to join her.

PEGZ

DRUM PRESENTS

TRIAL KENNEDY: May 19 Wollongong City Diggers, May 20 Cambridge Hotel, May 21 Annandale Hotel GYPSY & THE CAT: May 19 Wollongong Uni, May 20 The Metro, May 21 Cambridge Hotel PEGZ: May 25 ANU Bar, May 26 Harp Hotel, May 27 Cambridge Hotel, May 28 Annandale Hotel THE GROWL: May 25 Beach Road Hotel, May 26 Lansdowne Hotel, May 27 The Gaelic, May 28 Oxford Art Factory 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 BLUE KING BROWN: Jun 4 The Metro THE MIDDLE EAST: Jun 17 The Metro, Jun 19 Cambridge Hotel STORM IN A TEA CUP feat. HUSKY, TINPAN ORANGE, HARRY JAMES ANGUS: Jun 17 Factory Theatre WAGONS: Jun 23 Transit Bar, Jun 24 Clarendon Guesthouse, Jun 25 Annandale Hotel THE GRATES: Jun 24 Oxford Art Factory RED INK: Jul 1 The Gaelic THE BLACK ANGELS: Jul 1 The Metro SEEKER LOVER KEEPER: Jul 6 & 7 Heritage Hotel, Jul 8 The Factory, Jul 11 Lizotte’s Dee Why, Jul 14 Lizotte’s Newcastle, Jul 18 & 19 Clarendon Guesthouse ART VS SCIENCE: Jul 8 Enmore Theatre BELLES WILL RING: Jul 15 Clarendon, Jul 16 GoodGod MIAMI HORROR: Jul 16 The Metro SOUNDS AFTER DARK feat. TUMBLEWEED, MY DISCO: Jul 28 Sandringham Hotel FUNK N GROOVES: Sep 10 Pokolbin

MORBID ANGEL: May 28 Manning Bar QUINSIN NACHOFF’S FORWARD MOTION: May 28 Sound Lounge THE CRYSTAL ARK: May 28 The Studio THE DANDY WARHOLS: May 29 Enmore Theatre JONT: May 29 Lizotte’s Dee Why WU LYF: May 30 & 31 The Studio THE CURE: May 31 & Jun 1 Sydney Opera House Concert Hall 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 JACAM MANRICKS NEW YORK QUARTET: Jun 4 Sound Lounge HYPNOTIC BRASS ENSEMBLE: Jun 4 Sydney Opera Theatre 2MANYDJS: Jun 4 Opera House Studio AZARI & III: Jun 5 The Studio VAN DYKE PARKS & KINKY FRIEDMAN: Jun 8 & 9 Clarendon Guesthouse, Jun 10 & 11 The Basement Circular Quay, Jun 12 Lizotte’s Dee Why, Jun 13 Lizotte’s Kincumber, Jun 14 Lizotte’s Newcastle MARY HALVORSON TRIO: Jun 8 Sound Lounge CHRIS BOTTI: Jun 8 Canberra Theatre, Jun 11

City Recital Hall DOMINIQUE FRAISSARD: Jun 9 Notes BIZ MARKIE*: Jun 9 Oxford Art Factory SAKOTO FUJII MA-DO PROJECT: Jun 10 Sound Lounge STEVE IGNORANT: Jun 11 Salmagundi Studios RON CARTER TRIO: Jun 12 The Basement Circular Quay RON CARROLL*: Jun 12 Ivy Pool Club EMMURE: Jun 12 Bald Faced Stag, Jun 14 Oasis Youth Centre, Jun 15 Tuggeranong Youth Centre THE PAJAMA CLUB*: Jun 13 Oxford Art Factory JASON MORAN & THE BANDWAGON: Jun 13 The Basement Circular Quay PASCAL SCHUMACHER QUARTET: Jun 14 & 15 The Basement Circular Quay CUT OFF YOUR HANDS: Jun 17 The Gaelic BAD MANNERS*: Jun 18 Annandale Hotel LYRICS BORN: Jun 18 The Metro CRUEL HAND: Jun 18 Hermanns Bar, Jun 19 Blacktown Masonic Hall, Jun 22 Bar 32 THE MAGNETS*: Jun 19 The Basement Circular Quay JOSHUA RADIN: Jun 21 Enmore Theatre KATCHAFIRE: Jun 23 Wollongong Uni, Jun 24 Enmore Theatre HELMET: Jun 24 Manning Bar, Jun 30 ANU, Jul 1 Wollongong Uni, Jul 2 Newcastle Leagues BRIAN MCKNIGHT: Jun 25 The Metro

MILEY CYRUS: Jun 26 & 27 Acer Arena THE BLACK ANGELS: Jul 1 The Metro MICHAEL FEINSTEIN: Jul 4 Sydney Opera House Concert Hall TY SEGALL*: Jul 8 GoodGod RISE AGAINST: Jul 16 Sydney Entertainment Centre REVEREND BEAT MAN*: Jul 23 The Vanguard ENRIQUE IGLESIAS*: Jul 23 Acer Arena DEL THE FUNKY HOMOSAPIEN*: Jul 24 Oxford Art Factory NO USE FOR A NAME*: Jul 27 Cambridge Hotel, Jul 28 Wollongong Uni, Jul 29 ANU Bar, Aug 7 Annandale Hotel

FESTIVALS 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 BLOOD, SWEAT & BEERS: Jul 2 & 3 Annandale Hotel BASTARDFEST: Sep 10 Sandringham Hotel FUNK N GROOVES: Sep 10 Pokolbin WOLLOMBI MUSIC: Sep 17 Hunter Valley SYDNEY BLUES & ROOTS: Oct 28 – 30 Windsor NEWTOWN FESTIVAL: Nov 13 Camperdown Memorial Rest Park * indicates new or amended listing this week

At only 20 years of age, Owl Eyes delivered beautiful musical soundscapes that were bound together with memorable melodies. Unfortunately, the slowed down version of 1 Plus 1 became a little bit of a drag, but she soon recollected herself with a run of lively indie-pop numbers. Faces and Fire Hotel grew to create a glow of mysticism on stage, with the absence of a lead guitar giving the opportunity to focus solely on Addamo’s honeycomb-textured voice. A beautiful set from yet another up and coming Melbourne talent. Sydney’s hipsters took over The Metro to share their night with indie-pop darlings Darwin Deez. The New York four-piece broke up its set with eccentric synchronised dancing segues that were not only entertaining but also reflective of their many musical personalities. With interpretive dances from Prince’s Dance With The Devil to Enya’s Sail Away, they revealed their flamboyant and sensitive sides. They whipped their hair back and forth a la Willow Smith and rapped a white-man rap to Deez’s own Where’s The Chocolate?

ALESTORM

VOYAGER DARKER HALF MANNING BAR 13/05/11

Only at a show headlined by four madcap Scotsmen could there be a larger collection of swords, eye-patches, swashbuckling hats and tunics than the new Pirates Of The Caribbean movie. With the room rapidly filling, Sydney’s Darker Half experienced a series of sound gremlins, but worked through them in their usual energetic, Maiden-meetsQueensryche-plus a dose of thrash style. Duality and Heads Are Gonna Roll elicited a warm response and material from their forthcoming new full-length was a positive indicator for the future. Likely inspired by the headliner’s antics, Voyager vocalist Daniel Estrin sported a keytar, bottle and a smile you couldn’t have removed with a sandblaster. The Perth prog-power crew boasted a little added polish and presence compared to their predecessors; arguably not as headbangable, but containing a multitude of smooth, infectious melodies. A majestic Lost and Sober were highlights, also continuing the evening’s running theme of road-testing as-yet-unreleased material. As is par for the course, the set featured their much-loved pop and rock covers medley, further endearing them to the crowd. Alestorm almost immediately lived up to their boozy reputation, with frontman Christopher Bowes playing a keytar solo with one hand while sculling a drink with the other. “We’re here to drink your beer, fuck your women and play 90 minutes of true Scottish pirate metal,” he bellowed – as apt a description of their mission statement as any and one greeted with an uproarious reaction from the large, raucous gathering. Basing their subject matter on the topics of alcohol, plundering, women and more alcohol (“This is a song about wenches and mead – it’s called Wenches And Mead”), they understandably weren’t the tightest outfit and the set followed much the same pattern as last year’s showing, but placed in front of a crowd utterly enamoured with their folk/power metal, it mattered little. Simple, singalong choruses delivered with gusto are the band’s forte – Black Sails At Midnight, The Quest, Heavy Metal Pirates and Keelhauled afforded particularly loud audience participation. Also incorporating cuts from their upcoming record Back Through Time, it became apparent that although there’s very little variation within Alestorm’s formula – and to be blunt, an hour and a half of similarly styled fare tested the patience somewhat – their dedicated, hard-partying fans can’t wait to don the pirate clobber and walk the plank again. Brendan Crabb

BEN FOLDS

KATE MILLER-HEIDKE

State Theatre 13/05/11

Kate Miller-Heidke, where in hyphenated-hell have you

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At times they overdid the eccentricity; however there were also authentic moments that weren’t fabricated purely for the audience’s entertainment. The Bomb Song peeled away the many layers of the Deez crew down to their core to reveal a raw and honest three minutes on stage, stripping back to only Darwin Smith on vocals with guitarist Cole Smith. This was shortly overturned and they were back into performance mode, transforming the outros of their songs to lead into covers like Paul Simon’s You Can Call Me Al and Miike Snow’s Animal. And then came the best parts of Darwin Deez; their own danceable indie-pop numbers. Frontman Darwin Smith claimed Deep Sea Divers was “the best song that I’ve written in my fucking life” which was accompanied with loyal singalongs, call and response segues and heartfelt cheering. Leaving their most popular tracks, Radar Detector and Constellations, to the end of their set, they were received with much more praise and enthusiasm. Celline Narinli

DARWIN DEEZ @ METRO THEATRE. PIC: ANGELA PADOVAN

been? Apparently touring Europe and America with Ben Folds. Here on stage, accompanied by nothing more than an acoustic guitar (played by a guy who looked and acted like Ben Folds’ creepy cousin), in her first song she sang, whispered, went operatic and impersonated a bird. Shit, she did all that while fiddling with hand percussion throughout Caught In A Crowd, Politics In Space and that quirky single she had. She played new songs called Your Friends Will Tell You Who You Are and a ‘50s doowop sounding one where she played piano. The sardonic humour displayed tonight was the perfect match for Ben Folds, but please, just stay home. And then the man responsible for her absence took the stage, four-piece band in tow. If ever a 12-piece auxiliary percussion was to appear inconspicuous, it would be at a Ben Folds concert. With the extra percussionist/ guitarist/singer/allroundgoodguy working a kick drum and snare with a pair of mallets, frequently the beat had a fun, hip hop excess. After opening with Levi Johnston’s Blues and Doc Pomus from said album, Folds informed the audience that the show was being filmed for a potential DVD/live album release, so the hits were to come – and in full force. Back beyond the impressive reliefs of the State Theatre it would have been easy for the band to be lost in their own world, but exuberant performances from the two percussionists and Folds ensured it wasn’t so. Folds even went as far as to get audience harmonies and percussive claps in isolated silence so that they realistically overdub the DVD. Lonely Avenue songs made further appearances in Belinda, Saskia Hamilton and From Above, which featured Miller-Heidke once again before she added flair to Regina Spektor’s parts in You Don’t Know Me. With all sides of Folds on show he was soon left to his lonesome, crooning Picture Window, Lullaby and Gracie, the latter coupled with a reference/tribute to the old mate who had abseiled from the Harbour Bridge that morning. It was everything you’d expect from a Ben Folds concert – some drunk dude yelling “Rock This Bitch!” for the entire set, some incredible, pompous piano driven pop, tonguein-cheek humour, Folds haphazardly smashing keys in solos and a Ke$ha cover that looked like five nerdy white guys being, well, five nerdy white guys. But no Brick. Dave Drayton

GARY NUMAN

SEVERED HEADS

Enmore Theatre 13/05/11

Tonight’s gig was firstly touted as a celebration of the 30th anniversary of iconic album The Pleasure Principle, which by itself would get the trainspotters and hipsters across the line. Add to it the reformation of local lost legends Severed Heads and there really was a lot of love in the room before the noise began. Severed Heads are an acquired taste and while they tried to walk the line of retro and up-to-the-minute, seeing them play with their phones in between keyboard tweaks just made this reviewer feel even older as it was hard to get over how complacent, even rude, it made them look. The graphics were hypnotic and it was worth it for bragging


live@drummedia.com.au rights, but in practice it definitely felt like they missed the magic. Gary Numan arrived and delivered The Pleasure Principle in all its glory – the lot with beeps, blips and with a little (but not too much) bad ‘80s dancing. Unlike Severed Heads he appears to have made a deal with the devil so as to defy the aging process. Still wearing pants a teenager would be proud in and given enough smoke and appropriate-to-the-music dark lighting, he could have easily only been 30 rather than presenting an album that old. In addition to the timeless fabulous puzzle that is Cars, the other forgotten find was M.E. with its Basement Jaxx/Where’s Your Head At? goodness, plus there was a particular delight in being down the front as a bunch of kids wearing Mighty Boosh T-shirts squished their way to the stage to see what Vince Noir has been banging on about for all this time. Following The Pleasure Principle Numan took us through the best of the rest and, as the show progressed over nearly two hours, the pop man morphed into a dark lord, so much so that at times he seemed like he was fronting a Nine Inch Nails cover band. While the transition from light to dark to properly heavy and dark was masterful, Down In The Park and We Are Glass were particularly goosebump worthy, as was I Can’t Breathe. Like him, hate him, or just not quite sure you’ll recognise him, Numan made a convincing argument indeed for pushing past Trent Reznor to further explore his inspiration. Liz Giuffre

JACK LADDER & THE DREAMLANDERS

MELODIE NELSON

GoodGod Small Club 13/05/11

This was an evening set to complete the circle of reinvention for Jack Ladder. With a new album Hurtsville just round the corner, Ladder was here to show that the soul and blues of Love Is Gone has indeed gone and in its place a starker and more beautifully brittle sound is soundtracking his songs. Melodie Nelson performed an engaging yet somewhat tentative set that had sporadic flashes of greatness. Her sound is built around the atmosphere of the music and is achieved via drones, funereal pacing and repetition. Reminiscent at times of Beach House, Mazzy Star and Velvet Underground, there was a standout moment with a song that may or may not be called Charlie. With it the pace quickened and a garage guitar riff hooked many punters’ heads and ears. By the time Jack Ladder & The Dreamlanders downed shots and arrived on stage the venue was near capacity, eager to hear Ladder’s next musical chapter. Pretty much the whole new album was played and not a single track from Love Is Gone. Ladder’s ‘new’ sound has two defining aspects – his lack of guitar playing, which allowed him to focus his energies on his vocal delivery and emotiveness, and guitar sidekick Kirin J. Callinan, who seems most responsible for the current sound. Ocean-deep splashes of reverb, chiming notes with chorus shimmers and tremolo

A DAY TO REMEMBER

UNDEROATH THE BRIDE

Big Top Luna Park 13/05/11 Sydney metalcore outfit The Bride would undoubtedly be stoked at the prospect of performing to an almost full room, but most likely the punters’ only clue as to the identity of the band was to see if they had any merch for sale. Nonetheless they projected themselves with confidence and the crowd was more than receptive to their set, which is more than what can be said for Underoath.

shivers washed over everything while still allowing acres of space in the music. Hurtsville’s beautiful title track sounded like a lost John Hughes soundtrack re-imagined by David Lynch with the melancholy turned up to 11. The heart melting sounds seem to have emboldened Ladder to give himself over to the performance of his songs almost completely, making his deep baritone voice totally believable. While the low ceilings and high volume of the venue meant the new songs didn’t have the impact and drama of the versions on Hurtsville, there were still enough convincing moments to convey the greatness of them. The music snaked and staggered between the Nick Caveesque ballad Blinded By Love, the super-catchy Cold Feet and the cabaret spook of Position Vacant with the shadow of Tom Waits dancing madly in the background. As a showcase for an imminent new album the crowd seemed to embrace the songs wholeheartedly, making it a successful night all round. Chris Familton

MICK HARVEY

A CASUAL END MILE

Oxford Art Factory 13/05/11

It wasn’t the usual Friday night Oxford Art crowd watching former Bad Seed Mick Harvey play this quiet, low-key show. An older, more sedate group listened in expectant silence while Harvey and his accompanist, Rosie Westbrook on electric upright bass, performed songs from his catalogue. The night began with A Casual End Mile - young Sydney singer/songwriter Madelaine Lucas whose father, Steve Lucas, used to front legendary Sydney punk outfit X. Though Lucas has obviously inherited her father’s musical talent, she exists a long way from the punk spectrum. Her set was beautifully languid, airy and filled with atmospherics. Aided by her small band, her songs were delicate and gentle without being contrived, which is a problem that seems to afflict a lot of young female singer/songwriters. Mick Harvey took to the stage with little fanfare. On this occasion, the multi-instrumentalist armed himself only with a guitar, but the focus of Harvey’s solo work has always been on his voice and the lyrics that tell his stories. Former Scare drummer Sam Pearton came out for a couple of songs and Harvey added a few programmed embellishments to add atmosphere, but the performance revelled in its simplicity. Harvey’s latest album is called Sketches From The Book Of The Dead and his rich, melancholy voice was well suited to tales of sadness and loss. His songwriting sits in a similar place to the Jacques Brels and Leonard Cohens of the world, though his songs – both old and new – didn’t have quite as much resonance as these masters. One of the highlights of the set was an unexpected cover of Robbie Fulks’ stunning hymn-like Bethelridge. Harvey also covered David McComb’s Everything Is Fixed, a song he recorded on his previous solo album Two Of Diamonds. The singer himself admitted that it was a mostly quiet elaborate backdrop, the band kept the mood strictly jovial and the crowd reacted in kind, with the band being drowned out at times as punters screamed the words back towards the stage. It was also refreshing to have the encore mellow down with If It Means A Lot To You, before things went berserk courtesy of the night closing with The Downfall Of Us All.

SIERRA FIN

Notes 12/05/11

Theatrical, melodramatic, ambitious, bold – all words that have been used to describe Sierra Fin. Accompanied by a mini orchestra (complete with violin, cello, brass, woodwind and kettle drum), the band played to an already converted crowd. Notes, with its cabaret style setup, was the perfect venue for this night’s launch of their debut concept album Cautionary Tale Of The Beautiful Blackout. The addition of orchestral accompaniment certainly made for a different musical experience. Most songs were augmented with the orchestra, such as Angel’s Way Down, to dramatic effect. But the clear highlight of the evening was when singer/songwriter Russ Tainton started solo on piano for the album’s title track for the first part of the song, which then built into a dramatic crescendo when the orchestra joined in, resulting in spontaneous applause from one audience member. The foldback couldn’t quite handle the swinging Lost Man’s Lie in parts, which was a great song that would sound just as good with a simpler arrangement. Technical hitches aside, the orchestral arrangements were faultless, the young orchestra was talented and even Tainton showed off his virtuoso piano skills during Angel’s Way Down, throwing in a bit of Beethoven’s Fur Elise towards the end, which unfortunately smacked lightly of pretention. It was refreshing in a way to see a performance of an album as an opus, with the songs being played in order. There is an attempt to tell a story and there is something to be said for that. Sierra Fin, however, played their songs of life, death and human drama with a sincerity that had this reviewer almost convinced. It was hard not to get caught up in the love that was swelling around the room. The second half of the show had the band, visibly more relaxed in silly neck kerchiefs, playing a selection of earlier tracks, including the emotive Been Sleeping, plus a new song. They ended the show, after enough thank yous to put an Oscar recipient to shame, with Irishsounding singalong The Square, which was a bit of fun. Francesca Palazzolo

SUICIDAL TENDENCIES

DANIEL LEE KENDALL What’s the title of your new EP and where did it come from? Talk the Night Away. It comes from a line in the chorus of the first track, Hold Me Now.

How many releases do you have now? This is my second EP.

How long did it take to write/record? Well, there was kind of a pool of songs, so it was more a matter of choosing a bunch that worked together best for this EP. We spent about six days in the studio (after whatever time I had spent at home) touching it all up and making it sound spesh.

Was anything in particular inspiring you during the making? No not really. Just life, and all the little and the big things, and the not-so-big-or-little things that happen along the way.

What’s your favourite song on it? Mmm. Don’t think I could say. They all have a place for different times/moods.

Will you do anything differently next time? No I don’t think so. I like the writing and recording process that I have at the moment and the results it brings. So I figure I’ll stick with it until it’s not working anymore.

Will you be launching it? Fri – ANU Bar Sat– The Metro

For more info see: myspace.com/danielleekendall facebook.com/dlkmusic

TOE TO TOE

Metro Theatre 14/05/11

Toe To Toe remains as brutal as any other Aussie hardcore act, with a viciousness that seems almost dangerous to witness. Their sound was a little trebleheavy with three guitarists, maybe an excessive number for this sort of music. TTT has been around in one way or another for two decades and if they are still playing in 2031 they’ll probably sound the same as they do now, with a different line-up bar their singer and more songs about punching people. Their set blended old and new, with old favourites (and newies such as Always And Forever) going over beautifully with the pit that formed in front of vocalist Scott Mac.

Suicidal Tendencies’ set was a mix of speedy crossover and funk and largely glossed over the hard rock material that some thrash-demons could do without. You Can’t Bring Me Down opened the set and introduced the Sydney audience to the extraordinarily talented (though perhaps overly busy) rhythm section of Eric Moore (as massive a presence musically as he is physically) on drums and Stephen Bruner on bass. Punters went especially wild for older numbers like War Inside My Head and Possessed To Skate, but some seem annoyed at frontman “Cyco” Mike Muir’s frequent between-song stream of consciousness rants about selfbelief and all that. Muir left the stage early, saying that he was attacked by some over-zealous twat. Thankfully, he was okay and the encore was superb.

A DAY TO REMEMBER @ BIG TOP LUNA PARK. PIC: JOSH GROOM

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Danielle O’Donohue

A Suicidal Tendencies show represents the one place in the universe at that moment where you can wear a baseball cap with the peak upturned and not have every person in the room laugh at you. Ditto for a blindfold/ bandana. In short, it’s a universe very different to the world outside.

James Dawson

Underoath’s 2006 album, Define The Great Line, was nothing short of brilliant, but the band’s latest release, Ø (Disambiguation), really felt the loss of drummer and vocalist Aaron Gillespie – and Underoath’s live show has also suffered. Whilst the band’s insane energy level on stage is still prevalent, they appeared to lack the heart that they previously harboured. Tracks from the band’s newest album were sprinkled methodically throughout the set, while older songs like In Regards To Myself and A Boy Brushed Red… Living In Black And White were greeted with customary enthusiasm from the crowd. The newer tracks In Division and Catch Myself Catching Myself saw an evident lack of enjoyment from the audience. A Day To Remember came out guns blazing with Sticks And Bricks and their hour and a half long set was a predictable collection of upbeat, pop-infused hardcore. There was no doubt tonight was their night. Complete with explosions, smoke and an

set, asking the photographers to refrain from clicking until the louder songs, like the raucous Famous Last Words. While there’s an intimacy to seeing such an important performer in a small room like this, the set would perhaps have carried more weight with a bigger band and songs that had a little more oomph.

Suicidal Tendencies shows are a nostalgia-fest for old skaters and a chance for shred-heads to check out the amazing young players Muir has brought with him this time around. The band may be different, but the songs – and the weird hats – remain the same. Brent Balinski

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1001 AUSTRALIAN NIGHTS With double the new material, Dave Graney & The Lurid Yellow Mist heads to Notes on Thursday, Vault 146 on Friday, Coogee Diggers this Saturday and the Clarendon Guesthouse on Sunday with a CD and a book called 1001 Australian Nights to launch. Tickets are $20 from Oztix.

JOE BLUE Hailing from the state of New York, blues-rock guitarist Joe Bonamassa heads down under for a couple of dates in NSW this week, playing the Civic Theatre on Wednesday and the Enmore on Friday.

FBI SOCIAL There are a bunch of awesome nights coming up at FBi Social at the Kings Cross Hotel this week, with this Thursday’s The Sound Of Young Canberra, featuring Savages, Kasha (no dollar sign), Reuben Ingall, DJ Shoeb Ahmad and Eightfilters. On Friday, Club Future Beat calls around Monkfly. Kilter, Elliot, Prize and Know-U at 8pm and finally, Saturday night will see Ghostwood, Betty Airs and Hailer hitting up the stage.

GETTING OVER THE HUMP To beat the Hump Day hurdle this week, Izzettin, Axis, New Lover, Snakes and DJs Wolfman and Gattomatto will be performing at the Aussie Bar on Wednesday. The night kicks off at 7pm and it’s free!

SIMA The Sydney Improvised Music Association presents austraLYSIS Electroband this Friday at the Sound Lounge where the acoustic/electronic/computer improvisation trio will play at 8.30pm. It’s only $15 if you’re a member. Also, playing for 19 years and still going strong, The World According To James hits up the Sound Lounge this Saturday. THE DRUM MEDIA 17 MAY 2011 • 57 •


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NAUGHTY AND NICE THE NEW DOUBLE A-SIDE SINGLE FROM BRISBANE’S THE GOOD SHIP SHOWCASES TWO SIDES OF THEIR MUSICAL TASTES – THE NAUGHTY AND THE NICE. MICHAEL SMITH TACKLES BOTH WITH JOHN MEYER.

“I

t’s a bit of a schizophrenic act with so many members,” the “nice” one of the two songwriters at the core of the Brisbane sea shanty folk rock collective The Good Ship, singer and guitarist John Meyer, explains. “Daz [Gray, the “naughty” one] and I are the main songwriters and we come at songs from different angles and come up with quite different things. That said, one of the songs on the new single, Bury Me, was written by our accordionist Brett [Harris] and that’s quite a different song to a lot of the songs on the album [Avast! Wretched Sea] – it’s quite gentle. The other track [I Can Make Her Laugh] was written by Daz, a very classic pop-sounding song with a debauched lyric.” Debauched is the polite version – the rest of the chorus goes “but I can’t make her come” – and it’s decidedly

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un-PC, with the single also including a raunchy live action clip featuring a cast of latex and leather-clad bondage mistresses. When I asked how the three women in the band cope with that, Meyer assures they’re even worse! “Daz and I were in other bands and we just got sick of dealing with idiots, former band members… hopefully they don’t read this! So just getting drunk at my place one night, just playing songs to each other we realised that we had this weird conglomeration of songs that didn’t really fit into either of our bands, so we just started The Good Ship as a side project. Within three months, we’d ditched our other bands and gone headlong into The Good Ship and just started recruiting all of our friends and people we liked to play. It kind of doesn’t seem to stop – it’s up to nine members at the moment and we still need a fiddle player ‘cause our old fiddle player left, so it could reach ten. “Now we’ve got two accordionists. Brett left for Canada so we got another one and he’s just come back and it’s some kind of breach of UN sanctions I think to have two accordion players.”

ROCKETS What’s the title of your new EP? It’s a self-titled EP, which stemmed from laziness, an inability to compromise and ultimately because we wanted a debut release to be reflective of our name and who we are, so I suppose this will do that.

WHO The Good Ship

How long did it take to write/record?

WHEN & WHERE Friday, Great Northern Newcastle; Saturday, The Vanguard

The songs were around and loomed for a while, so I can’t recall the length of the writing process. However, the EP was recorded in a week in a modified church in Melbourne (Red Door Studios) with Woody Annison and we’ve then spent the subsequent months praying people would get to hear and enjoy it.

people were mail 21 May 1974, two charges for selling fra in Elton). Police arrested on ud E instead of an O e th e ot (n t er nc Elten John co 12,000 in cheques. order tickets to an seized over USD$

Was anything in particular inspiring you during the making? A nice little purse of Magner’s cider now and then helped get through it. And being away from home. Home is a great place, but exploration can be a wonderful thing too and definitely helped the record.

OH DEER The Green BELLES WILL RING 93 Million Miles AFRICA HI TECH Sleepless (Flume Remix) ANTONY FOR CLEOPATRA Feeding Line BOY & BEAR The New Dumb JACKIE ONASSIS My Best Friend’s Wedding (Monk Fly Remix) JENSEN BREWSTER

Mockasins Still Love Her Ephemeral City Too Young

KINS NO BRAIN, NO HEADACHE TIGER CHOIR EAGLE & THE WORM

ON THE DRUM STEREO Hardcore Will Never Die, But You will MOGWAI ARCHIE BRONSON OUTFIT Coconut The Local Fuzz THE ATOMIC BITCHWAX The Road From Memphis BOOKER T JONES 5 LAMB Controlling Your Allegiance THE JAPANESE POPSTARS Goblin TYLER, THE CREATOR All At Once THE AIRBOURNE TOXIC EVENT Tomboy PANDA BEAR The Only She Chapters PREFUSE 73

[V] MUSIC VIDEO CHARTS

What’s your favourite song on it? No preference. What am I? A narcissist?

Last Night at Purple Sneakers this Friday will have a bit of a local talent showcase at The Gaelic. The Deer Republic will be launching their first official single, Feel Like Dancing, while Brisbane’s Swim will stop by in support of their Keep It Cool EP.

Will you do anything differently next time?

THE FLAMING STARS

FLAME ON

LEAD THE WAY

Taking the stage at 9pm on Friday is The Flaming Stars, taking ‘50s and ‘60s-inspired rock and roll back into the Rose of Australia.

Rockers Leadfinger are launching their third album, We Make The Music, this Thursday at the Annandale. The night begins at 8pm and they’ll be supported by special guests The Scruffs and Raprager.

BY THE NUMBERS High energy punk rockers Numbers Radio will be supporting Trial Kennedy on the latter’s album tour this week. Busy demoing for album number two, expect new tunes soon, but until then you can catch them at the Beach Rd Hotel Wednesday, City Diggers Thursday, Cambridge Hotel Friday and The Annandale Saturday.

ICE CREAM This Sunday you’ll be screaming – but only if you’re at Screaming Sunday at the Annandale. With more than 15 bands including The Grand Lethals, Giraffe Season, The Hopefools and more, it’ll be well worth the $15 at the door.

INFINNITELY PLAYING Jim Finn is mega busy this week with six shows in five days, starting with the Musos Club Jam Night on both

We’re really happy with this EP and I wouldn’t change anything, but you never know what changes might happen given the circumstances. Wait and see I suppose.

Will you be launching it? Friday – Oxford Art Factory Gallery Bar

For more info see: rocketstheband.com.au

Wednesday at the Bald Faced Stag and Thursday at the Carousel Hotel, 4pm at the Sando on Saturday and noon at the Macquarie Arms Hotel on Sunday. He’ll also be gigging with the Flamin’ Beauties at 8pm on Friday at the Mortdale Hotel and 9.15pm on Saturday at the Royal Hotel.

SHOTTING WITH STEVE Steve Edmonds Band will be playing a double shot of gigs this week, with the Empire Hotel on Thursday from 7.30pm and the Beach Club Collaroy Friday from 7.30pm.

T.G.I.FALCONA Falcona Fridays at Kit & Kaboodle this week will feature The Hump Day Project, Alison Wonderland, DJ Hansom, Boonie and Animal Chin for one hell of a party. The night starts at 8pm and it’s ten bucks at the door.

Party Rock Anthem LMFAO FT. LAUREN BENNET & GOON ROCK

Judas Rolling In The Deep

This is our first, but hopefully not last, record.

WHAT Bury Me/I Can Make Her Laugh (Vitamin)

That on DID YOU KNOW…

FBI’S FAVOURITE NEW AUSSIE TRACKS

How many releases do you have now?

LADY GAGA ADELE

BUSTACAP

BUSY AT BIZZO’S Caringbah Bizzo’s has a rowdy hip hop lineup planned for this Saturday with High Noon, Bayside Wreckers, BustaCap, Madame Wu and DJ Endo all set to take the stage. The night starts at 8pm.

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

California King Bed RIHANNA Price Tag JESSIE J FT. B.O.B Sweat SNOOP DOGG VS. DAVID GUETTA The Lazy Song BRUNO MARS Beautiful People CHRIS BROWN FT. BENNY BENASSI Nobody’s Perfect JESSIE J

ARIA TOP 10 AUSTRALIAN SINGLES We Run The Night DJ HAVANA BROWN From The Music THE POTBELLEEZ STAN WALKER Loud What Happened To Us JESSICA MAUBOY FT. JAY SEAN Dance With Me JUSTICE CREW FT. FLO RIDA Friday To Sunday JUSTICE CREW Feeding Line BOY & BEAR Maybe SICK PUPPIES Plans BIRDS OF TOKYO Who’s That Girl GUY SEBASTIAN FT. EVE • 58 • THE DRUM MEDIA 17 MAY 2011

ESSENTIAL VIEWING COSMO JARVIS – SURE AS HELL NOT JESUS Controversial video clips are always interesting to dissect, but this takes ‘controversial’ to a whole other level. Well filmed and directed by Cosmo himself, the six and a half minute clip centres on Cosmo the Catholic priest and his ahem, friendship with the altar boys. Donning creepy paedophile glasses, you even see him watching children play at the local park. On the whole, for such a taboo issue, the clip is created lightly and the Justin Bieber poster that makes a cameo near the end makes it that much more funny. Directed by Cosmo Jarvis http://bit.ly/g4uXOo

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THE UNRAVELLING

ELECTRO ROCKIN’ Mark next Wednesday into your diary because Setting Sun Records brings a night of live electro to Valve, featuring new Sydney act The Unravelling, Empty and three-piece electropopsters Contrakids. Doors will open 8.30pm.


THE DRUM MEDIA 17 MAY 2011 • 59 •


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SNAPSHOTS IN SONG WARMER LOOKS AT HOW WE DEAL WITH THE ENVIRONMENT AND EACH OTHER AMONGST OTHER THINGS ON THEIR NEW ALBUM, AS MICHAEL SMITH DISCOVERS FROM FRONTMAN JOHN ENCARNACAO.

“T

he songs were written over a fairly long period of time,” Warmer singer, guitarist and keyboards player John Encarnacao explains of the genesis of the band’s third album, Spider And Lamb. “Some of them stretch back to about eight years ago, some more recently. It’s not an album of ‘grand themes’, though [the song] Spider And Lamb is a very personal sort of response to what I perceive as a very inflated sense of importance that the human race has as a species. I mean it gets into aspects of the way we deal with animals, the way we deal with the environment. “There are some sort of relationship songs on there – Hit Me, for instance. Relationships are strange things and people sometimes get into a relationship, have a child and then find themselves several years down the track wondering what the hell they’re doing there. That song’s really about this idea of a fleeting possibility

being glimpsed with someone outside of the relationship and how that feels.” Encarnacao originally pulled Warmer together back in 2001, releasing their debut album, A Prayer For Soft Honey, the following year. Their second, The Cat’s Miaow, came out in 2005. Apart from the usual exigencies that impact on recording and releasing anything as an independent act, much of the intervening six years, for Encarnacao at least, has been taken up with the pressures of his day job, as a UWS music lecturer. If you have to try and place Warmer’s music in a genre, it’s probably somewhere in that general area that goes under folk pop, where the melodies are the driving force and little vignettes of life are the stories being told. “Some of the songwriters that have been the most important to me over the last twenty years have been people like Lucinda Williams, Elliott Smith, PJ Harvey… And they’re all people for whom there’s a basic rawness to what they do at some level, but they also have some sort of pop craft about them. I’m very much into songwriting as a craft.”

WHO Warmer WHAT Spider And Lamb (Half A Cow/MGM) WHEN & WHERE Friday, Camelot Lounge

traffic chaos in ose ay 1997, U2 caused after paying for traffic control to cl M 20 on at Th … ri, ou llowing day, iss fo M e ty, Th . Ci DID YOU KNOW Kansas ght On Earth Ni st La r fo eo vid e they could shoot th cameraman. window to avoid a down five lanes so s as gl e at pl a to d in a Cadillac crashe

TAKE FLIGHT

PURDY COOL

Nevsky Prospekt will be putting on a show at a very fitting venue, the Rocket Room, to launch their single, Airstrip One, this Friday. Supporting them will be guests Hailmary, The Brown Study Band and Gombo.

Purdy is returning to The Red Rattler this Saturday armed with his psychedelic folk tunes at 8pm for a show with Melodie Nelson and Sir Robbo On The Wheels of Steel. The show is $15 at the door.

RIGGED UP The Delta Riggs are presenting their new EP, Talupo House Sessions Vol. 1, at a bunch of shows this week, starting with a free Transit Bar show on Thursday, then the Park Hotel on Friday and finally the CBD Hotel on Saturday.

FOLKIN’ AROUND

WARMER WEATHER PLEASE RAINBOW RELIEF Rainbow Relief at The Gaelic this Sunday features King Tide, Declan Kelly, PK Crew, Swomp D and Insect Buzz all playing for $20 at 6pm. The night is a benefit gig for victims of recent environmental disasters in Queensland and New Zealand.

• 60 • THE DRUM MEDIA 17 MAY 2011

NEWCASTLE SOUND Having recently acquired the triple j Unearthed cup at Groovin’ The Moo, Newcastle’s Long Island Sound is now heading to the Oxford Art Factory stage this Friday for a show with Fushia and indie rockers Rockets.

MIRIAM WAKS Your music is…? Jazz, world, blues.

Which acts inspired you to produce your own music and why? Pink Martini’s diversity of repertoire. Paul Capsis & Lillias White, mind-blowing craftsmanship and presence. Yasmin Levy, beautiful songs and sounds. Dianne Reeves & Patti Austin, damn they can sing!

What’s your wildest ambition for your music?

The Illawarra Folk Club is hosting another concert this Saturday at City Diggers, featuring none other than Fred Smith and Martin Pearson. Supporting them will be Liz Frencham, Illawarra’s own multi-instrumentalist and singer. The show starts at 7.30pm and is $20 for non-club members.

DECLAN KELLY

LONG ISLAND SOUND

Warmer is launching third album, Spider And Lamb, this Friday in the Camelot Lounge, with special supports by way of the Blue Mountains’ The Trobes and Nic Dalton & His Gloomchasers. The bands play at 8.30pm.

THEY’RE WATCHING Eye On You is gearing up to record an album but meanwhile they’ve decided to play some shows. They hit up the Hamilton Station Hotel on Thursday and the Annandale on Sunday.

FIELD DAY Melbourne’s own indie pop princess Georgia Fields is flying into The Vanguard this Sunday in support of her new self-titled album, though she’ll also be playing some brand new songs. Supporting her will be Brian Campeau and Tara Simmons.

POST-BEATLES

To be travelling the world, singing music I love from all different cultures for open-minded audiences. Oh, and making a good enough living that I can cross “babysitter” off my list of current occupations.

Why should we come and see you? I sing in 12 languages, tell jokes, play ukulele and my dresses are sparkly. (Last point will possibly appeal exclusively to my magpie fan base.)

The Townie presents Counterfeit to you this Friday, where a huge lineup will all pay tribute to the four Beatles boys, but post-Beatles. Some of the bands playing include Supersede, Shanghai, Junkyard Advisory, Sex In Mexico and tons more, from 8pm.

How do you find the local live scene?

BE STILL, HEART

Singing Hey Big Spender for the Federal Treasurer Wayne Swan.

Wyatt Moss-Wellington, off the back of his album, Gen Y Irony Stole My Heart, plays 505 on Friday with Wartime Sweethearts. Doors open at 7.30pm.

Next available at:

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Full of some wonderful musicians but very tough to make a living in.

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

Thursday – Camelot Lounge


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ESSENTIAL VIEWING ALL INDIA RADIO – RIPPLED A truly enthralling and visibly time-consuming video clip, this was over six months in the making and was created using light painting and thousands of frame-by-frame shots put together. The clip follows some sort of beaver-esque animal as it journeys through the urban environment. The long exposure techniques used means that the coolest part is probably seeing the wispy silhouettes of the people creating the light drawings. All in all, it’s a cool idea and it suits the chill vibe of the song well.

THE BAMBOOS The Bamboos are celebrating ten years together, playing Manning Bar on Friday. We asked them to compile their top ten highlights of the last decade. 1. Touring Europe three times. 2. Collaborating with Alice Russell, TY, Lyrics Born, Washington and Omega Watts. 3. Playing festivals like Falls, Bluesfest, Tropfest, St Kilda, Meredith, Parklife and Days Like This. 4. Getting to play with Eddie Bo, Joe Bataan, Syl Johnson and Eddie Floyd.

ARIA TOP 10 AUSTRALIAN ALBUMS Roy DAMIEN LEITH Rrakala GURRUMUL The Life Of Riley DRAPHT When I First Met Your Ma VARIOUS Best Of David Hobson DAVID HOBSON Weekend Detention With The Continuous Call Team CONTINUOUS CALL TEAM Kosciuszko JEBEDIAH Birds Of Tokyo BIRDS OF TOKYO I Want That You Are Always Happy THE MIDDLE EAST Down The Way ANGUS & JULIA STONE

ARIA TOP 10 SINGLES Party Rock Anthem

LMFAO FT. LAUREN BENNET & GOONROCK

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

Price Tag

JESSIE J FT. B.O.B

Sweat (David Guetta Remix) SNOOP DOGG VS. DAVID GUETTA

On The Floor

JENNIFER LOPEZ FT. PITBULL

Where Them Girls At DAVID GUETTA FT. NICKI MINAJ & FLO RIDA

Rolling In The Deep The Lazy Song Own This Club We Run The Night

ADELE BRUNO MARS MARVIN PRIEST DJ HAVANA BROWN

5. Signing with Tru Thoughts records in 2005.

Directed by Darcy Prendergast and Oh Yeah Wow

6. Recording music for Nintendo Wii’s de Blob video game, volumes one and two.

http://bit.ly/kuUhgp

7. Doing BBC radio sessions for Craig Charles and Mark Lamarr. 8. Making it into the Melbourne Age ‘Top 100’ list of most influential people for 2008. 9. A 2010 APRA award nomination for best ‘Blues & Roots’ work.

That on 23 May DID YOU KNOW… Oasis walked out on his er of 2000, Noel Gallagh of his infamous as a result of one se ur co of , ur to pean band during a Euro . other Liam st-ups with his br

bu

10. Lecturing at Red Bull Music Academy 2007. held in by music-lovers in his native Ireland, Freddie White is heading to Australia for the first time. He plays The Brass Monkey this Wednesday at 7pm to debut his latest album, Stormy Lullaby.

I GOT RHYTHM The Rhythm Cellar, Sydney’s newest groove night, is launched Saturday with performances from The Special Guests, The Rumjacks and DJ Soul Dog. The place to be is Hermann’s Bar from 8pm, with a $10 cover charge.

GANGED UP ON If you were a surfer in the ‘80s, you’d know that they were voted the World’s Most Popular Band by the International Pro Surfing Association in

1986. Now GANGgajang is back at The Brass Monkey this Friday at 7pm to play their reggae/ groove tunes.

DOC AND JAMES Known as the charismatic frontman of The Angels, Doc Neeson is heading to The Brass Monkey with the support of James Kannis this week. The show is on Saturday and starts at 7pm.

NO SLEEP TONIGHT Daniel Lee Kendall will be chatting all night, his new EP, Talk The Night Away, in hand, as he plays ANU Bar Friday and The Metro Saturday this week. He’ll be joined byheadlining Brisvegas indie popsters Hungry Kids Of Hungary as well as Andy Bull and The Chemist.

VENOMOUS Sydney’s Blue Venom is rocking up the Time & Tide Hotel’s beer garden this Sunday with their blues rock. They play between 1pm and 4pm.

KIRA PURA

HIDE YO BALLADEERS The drummer of The Drones, Mike Noga, has taken to solo work again and he’s heading to The Brass Monkey tonight in support of his second solo effort, The Balladeer Hunter, joined by The 49 Goodbyes at 7pm. He’s also playing Notes on Wednesday with Daisy M Tulley and the Clarendon Guesthouse on Thursday.

STORMS FROM IRELAND

PAPER PLANE PROJECT

BAMBOO PARTY As noted above The Bamboos are celebrating musical mayhem this Friday at the Manning Bar ‘cause it’s their 10th anniversary show! The eightpiece will be supported by The Psyde Projects and Paper Plane Project from 8.30pm.

JUST FOUR The folks who make up Gay Paris are probably drinking far more than they reckon others should, as they hit up NSW this week on their Four Drinks Minimum tour. They play Phoenix Bar on Thursday with The Rumjacks and Super Best Friends, the Great Northern Newcastle on Friday with The Good Ship and finally The Vanguard on Saturday with Kira Puru and The Good Ship.

After ten albums and the consequent high esteem he is

Your participation will involve completing an e-check up, followed by 3 follow up assessments. You will be reimbursed $25-40 per interview. Research participation is confidential. This project has been fully approved by UNSW’s Human Ethics Committee.

We are closing recruitment for this study soon. For more information please contact Laila: Ph: 02 9385 0215 or Email: echeckup@unsw.edu.au

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e

ECSTASY RESEARCH STUDY

THE DRUM MEDIA 17 MAY 2011 • 61 •


ARIA TOP 10 ALBUMS 21 Roy

ADELE DAMIEN LEITH

When Ronan Met Burt RONAN KEATING & BURT BACHARACH

Doo-Wops And Hooligans BRUNO MARS Sing It Loud KD LANG & THE SISS BOOM BANG Wasting Light FOO FIGHTERS The Wombats Proudly Present… This Modern Glitch THE WOMBATS

Teenage Dream Love? Crazy Love

KATY PERRY JENNIFER LOPEZ MICHAEL BUBLE

MAX SMIDT

BILLBOARD 200 TOP 10 21 ADELE Hot Sauce Committee Part Two BEASTIE BOYS Now 38 VARIOUS FLEET FOXES Helplessness Blues JENNIFER LOPEZ Love? STEVIE NICKS In Your Dreams The Ultimate Collection SADE musiqinthemagiq MUSIQ SOULCHILD MUMFORD & SONS Sigh No More SIXX: AM This Is Gonna Hurt

ITUNES AUSTRALIA TOP 10 SINGLES Party Rock Anthem LMFAO FT. LAUREN BENNET & GOONROCK

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

Rolling In The Deep Own This Club

ADELE MARVIN PRIEST

Sweat (David Guetta Remix) SNOOP DOGG VS. DAVID GUETTA

Price Tag

JESSIE J FT. B.O.B

Where Them Girls At DAVID GUETTA FT. NICKI MINAJ & FLO RIDA

The Edge Of Glory LADY GAGA On The Floor JENNIFER LOPEZ FT. PITBULL We Run The Night DJ HAVANA BROWN

WIM

THE DIRTY LOVE

MEOW

DR FEELGOOD LIKE

DOWN AND DIRTY

Rootsy and chill, The Brass Monkey this Sunday will feature Glen Mead, Hayley Sales and Max Smidt from 7pm, playing jams with a feel-good attitude.

Local rockers The Dirty Love are debuting their album, Black And White, on two nights in Sydney this week, starting with the Lansdowne on Friday and moving to the Annandale on Sunday.

VALVE HAPPENINGS There’s quite a bit on at Valve this week, starting with the Underground Tables hip hop evening tonight, featuring DJs Myme, Gee Wiz and more, as well as MCs Benji, BC, One AM and Allstars from 6pm. Wednesday from 7pm sees Howler, Ouster and Dr Amatic take the stage, and Thursday’s rocking lineup features No Further Questions, Another Minute Past Midnight and Lost In Verona from 7pm. Same time Friday you’ll see hard rock overtake the venue in the form of Datura Curse, Broken Toys, Islands and Gutter Tactic. It’s a full day of music on Saturday with the Latitude Festival, kicking off from 12pm and featuring the likes of Cleanskins, The Pharaohs Of The Farout, Helpful Kitchen Gods, The Fables, Broken Hands, Spaceticket, Greg & Dr Tom, Stuart Jammin, Edward Kent, Rennae and more. The week finishes with another dash of hard rock on Sunday from 2pm, featuring Invictus, Inhale The Sea, The Seer, War Faction, Emperical, Putrefaction and Revenant.

Recent Modular signees WIM are accompanying Gypsy & The Cat for a run of shows in the area this week, starting with Wollongong Unibar on Thursday, The Metro on Friday and finishing up at the Cambridge Hotel on Saturday.

n Ant Farm were e members of Alie th l al , 02 20 ay M That on 22 a bus crash in DID YOU KNOW… hospitalised after d the driver. Spain, which kille

STEP INTO MAC

Michael Dorman, tickets are available from Oztix.

The Macquarie Hotel offers up another generous slab of free musical entertainment this week, beginning Wednesday with Dereb The Ambassador. Thursday’s slots at 8:30pm and midnight respectively are filled by Sirens Big Band and Samba Mundi.

MAD MUSICIANS Alex Lloyd and The Pigram Brothers will be playing the music from the Brendan Fletcher-directed film, Mad Bastards, as Mad Bastards, this Friday and Saturday at Notes, fresh off debuting the film at the Sundance Film Festival. Supported by Evil J & Saint Cecilia and

*

WALKING THE STREETS Pianist and singer/songwriter Scott A. Walker is showcasing his new album, A Vagrant On The Streets Of Love, at The Basement Circular Quay this Wednesday. The music starts at 9.30pm but you can grab dinner from 7.30pm as a package with your show ticket.

DON’T GET SICK The Blackwater Fever trio is checking into the Lansdowne Hotel on Friday this week, supported by Frank Sultana, as well as into the Junkyard Hotel on

THE BONDI PAVILION & WAVERLEY COUNCIL PRESENT

CONVENED BY LINDY

*

MORRIS ON

FRIDAY 20 MAY 2011 10AM-3.30PM (REGISTRATIONS FROM 9.30AM) HIGH TIDE ROOM | BONDI PAVILION | BONDI BEACH

ALL YOU NEED TO KNOW ABOUT THE MUSIC INDUSTRY: HOW TO GET IN - HOW TO SUCCEED 10AM .............. DAN ZILBER * MUSIC DIRECTOR, FBi 94.5 IA 10.30AM....... SIMON MOOR * MANAGING DIRECTOR, KOBALT PUBLISHING AUSTRAL 11AM .............. KRIS SWALES * EDITOR, 3D WORLD ASIA 11.30AM....... TONY HARLOW * PRESIDENT AND CEO, WARNER MUSIC AUSTRAL R MODULA CEO, 12PM .............. STEVE PAVLOVIC * 1.30PM .......... TIM LEVINSON * ELEFANT TRAKS, URTHBOY 2PM ................. WILL LARNACH-JONES * DIRECTOR, PARALLEL MANAGEMENT 2.30PM .......... BRIAN TARANTO * MANAGING DIRECTOR, LOVE POLICE 3PM ................. GRAHAM NIXON * MANAGING DIRECTOR, RESIST RECORDS

FREE to attend but register at bondipav@waverley.nsw.gov.au or 8362 3400 This project has been assisted and supported by the NSW State Government through Arts NSW and Waverley Council through Bondi Pavilion Cultural Services

• 62 • THE DRUM MEDIA 17 MAY 2011

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CROW

INNER CITY CREEPS

CROW SHOW

CREPES AT THE SANDO

‘90s Sydney band Crow is back from extended leave and are performing songs from their 2010 album, Arcane, as well as their older albums, at the Petersham Bowling Club Friday. They’ll be supported by Excellent Robots and Ya Aha.

Local rockers Inner City Crepes take to the Sando yet again this Wednesday evening, with Mercury Sky and The Scroops coming along for the ride. Get in from 8pm, and entry will be granted when you hand a purple note over.

BRIANA COWLISHAW Your music is…? Jazz/Latin/pop.

Which acts inspired you to produce your own music and why? Joni Mitchell: she is the world’s best storyteller. Antonio Carlos Jobim writes the most beautiful melodies. Vince Jones, Stevie Wonder, Pat Metheny and Esperanza Spalding – their sound and intent make you sit up and listen.

What’s your wildest ambition for your music? To perform around the world in music festivals, collaborate with artists from South America, all around Europe, North America (everywhere and anywhere) and basically live the life of a globetrotting, crazy musician.

Why should we come and see you? Because it is fun to listen to music that you have never heard before. My music is different to anything on the Sydney scene at the moment and there is no good reason why you shouldn’t!

ESSENTIAL VIEWING BEASTIE BOYS – FIGHT FOR YOUR RIGHT (REVISITED) This half-hour video is the most ridiculous, star-studded and all-together hilarious clip created in a while. It’s long-winded and somewhat stupid but the fact that the Beasties have got Seth Rogen, Danny McBride and Elijah Wood pretending to be them, among other A-listers like Susan Sarandon, Will Arnett, Jason Schwartzman, Amy Poehler, Jack Black and heaps, heaps more all involved, makes revisiting the ‘90s b-boy movement pretty amusing. Directed by Adam Yauch http://bit.ly/eNM9Vs

How do you find the local live scene? Small and cliquey, but of such a high calibre, constantly inspiring and filled with such friendly and funny people to share it all with!

DID YOU KNOW

What’s your greatest rock’n’roll moment? I definitely would not call this a rock and roll moment - maybe you could call it a ‘jazz-geek’ moment - but sitting in and singing three tunes with the Ellis Marsalis Trio at New Orleans’ famous jazz club Snug Harbor.

For more info see: When Fiction Comes To Life – released 3 June via MGM brianacowlishaw.com listn.to/BrianaCowlishawMusic

Next available at: Wednesday 25 May – 505 Tuesday 28 June – Jazz Underground

s hung himself, ion singer Ian Curti his e Idiot playing on with Iggy Pop’s Th 23. turntable. He was

1980, Joy Divis … That on 18 May

MIX AND MATCH

Saturday.

FRAZZLE DAZZLE ‘EM SISTER ACT

Byron Bay hardcore heroes Parkway Drive are throwing down at the Hordern Pavilion this Friday, as well as at Newcastle Panthers on Saturday and the Wollongong Entertainment Centre on Sunday. They’ll be joined by the American boys in Miss May I and The Wonder Years.

Multi-Golden Guitar Award-winning country pop artists The McClymonts sisters are swooping into the Hornsby RSL this Friday with their soft jams, as well as into the North Sydney Leagues on Sunday.

South Australian country popsters The Yearlings are pulling into the Grand Junction Hotel this Sunday on

Wind down at the Bull & Bush Hotel on Sunday to the classic rock sounds of Frazzle, free from 2pm.

EARTHLINGS

IN MALICE’S WAKE

UP AT THE WALL The Wall has a bunch of cool stuff going on this week if you’ve got the time and dollars to pay a visit. Thursday sees Toy, Release The Hounds, Tainted Hearts and Three Wise Monkeys take the stage from 7pm, with entry $13 at the door. A heavy night of music happens from 8pm Friday, with Dark Order, In Malice’s Wake, Desecrator and Havoc playing for a smooth $15. Finally on Saturday, the spiritual Adelaide act Spiral Dance comes to the venue, with Damh The Bard from 8pm, $40 on the door.

MAXINE KAUTER MICHAEL PETER

TONE’S WEEK

MARLY MADNESS The Marlborough Hotel’s Wednesday nights see DJ Moussa take the decks from 11pm every week, and this Thursday Michael Peter takes his acoustic tunes to the stage from 8.30pm. Friday night’s cover band is Wildcatz and Saturday’s is After Party Band.

There’s plenty to keep you busy at Tone, starting Thursday with the TV Party featuring the Maxine Kauter Band. Friday’s launch from California’s Pigeon John also features up and comers Tuka, Yeo and Mike Who, as well as DJs Ability, Bentley and Starjumps. Saturday’s lineup sees Paul Holden, Aladdin, Tom E and more shuffle in, and Sunday there’s a belly dance competition.

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GEOFF YULE SMITH

YULE BE DANCIN’ Geoff Yule Smith and his four-piece backing band are cruising into the Engadine Bowling Club this Saturday for an 8pm show. It’s $12 entry and there’s also a dancing competition so bring your dancing shoes.

JONNY GRETSCH’S WASTED ONES

GET TO GLEBE Another ripper of a week down at the Excelsior Glebe, with Jonny Gretsch’s Wasted Ones playing free from 7pm Friday.

ESSENTIAL VIEWING ALEXANDER – A MILLION YEARS The video for this cheerful and catchy pop tune is a wondrous and surreal fantasy and shows how he’s literally in touch with the singing Mountain Man (someone covered in green paint and mossy-looking stuff). As a number of wizened old faces appear in the natural environment, Alex skips and dances with two little children and tumbles his way through the desert – lost in his own world. Directed by Benjamin Kutsko http://bit.ly/eGEZ7r

RICHARD CLAPTON

LIZOTTE’S EVENTS The various Lizotte’s venues have a lot happening over the coming week. At the Dee Why restaurant, Thursday night’s entertainment is supplied by Brian Cadd & Russell Morris, while Saturday sees Mal Eastick give his interpretation of Stevie Ray Vaughan’s work. The Kincumber venue welcomes Katrina Burgoyne on Thursday and Richard Clapton on Friday, hosting a Tour De Force tribute show on Saturday and welcoming Cadd & Morris on Sunday. That tribute show happens Friday at the Newcastle restaurant, Clapton playing there Saturday and Sunday.

their Far East tour with Laneway, showcasing their latest album, Sweet Runaway, recorded in their Adelaide Hills home studio. The show starts at 8pm.

LAUGH WITH HER Quirky Brisbane soul/pop songstress Bec Laughton is heading to 505 this Monday, to kick off the NSW launch run for her debut album, At First Sight... . She plays from 7.30pm for $10.

THE MOMOS

BOTANY VIEW FRIDAY Friday at the Botany View Hotel, head along from 7pm to check out The Momos, Delusions Of Grandeur and Andy Calvert. Entry is free.

SHOUT IT OUT Shout Fest, happening Saturday at Liverpool PCYC, is an event open to all ages – no drugs or alcohol, naturally – that boasts fun activities like Guitar Hero,

airbrush tattooing, a BBQ, lucky door prizes and plenty of bands to boot. Artists performing include Michael Omen, Sophomore Summer, Delinquent, Amber Avenue, Our Last Autumn, Seek The Silence, Scream Infamy, Red Alert, The Initiation, Obviously Your Superhero, Straitjacket Centrefold, Broken Riot, Paintbox City and Recording All. It kicks off at 1pm and entry is $10.

TRIPLE TREAT Three electronic bands – Luchi, Sealion and Isac Cole – take to 34B on Saturday, mixing their samples with live instruments to create multilayered and textured sounds. Entry is $10 on the door.

THE JOHN HARDAKER DIRECTION CELEBRATES

THELONIOUS SPHERE MONK WITH SPECIAL GUESTS CRYSTAL BARECCA VOCAL & PATRYCJA NEDZIAK SPOKEN WORD

SUNDAY MAY 22 3PM | ST JOHNs ANGLICAN CHURCH 120 DARLINGHURST RD DARLINGHURST MONK MOODS is sponsored by The Music Project at St Johns | Entry $20/$10 concession • 64 • THE DRUM MEDIA 17 MAY 2011

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LOS CAPITANES

CHERRY PICKING TRIAL KENNEDY

GIG OF THE WEEK

Melbourne rockers Trial Kennedy have a new album out. It’s called Living Undesigned, and to promote it this week they’re doing a bit of a run around Drum-related areas, stopping in at Wollongong City Diggers on Thursday, the Cambridge Hotel on Friday and the Annandale Hotel on Saturday.

BAND BATTLE

DRIVE IN Sunday at the Bridge Hotel, join DRIVE with Peter Northcote and Brydon Stace from 3.30pm as they play their pop/rock tunes. Entry is $10 and children are welcome.

MONIQUE BRUMBY

BRUMBY RISING Tasmanian-born, Melbourne-based singer songwriter Monique Brumby comes to the top floor of Stonewall in Surry Hills to launch her new single, Underground, Saturday night.

Leadfinger_WMTM_DrumAd_20110519_R.indd 1

Roll up in your vintage Caddy to Black Cherry this Saturday at the Factory Theatre for a huge rock’n’roll and burlesque lineup. Bands playing include The Satellites, Los Capitanes, Pat Capocci Combo featuring Pia Andersen, The Corps, Whipped Cream Chargers, the Jungle Rump Rock’n’roll Karaoke and a bunch of DJs. Tickets go for $20 at the door.

MELODIES AHOY Thursday at the Excelsior Glebe, check out Snez, Melody Moon and Simon Bruce at 7.30pm, 8.30pm and 9.30pm respectively.

ABOARD THE TRAIN If you roll into the Excelsior Glebe on Saturday, you’ll find Ghost Train and Auto Slide doing their respective things.

Big night at the Sando on Thursday with the fourth heat of the Chick Boom band comp, seeing Rachael Zella & The Blackbirds, Rani’s Fire, Covert Udon Noodle Traffickers, No Peace For Charlie and Manger all go head to head. Entry is $7.

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!

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THE DRUM MEDIA 17 MAY 2011 • 65 •


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17 - 23 MAY 2011

TUE 17

AAMAZING ENTERTAINMENT KARAOKE: Penrith Htl ADAM PRINGLE BAND: Sandringham Htl downstairs ALI MCGREGOR: The Basement ANNA SALLEH’S BOSSA BOOTS: Cru54 Bar & Kitchen DAVE WILKINS BAND: Coogee Bay Htl, Beach Bar IRISH ALBERT & THE ELDERLY BROTHERS: Commercial Club, Albury JAMES BLUNT, THE VERSES: State Theatre JAZZGROOVE feat…, MARCELLO MAIO, THE DEBONIAR GENTLEMEN: 505, 280 Cleveland St Surry Hills KARAOKE, CRIS ANGEL, NICKLES, POWER BALLADS: World Bar Kings X LISSIE: Oxford Art Factory, Live Art Space MIKE NOGA: Brass Monkey MONANNLISA WILDE, KOKROLLER: Beach Rd Htl Bondi MONDO GENERATOR, GRAND FATAL, HYTEST: Sandringham Htl MYME, GEE WIZZ, MC BENJI, BC, + HEAPS MORE!: Valve Bar and Venue, Tempe OPEN MIC NIGHT: The Great Northern Hotel, Newcastle PETER HEAD: Harbourview Htl TOM T TRIO: Scruffy Murphys

WED 18

ANDRE RIEU: Acer Arena Homebush ANNA SALLEH’S BOSSA BOOTS: Cru54 Bar & Kitchen AUSTIN BENJAMIN BUCKET, GERARD MASTERS: 505, 280 Cleveland St Surry Hills BAD MANNERS, BACKY SKANK, UPTOWN RANKING DJS, + HEAPS MORE!: Annandale Htl BERNIE HAYES: Sandringham Htl downstairs CAROLYN CRYSDALE: Artichoke Café Manly CAROLYN WOODORTH, + GUESTS: Blaxland Tavern CRAIG THOMMO: Rocksia Hotel DANIEL ALLARS, LOVERS JUMP CREEK: The Gaelic FIREBREATHER: Parramatta Leagues FREDDIE WHITE: Brass Monkey FREE DUBSTEP PARTY: World Bar Kings X GAVIN FITZGERALD, TAOS, + GUESTS:

• 66 • THE DRUM MEDIA 17 MAY 2011

Coach & Horses Hotel, Randwick HAPPY HIPPIES: Ettamogah Pub HOWLER, OUSTER, DR AMATIC: Valve Bar and Venue, Tempe INNER CITY CREEPS, MERCURY SKY, THE SCROOPS: Sandringham Htl IRISH ALBERT & THE ELDERLY BROTHERS: Commercial Club, Albury JAMES MORRISON: Dooley’s, Lidcombe JOE BONAMASSA: Civic Theatre Newcastle JOSEPH CALDERAZZO & EVELYN DUPRAI: Laycock St Theatre Nth Gosford KATIE NOONAN, KARIN SCHAUPP: Illawarra Performing Arts Centre KEN STEWART, MARK WILKES, RUSSELL NEAL, + GUESTS: Kogarah Hotel LIVE AND LOCAL: Lizottes, Dee Why LIVE AND LOCAL: Lizottes, Newcastle MARK LUCAS: Petersham Bowling Club MIKE NOGA, DAISY M TULLEY: Notes, Newtown MIKELANGELO, SAINT CLARE, JONNY WISHBONE, AZZY T, Kira Puru, JAY KATZ: The Vanguard MUSOS CLUB JAM NIGHT: Bald Faced Stag NICKY KURTA: Summer Hill Htl NUMBERS RADIO: Beach Rd Htl Bondi OPEN MIC NIGHT: Down Under Bistro, Woolloomooloo PETER HEAD: Harbourview Htl POLKADOT & MOONBEAM: Jazsushi Surry Hills RAOUL GRAF, KEN STEWART, DaNIEL HOPKINS, + GUESTS: Taren Point Htl RED SPENCER, ROCKETS: The Great Northern Hotel, Newcastle REPLIKA: Scruffy Murphys SCOTT A WALKER: The Basement SINGLED OUT: 3 Wise Monkeys TAMARA STEWART: Royal Cricketers Arms Htl THE CONTINENTAL BLUES PARTY: The Rose Hotel THEY CALL ME BRUCE: Coogee Bay Htl, Beach Bar UNIVERSITY OF ERRORS: Uni Bar, Lismore

THU 19

1814: The Gaelic AAMAZING ENTERTAINMENT KARAOKE: Penrith Htl ADAM RENNIE: Rag & Famish Nth Syd ALISA GREY, TERRY KAFF: South Sydney Juniors ANDRE RIEU: Acer Arena Homebush

PEABODY: SATURDAY 21, LANSDOWNE HOTEL ANDY MAMMERS: Greengate Htl ANTHEMS OF OZ: Orient Htl BIG WAY OUT: 3 Wise Monkeys BLUE KING BROWN, DIAFRIX: Beach Hotel, Byron Bay BRIAN CADD, RUSSELL MORRIS: Lizottes, Dee Why CAMBO: Observer Htl DAVE GRANEY & THE LURID YELLOW MIST: Notes, Newtown DAVE WHITE DUO: Maloney’s Hotel DENI HINES: Canberra Southern Cross Club - Top Of The Cross GET YOUR YA YAS OUT: Mona Vale Golf Club GYPSY & THE CAT: UniBar, Wollongong GYPSY HOT CLUB: Jazsushi Surry Hills HAVANA BROWN: Australian Hotel & Brewery, Annangrove JAMIE BAQUIRAN, CAROLYN WOODORTH, + GUESTS: Lone Pine Tavern Rooty Hill JAZZ FACTORY: The Great Northern Hotel, Newcastle KATRINA BURGOYNE: Lizottes, Kincumber KIRK BURGESS: Gymea Bay Hotel LEADFINGER, THE SCRUFFS, RAPRAGER: Annandale Htl LOUNGE SOUNDS: Artichoke Café Manly LUKE KOTERAS: Campbelltown Catholic Club - Caf‚ Samba MACQUARIE COLLEGE JAZZ NIGHT: Lizottes, Newcastle MATT PRICE: Harbord Beach Htl MAXINE KAUTER BAND, SAM NEWTON, MY LOADED, DANICA LEE: Tone, Sydney MICHAEL PETER: Marlborough Htl MIKE NOGA:

Clarendon Guest House MIRIAM WAKS: Camelot MUSOS CLUB JAM NIGHT: Carousel Inn Rooty Hill NICK BOMBA, EBB N FLO, ABILITY, FESTER: Beach Rd Htl Bondi NICKY KURTA TRIO: Dee Why Hotel NO FUTHER QUESTIONS, ANOTHER MINUTE PAST MIDNIGHT, LOST IN VERONA, UNCORRECTED: Valve Bar and Venue, Tempe NOLIVER FIG: Down Under Bistro, Woolloomooloo NUMBERS RADIO: Wollongong City Diggers PARKWAY DRIVE, MISS MAY I, THE WONDER YEARS, CONFESSION: Byron Bay High School PETER HEAD: Harbourview Htl PHOEBE EVE, DaNIEL HOPKINS, + GUESTS: Narrabeen Sands PLEDGE THIS, Of Whispers, TURNING TIDES, REMAINS THE DAY: Spectrum RAY BEADLE BAND: 505, 280 Cleveland St Surry Hills RECKLESS: Coogee Bay Htl, Beach Bar RENAE KEARNEY: Green Park Hotel RICH FOWLER, HELMUT UHLMANN, + GUESTS: Pennant Hills Inn ROCKIT TO MARS: Scruffy Murphys SARAH PATON: O’Malleys Kings X SAVAGES, KASHA, REUBEN INGALL, VISUALS BY EIGHTFILTERS: Kings Cross Htl SNEZ, MELODY MOON, SIMON BRUCE: Excelsior Glebe STEVE EDMONDS BAND: Empire Htl STEVE TONGE: Northies Cronulla HtlSport Bar THE BLACKWATER FEVER: Wickham Park Htl Islington

THE EARLY BIRDS, ROBOT CHILD: Landsdowne Hotel THE SOWERS GROUP: The Basement TIKI TAANE: Great Northern Byron Bay TRIAL KENNEDY, NUMBERS RADIO: City Diggers Wollongong TRIVIA: Riverwood Inn URBY & MUSH: World Bar Kings X

FRI 20

2 OF HEARTS: Brewhouse Pub St Marys ALEX LLOYD, PIGRAM BROTHERS: Notes, Newtown ALL STAR DUO, STACIE RICHARDSON: Northies Cronulla Htl AM 2 PM: Revesby Workers ANDY MAMMERS DUO: Penrith Panthers ANGE MURPHY: Artichoke Café Manly ARMCHAIR TRAVELLERS: Colonial Hotel, Werrington BEN FINN: PJ Gallaghers Drummoyne BENN GUNN: Chatswood RSL BLACKWATER FEVER, THE DIRTY LITTLE LOVERS: Landsdowne Hotel BLISS BOMB: Paddy Maguires Haymarket BLONDE 182: Customs House Sydney BOOTY CALL: Mounties Club Mt Pritchard BOY MEETS GIRL: Kingswood Sports Club Brackets & Jam: Kincumber Mountain Kiosk CARL FIDLER: O’Malleys Kings X CHASING KARMA: Engadine Tavern CHRIS JAMES:

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The Greens COLENE CRAWFORD, HUE WILLIAMS: Avoca Bowling Club COMEDY NIGHT, BRENDON MONTANNER: Lizottes, Dee Why CORNERSTONE ROOTS: The Brewery, Byron Bay COUNTERFEIT TRIBUTE NIGHT: Town Hall Htl, Newtown CRAZY JUDAH, JOHN PAGE: Freeway Htl CREEDENCE & BEYOND: Heathcote Hotel DANIEL LISSING DUO, BLACK DIAMOND HEART CLUB: Crows Nest Htl DATURA’S CURSE, BROKEN TOYS, ISLANDS, GUTTER TACTIC: Valve Bar and Venue, Tempe DAVE GRANEY & THE LURID YELLOW MIST: Vault 146, Windsor DAVE WHITE, LUKE DIXON: Kirribilli Htl DAVID AGIUS DUO: Woolloomooloo Bay Htl DJ STYLE: Western Leagues, Leumeah DJ TONE: Oatley Hotel ENDLESS SUMMER BEACH PARTY: Eastern Suburbs Leagues ENDLESS SUMMER BEACH PARTY: Kro Bar, East Leagues Club, Bondi Junction ENORMOUS HORNS: Ettamogah Htl FIVE COFFEES, KRIS SPENCE BAND, MARK WILKES, KATE PLUMMER, DaNIEL HOPKINS, + GUESTS: The Basement FLAMIN’ BEAUTIES: Mortdale Htl FRANKY VALENTYN: Richmond Club FUNKSTAR: 3 Wise Monkeys GAY PARIS, THE EARLY BIRDS, THE GOOD SHIP: The Great Northern Hotel, Newcastle GTS: PJ Gallaghers Parramatta

GYPSY & THE CAT, WIM: Metro Theatre HAPPY HIPPIES: Maroubra RSL HEATH BURDELL: Northies Cronulla HtlSport Bar HELLO CLEVELAND: Pioneer Tavern HOORAY FOR EVERYTHING: Coogee Bay Htl, Beach Bar INGRID: Mars Hill Café INNER CITY CREEPS: Rooty Hill RSL INTIMATE LOUNGE MUSIC: Fairfield RSL, Supper Club JANE WALKER: SYDNEY DANCE LOUNGE - WALSH BAY JJ DUO: St George Leagues JOE BONAMASSA: Enmore Theatre JOHN GRANT, DAISEY M TULLEY: The Vanguard JON ENGLISH, JONAH’S ROAD: Central Coast Leagues JONNY GRETSCH’S WASTED ONES: Excelsior Glebe JOSH MCIVOR: Harbord Beach Htl KELLY HOPE: Diggers at The Entrance KP: Novotel - Brewery Bar, Olympic Park LIES N DESTRUCTION: Bull & Bush MACKA: Crown Htl City MACSON DUO: Lithgow Workers MARK DA COSTA AND THE BLACK LIST: The Ranch, Marsfield MARK TRAVERS: Castle Hill RSL MATT JONES DUO: Mean Fiddler Htl MATT PRICE: Parramatta RSL MISSION JONES: CLUB RIVERS MM9, iNsuRge: Annandale Htl MONK FLY, KILTER, ELLIOT, PRIZE, KNOW - U: Kings Cross Htl MONKEY WRENCH - FOO FIGHTERS SHOW: Penrith Htl Moonchild, + HEAPS MORE!: Candys Apartment NATASHA: Greengate Htl NEILL BOURKE: Macquarie Htl, Liverpool NICKY KURTA TRIO: Narrabeen Sands NIGHT OWL: Down Under Bistro, Woolloomooloo NORTHLANE, REVIVAL AAHORE, THE CITY LOVED: St James Htl Sydney NOVA TONE: Taren Point Bowling Club NUMBERS RADIO: Cambridge Htl Newcastle PANORAMA: Wentworthville Leagues

PARKWAY DRIVE, MISS MAY I, THE WONDER YEARS, CONFESSION: Hordern Pavilion PARTY VIBE: Towradgi Beach Htl REASONS 2B CHEERFUL: Collingwood Htl REBECCA JOHNSON BAND: Jewells Tavern, Jewells, Central Coast REBECCA JOHNSON BAND: Raby Tavern, Raby RETRO GROOVE: Engadine RSL RICHARD CLAPTON: Lizottes, Kincumber RIP IT UP: Eastern Suburbs Legion Club ROB HENRY, LUKE ROBINSON: Observer Htl ROCCOCO: Cowra Services Club ROCK STEADY: Penrith RSL, Castle Lounge SARAH PATON: Grand Htl Rockdale SKYSCRAPER: Vineyard Htl SKYZ THE LIMIT: Penrith Gaels SOAP OPERA: Parramatta Leagues SONS OF MERCURY: Scruffy Murphys STEVE EDMONDS BAND: The Beach Club Collaroy STEVE TONGE DUO: Hillside Htl Castle Hill TERRY BATU: Grand Central Htl Lithgow THE BAMBOOS, PSYDE PROJECTS, PAPER PLANE PROJECT: Manning Bar Syd Uni THE BLACK STARS, LORDS OF WONG, HAMMERS: Great Northern Byron Bay THE CAPITOLS: South Sydney Juniors THE COVER UP: Mingara Rec Club THE DEER REPUBLIC, SWIM, MR NICE, 4 DECK AV SET, M.I.T, + HEAPS MORE!: The Gaelic THE FLAMING STARS: Rose of Australia THE HUMP DAY PROJECT, ALISON WONDERLAND, DJ Hansom, BOONIE, ANIMAL CHIN: Kit & kaboodle, Kings Cross THE MARISTIANS: Rag & Famish Nth Syd THE REBEL ROUSERS: Belmont 16ft Sailing Club THE ROCKETS, REDSPENCER, LONG ISLAND SOUND: Oxford Art Factory, Gallery THE SHOOTERS PARTY, FUSHIA, THE ARCHERBOLDS, THIEVES, FOX, BRACKETS, + DJ’s: World Bar Kings X THE TRIP: Fitzroy Htl Windsor THE UV RACE, BED WETTIN BAD BOYS, HOLY BALM: The Red Rattler THE VILLIANS: Bombaderry Htl THIRD TIME LUCKY: Springwood Sports Club TOM T DUO: Courthouse Htl TOUR DE FORCE TRIBUTE SHOW: Lizottes, Newcastle


THE DRUM MEDIA 17 MAY 2011 • 67 •


gigs@drummedia.com.au

17 - 23 MAY 2011 TURNER: Old Manly Boatshed TWO MINDS: Jannali Inn UNIVERSITY OF ERRORS: Coorabell Hall, Coorabell VIP: Moorebank Sports Club WARMA: Camelot WILDCATZ: Marlborough Htl WYATT MOSS-WELLINGTON: 505, 280 Cleveland St Surry Hills

SAT 21

A FRENCH BUTLER CALLED SMITH: Coorabell Hall, Coorabell AFTER PARTY BAND: Marlborough Htl ALEX LLOYD, PIGRAM BROTHERS: Notes, Newtown ALI MCGREGOR: Riverside Theatre Parramatta AM 2 PM: St George Motor Boat Club ANDY MAMMERS: Northies Cronulla HtlSport Bar ARMCHAIR TRAVELLERS DUO: Coogee Legions ARMSTRONG BROWN: Peachtree Htl Penrith BACK TO THE 80’S, LAURIE BENETT: Penrith RSL, Castle Lounge BEN FINN DUO: Ettamogah Htl BENJAMIN BENOLID: Down Under Bistro, Woolloomooloo BLISS BOMB: PJ Gallaghers Parramatta CHRIS MCNAULTY: 505, 280 Cleveland St Surry Hills CLEANSKINS, THE PHAROAHS OF THE FAROUT, HELPFUL KITCHEN GODS, THE FABLES, BROKEN HANDS, + HEAPS MORE!: Valve Bar and Venue, Tempe CORNERSTONE ROOTS: Beach Rd Htl Bondi CORNSTALK: Fitzroy Htl Windsor CREEDENCE & BEYOND: Bull & Bush DAVID AGIUS DUO: Penrith Panthers DEEP TRIO: Kro Bar, East Leagues Club, Bondi Junction DES GIBSON: Lansvale Htl DIRTY DEEDS - AC/ DC SHOW, NO

• 68 • THE DRUM MEDIA 17 MAY 2011

SECRETS - ANGELS SHOW: Blacktown RSL DOC NEESON: Brass Monkey DOUBLE JEOPARDY: Courthouse Htl DUELLING PIANOS: Diggers at The Entrance ENDLESS SUMMER BEACH PARTY: Tracks, Epping Htl EXPRESS: Gymea Bay Hotel FATT LIP: Carousel Inn Rooty Hill FINN: Sandringham Htl FIONA LEIGH-JONES DUO: Harbord Beach Htl FLAMIN’ BEAUTIES: Royal Htl Springwood FREDDIE WHITE: Heritage Htl GEOFF YULE SMITH: Engadine Bowling Club GET THE PARTY STARTED-THE PINK SHOW: New Brighton Golf Club GHOST TRAIN, AUTO SLIDE: Excelsior Glebe GHOSTWOOD, BETTY AIRS, HAILER: Kings Cross Htl GTS: Miranda RSL GYPSY & THE CAT: Cambridge Htl Newcastle HAYLEY LEGG: Merton Estate Htl Rozelle HEATH BURDELL: Sir Joseph Banks Hotel HEAVEN CAN WAIT: South Sydney Juniors HIGH NOON, BAYSIDE WRECKERS, BUSTACAP, MADAME WU, DJ ENDO: Caringbah Bizzos HUNGRY KIDS OF HUNGARY, THE CHEMIST, ANDY BULL, DANIEL LEE KENDALL: Metro Theatre IGNITION: Wentworthville Leagues JAZZ NOUVEAU: Fairfield RSL, Supper Club JEFF DUFF BRAT PACK, FRANK BENNET: The Basement JOSH MCIVOR: Rydges Parramatta KIRK BURGESS: Picton Htl LAWRENCE BAKER: The Belvedere Htl LIGHTS OUT, MOOWHO, DISKORIOT, DISCO VOLANTE, ZOMG! KITTENS!, + HEAPS MORE!: Candys Apartment LITTLE FISH DUO: Hoey Moey, Coffs Harbour LUCHI, SEALION, ISAC COLE: 34B Oxford St Darlinghurst LUKE DIXON: Maloney’s Hotel MAL EASTICK: Lizottes, Dee Why

HUNGRY KIDS OF HUNGARY: SATURDAY 21, METRO THEATRE MANDI JARRY: Brewhouse Pub Marayong MARK DA COSTA AND THE BLACK LIST: Crows Nest Htl MARSHALL & THE FRO, BOWEN & THE LUCKY DUTCHMAN: Bombaderry Htl MARTYS PLACE: Richmond Club MASTERPIECE: Cronulla RSL MATT JONES: Castle Hill RSL MATT PRICE: Woolwich Peir Hotel MIKE MATHIESON, CHRIS ALEXANDER: Panania RSL MONIQUE BRUMBY, POP ROCK, MAY: Stonewall NAVEGAOS: Mars Hill Café NICKY KURTA: Northies Cronulla Htl NOVA & THE EXPERIENCE, LIME CORDIALE: The Great Northern Hotel, Newcastle NUMBERS RADIO: Annandale Htl OMG!: Scruffy Murphys OUTLIER: Coogee Bay Htl, Beach Bar PARKWAY DRIVE, MISS MAY I, THE WONDER YEARS, CONFESSION: Panthers Newcastle PARTY VIBE: St Marys Leagues PAUL ROBERT BURTON: Jewells Tavern, Jewells, Central Coast PAUL SUN, MARK SZETO, CAMERON

ANDREWS: LARRIKINS CAFÉ & LOUNGE PEABODY, WHERE’S JEROME, VEGAN MOSQUITOS, MAYDAY WAY HEY: Landsdowne Hotel PEACHY: Macarthur Tavern Campbelltown PEPPERMINT JAM: Mounties Club Mt Pritchard PETER HEAD: Harbourview Htl PETER MCWHIRTER: Campbelltown Catholic Club PURDY, MELODIE NELSON, SIR ROBBO: The Red Rattler RACHEL ELDON: Novotel Rooty Hill REASONS 2B CHEERFUL: R.G.McGees, Richmond RECKLESS: Mean Fiddle Htl, shed RED ALERT: Mingara Rec Club RICHARD CLAPTON: Lizottes, Newcastle ROB HENRY: PJ Gallaghers Drummoyne ROBBIE LOWE, JAMES TAYLOR, ILLYA, VENUTO, ADAM BOZZETTO, + HEAPS MORE!: World Bar Kings X Rolling Stoned: Kiama Leagues SCOTT DONALDSON: Kirribilli Htl SHAMROCK SHEILAS, SIOBHAN O’DONNELL, JIMMY MULLARKEY, CEILI BAND, PAT HUNT: The Gaelic SHINDIG: Penrith Gaels SHOUT FEST FEAT…, MICHAEL OMEN,

SOPHOMORE SUMMER, DELIQUENT, AMBER AVENUE, OUR LAST AUTUMN, SEEK THE SILENCE, SCREAM INFAMY, RED ALERT: Liverpool PCYC SINGLED OUT: Orient Htl SOUNDSTREAM: Brighton RSL STEVE TONGE, DAVE STEVENS: Observer Htl SUVI: Kingswood Sports Club TALL POP SYNDROME: Mean Fiddler Htl, Woolshed TED NASH: Pittwater RSL TERRY BATU: Earlwood ExServices TERRY MCINTOSH: The Entrance Sails Stage THE ARREBATO ENSEMBLE: Clarendon Guest House THE BEATELS: Oatley RSL THE BORDERLINE: Western Leagues, Leumeah THE DOORS EXPERIENCE: Oatley Hotel THE GOYLES: Huskisson Htl THE HANG: Macquarie Htl Surry Hills THE RUMJACKS, THE SPECIAL GUESTS, DJ DAVE SOUL DOG: Hermanns Bar Darlington THE SATELLITES, LOS CAPITANES, THE PAT CAPOCCI COMBO, PIA ANDERSEN, THE

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CORPS, Whipped Cream Chargers, RUBY RIOT, + HEAPS MORE!: The Factory Theatre THE SMITH: Artichoke Café Manly THOMPSON GUNNERS: Engadine Tavern TIMES LIKE THESE: Parramatta Leagues TOM T DUO: Revesby Workers TOUR DE FORCE TRIBUTE SHOW: Lizottes, Kincumber VELVET HOTEL: Ryde Ex-Servicemans VILLA RISE, LIFE BEYOND: St James Htl Sydney VIP: 3 Wise Monkeys YUKI & JOHN MACKIE, RICHARD BOOTH: Lane Cove Plaza YUKI & JOHN MACKIE, PAUL FURNISS, JACK WIARD, BOB GILLESPIE: Woollongong Golf Club ZIKO HART, RYAN ARIKI, RENAE KEARNEY, TONI MARTELLO, TANYA O’GORMAN, MARIANNA BAGNATO, + GUESTS: Belrose Bowling Club

SUN 22

ACE KARAOKE: Brighton RSL ALL STAR DUO: Bankstown Sports Club ANDY MAMMERS: Harbord Beach Htl BEN FRANCIS: Hoey Moey, Coffs Harbour BENJALU, NICK SAXON, PENNY & THE MYSTICS: Towradgi Beach Htl

BLUES SUNDAYS: Artichoke Café Manly BRIAN CADD, RUSSELL MORRIS: Lizottes, Kincumber BRIAN KING: Campbelltown Catholic Club CLIVE HAY: Campbelltown Catholic Club - Caf‚ Samba DAN SPILLANE: Mean Fiddler Htl DANIEL THOMPSON: The Bay Sports Club DAVE WHITE DUO: Northies Cronulla Htl DAVID AGIUS DUO: Northies Cronulla HtlSport Bar DISCO PUNX: World Bar Kings X DWAYNE ELIX: Penrith RSL, Castle Lounge ELEVATION-U2 SHOW: Orient Htl FINN: Macquarie Arms Htl GLEN MEAD, HAYLEY SALES, MAX SMIDT: Brass Monkey GLENN WHITEHALL: Oatley Hotel GLITTERING FROST: Sydney Opera House IGNITION: 3 Wise Monkeys JIMMY MANN: Richmond Club JOHN OVERHOLT: Lizottes, Dee Why KEY STRING: The Entrance Sails Stage KIRK BURGESS: Collaroy Beach Hotel LAWRENCE BAKER: Coogee Bay Htl, Beach Bar LJ: Collingwood Htl MANDI JARRY: Woolloomooloo Bay Htl MISSION JONES: The Belvedere Htl NEILL BOURKE: O’Malleys Kings X NICKY KURTA: Mounties Club Mt Pritchard NSW POLICE CONCERT BAND: Shoalhaven Entertainment Centre PARKWAY DRIVE, MISS MAY I, THE WONDER YEARS, CONFESSION: WIN Entertainment Centre PETER NORTHCOTE, BRYDON STACE: Bridge Htl Rozelle Randy: Hurstville RSL Club RENAE KEARNEY, ROB HENRY, MIKE BENNETT Observer Htl RICHARD CLAPTON: Lizottes, Newcastle RUINS OF AN

EMPIRE, INVICTUS, INHALE THE SEA, THE SEER, WAR FICTION, + HEAPS MORE!: Valve Bar and Venue, Tempe RUSSELL NEAL, + GUESTS: CLUB TOTEM, BALGOWLAH SEVEN AGAINST THEBES, RUN THE AVALANCHE, DEPTH OF MISERY, HELL NEEDS A HERO, NOT ANOTHER SEQUEL, JUST ANOTHER PREQUEL, BLACKENED THEY RISE: Lucky Oz Tavern, St Marys SHANE MACKENZIE: Cohibar SOUL SHAKEDOWN DJS: The Great Northern Hotel, Newcastle TED NASH: Waverley Bowling Club THE BELLY’OFF: Tone, Sydney THE BLACKHILL RAMBLERS: Marrickville Bowling Club THE CONTINENTAL BLUES PARTY: Bondi Icebergs THE FABULOUS FIREBYRDS: Kro Bar, East Leagues Club, Bondi Junction THE HOO HAAS: Sandringham Htl downstairs THE MCCLYMONTS: North Sydney Leagues, Cammeray THE MOMOS, DELUSIONS OF GRANDEUR, ANDY CALVERT: Botany View Htl THE YEARLINGS, LANEWAY: Grand Junction Htl Maitland TIMES LIKE THESE: Gymea Bay Hotel UNI VS UNI, BAND VS BAND: Landsdowne Hotel VIOLET SUNSET: Royal Cricketers Arms Htl WHITE BROS, MATT PRICE: Ettamogah Htl YUKI & JOHN MACKIE, PAUL FURNISS, TONY BURKYS, ALAN GILBERT: Cronulla RSL

MON 23

ANDY MAMMERS: Opera Bar BEC LAUGHTON TRIO: 505, 280 Cleveland St Surry Hills BERNIE: Observer Htl MASSIMO PRESTI, CHRIS BROOKES, RUSSELL NEAL, + GUESTS: Kellys on King Newtown NICKY KURTA: Coogee Bay Htl


THE DRUM MEDIA 17 MAY 2011 • 69 •


BROUGHT TO YOU BY

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

A MAC UPGRADE With The Beatles and John Lennon catalogues having now been comprehensively digitally remastered, it was only a matter of time before Paul McCartney’s catalogue would get the makeover. McCartney personally supervised all aspects of the remastering of 1970’s McCartney and 1980’s McCartney II, the next two albums off the block, 1973’s Band On The Run having been reissued in November last year. The remastering was done at Abbey Road Studios in London using the same team of engineers – Guy Massey, Simon Gibson, Sean Magee, Sam Okell, Steve Rooke, Paul Hicks and headed up by Allan Rouse – who recently remastered the complete Beatles catalogue, with the deluxe version of each including an illustrated history of the making of the albums.

ASONG DISCUSSES RADIO QUOTAS Tuesday from 6.30pm, APRA/AMCOS Head Office in Ultimo is hosting a free two-hour ASONG (Australian Songwriters Official National Group) forum of Australia’s digital radio future, and more specifically the fact that the Australian Communications & Media Authority (ACMA) ruled in July last year to exempt digital commercial radio stations from Australian music quotas for the next three years. The panel of industry professionals – ABC Radio producer Daniel Driscoll, Peer Music Publishing’s Matthew Donlevy, APRA Corporate Service’s Dean Ormoston, Association of Artists Managers Executive Director Nicole BZ, NSW Greens Senator-elect Lee Rhiannon and myself – will discuss the questions “Does the ACMA understand the impact this decision could have on the future of the Australian music industry?” and “What does radio airplay mean to you?”

SOUND BYTES Frenzal Rhomb has booked into producer Bill Stevenson of The Descendents’ studio, The Blasting Room in Fort Collins, Colorado, to record and produce their next album, Just Because It’s Soap Doesn’t Mean It’s Clean.

AFROCUBISM

THE MAN BEHIND THE ORIGINAL BUENA VISTA SOCIAL CLUB RECORD, NICK GOLD, TALKS TO MICHAEL SMITH ABOUT PRODUCING AFROCUBISM.

“Some of that wasn’t easy because the whole thing was recorded in one room, so we had no separation at all, so the balancing of instruments, the kora especially is an incredibly quiet instrument, and the ngoni’s not loud, and we did have electric guitar, and the balafon is very loud, but they’re used to working with their own internal dynamics, so the musicians do most of the work for you in creating a balance. But also we had a brilliant engineer with us, Gerry Boyse, who did the Buena Vista sessions and who I’ve worked with for years and years.

B

ack in 1996, English producer Nick Gold of World Circuit Records invited American guitarist Ry Cooder over to Havana to record an album with a couple of African musicians from Mali who he planned to put together with some veteran Cuban musicians. The result didn’t quite work out, the African musicians, having failed to receive their visas, unable to get there, but the session that did take place, in Havana’s EGREM Studios, which before the Revolution had been owned and operated by RCA, became the phenomenon the world knows as the Buena Vista Social Club. Fourteen years on, Gold finally did manage to get those Malian musicians – Bassekou Kouyate, Djelimady Tounkara, Kasse Mady Diabaté and Grupo Patria as well as Grammy Award winners Toumani Diabaté and the Buena Social Club singer and guitarist Eliades Ochoa, along with some younger Cuban musicians, in the one room to record. The resulting album is called AfroCubism, which earlier this year won the CrossCultural Collaboration category in the 2011 Songlines World Music Awards. “You never quite know, before you get them together, whether it’ll work or not,” Gold admits, “but it worked immediately. That’s why there was this huge sigh of relief; as soon as they all got together in a room and actually started playing music, it just fell together – it was just beautiful very, very quickly.” In the end, it was a large room in Madrid, Spain, rather than Havana, Cuba, in which the musicians gathered to record, live, some 17 songs over five days. “That was just circumstance, because we’d talked about it for so long and then suddenly an opportunity came up – a lot of the musicians happened to be in Madrid with a week off, so that just prompted us to do it, and

that session was just to see if it would work – we didn’t think we’d actually get a record in that session and were planning to then look at either going to Bamako [in Mali] or Havana – but in the end we didn’t need to for that first record. “Although they’re coming in with ancient instruments in the balafon [an African xylophone], the ngoni [sort of a cross between a small lute and a violin] and the kora [the 21-string African harp lute], the Malians have been able to adapt to playing with other music, so they basically sort of met in the middle with the Cuban musicians. Bassekou is able to play incredible things and because he’s collaborated with so many other musicians, he’s chameleon-like, able to fit in, and Lassana [Diabaté] especially, on the balafon, he’s got this technique where he plays two balafons at the same time and can play Western scales, so he can move between keys as well, which enabled him to fit in very easily. It was only Toumani who was not able move between keys, and he’s a genius so it didn’t really faze him. If there were particular chord changes and so forth that were tricky, he just left the out! And the Cubans were very, very open. They all seemed to be very fascinated by the whole thing and wanting to make this effort to come towards each other and worked quite hard, rhythmically, in learning.” One of the obvious difficulties for Gold as a producer was recording an ensemble in which many of the instruments produce sound very differently, so there was quite a diverse range of dynamics in this mix of ancient and modern primarily acoustic instruments to deal with.

“We were working very, very quickly and instinctively, but also, whoever brought the composition to the table, it would be them who would become the musical director for that song, so in that way, you got a nice variety between the songs; you know, what emphasis they wanted to place on what instrument and who they wanted to solo. So as a producer, in the end, a lot of it really was sitting back and enjoying it really,” Gold admits laughing. “I have to say that room in Madrid doesn’t sound as good as the room in Havana, at EGREM – that’s the best room we’ve ever worked in, it’s just wonderfulsounding. But even so, Gerry was able to make this room sound good as well. It was quite a nice room; they’re not easy to find anymore, really good rooms in a studio environment.” The original intention was to record in analogue but there was a problem, so the album was recorded digitally and was put through analogue gear at a later stage. “Since the group started touring and performing together, they play with a lot more power than they did on the record, because there was a certain element to the way they play on the record, which had to do with them playing together in this room, so it’s possibly more intricate and delicate, the record, and on stage they really give it some wallop now – and of course they’re all much more confident of playing together. It’s a lot more exuberant and uptempo.” AfroCubism is out now on World Circuit/Nonesuch, distributed by Fuse.

Missy Higgins has been quietly getting on with recording her next album in Nashville with producer Brad Jones. The Killers’ drummer Ronnie Vannucci has recorded his first solo album, Big Talk, due for release in July, which was produced by Joe Chicarelli (The Strokes, My Morning Jacket) and mixed by Alan Moulder (U2, Foo Fighters). It took three years for Justin Vernon of Bon Ivor to record the new self-titled album, out mid-June, in the former vet clinic in Fall Creek, Wisconsin, he and his brother converted into a recording space they’ve named April Base Studios. When Bristol, UK folk artist Fink aka Fin Greenall went into the studio to record his second album, Perfect Darkness, due out in June, no one expected he’d opt for Billy Bush as his producer, considering Bush’s CV sports names like Garbage, Beck and Limp Bizkit – but it obviously worked. Originally from Switzerland, Halfway Home Buoy now seems be based in Sydney, at least for the time being, and is recording a debut album at Damien Gerard Sound Studios in Balmain with engineer/ producer Russell Pilling. Fresh out of Orange, in NSW’s central west, melodic thrash metal band Deprivation recorded their debut album, Amalgam, with Darren Jenkins (Daysend, Mortal Sin, Switchblade) at The Grove Studios at Mangrove Mountain on the NSW Central Coast, with Matthew Gray (Travis, Jet, Eskimo Joe) then mastering it at his eponymous studio in Brisbane. Byron Shire resident, singer/songwriter Rebecca Ireland took herself down to Lucky Boy Studios in Melbourne to work with coproducer Geoff Wright on her album, Love And Sticky Tape, recorded entirely on a 24-track analogue desk, the results then mastered by Tom Armstrong. Sydney four-piece Rockets called on Paul Annison (Children Collide, Howl, Cabins) to produce their eponymous debut EP, which they recorded at Red Door Studios in Melbourne. The Bungalows, a four-piece from Gerringong on the NSW South Coast, trooped up to Big Jesus Burger Studios in Surry Hills to record their new album, Monkey Mountain Road, with producer Burke Reid (Mess Hall, The Drones, Liam Finn). The Stellar Affect has been in Electric Sun Studios in Sydney recording its debut EP, Get Affected, with producer Dave Petrovic, who has also contributed some guitar parts. • 70 • THE DRUM MEDIA 17 MAY 2011

REECE TUNBRIDGE What areas of engineering do you specialise in? Mastering. What is your favourite kind of project to work on? Any genre that is performed, recorded and mixed well. Are there any pieces of gear that you couldn’t get by without? No, but I am quite fond of my Studer A80 1/2” recorder and TC Electronics M6000. What song/album can we listen to to get the best idea of your work? I’ve mastered hundreds of music releases over the years that all vary in quality and style so a favourite is difficult to choose. I do what is appropriate for each project I work on to try and achieve what the artist’s vision is, not mine. What do you like to see from an artist or band in the studio? Sincerity and respect for the music. Wear deodorant – a sense of humour helps.

REECE TUNBRIDGE Sydney. My mastering room is a combination of classic analogue gear and some of the world’s best digital processors.

How much has the recording industry changed in the time you’ve been an engineer?

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

Quite a lot. Hard disc recording along with the internet has changed things immeasurably. Production equipment has become so accessible now and everyone seems to be a producer/engineer. Unfortunately the side effect has been a decrease in the quality of mixes due to inexperience, bad training and smaller budgets for projects. This has made the need for quality mastering even more important.

For mastering you need to be organised. This means knowing exactly what mixes to use and what formats are required beforehand. You also need to have a realistic idea of what mastering will bring to your project – a bad recording will always be just that. If you can bring a quality mix to a good mastering engineer your expectations will be rewarded.

Do you have your own studio? If so what kind of setup are you using?

What notable acts/projects have you worked with/ on?

I’m based at Don Bartley’s Benchmark Mastering in

Loads of artists, from Sarah Blasko to INXS. I work with

twitter.com/drummedia

both independent artists and major label acts so every day is quite different. In 2007 I mastered the audio for the ARIA award-winning Across The Great Divide DVD by Powderfinger and Silverchair, who are both pretty notable acts. Do you have any words of wisdom for those wanting to become an audio engineer? Be sure it is what you want to do. To make a living from being an audio engineer it takes patience, dedication, attention to detail and a love of a broad range of music. Contact details: reece@benchmarkmastering.com benchmarkmastering.com (02) 9211 3017


YOUR AD IN THIS SPACE CALL JAMES AT DRUM MEDIA ON 9331 7077 THE DRUM MEDIA 17 MAY 2011 • 71 •


MADCDs cos Cos we g ive a sh it

• 72 • THE DRUM MEDIA 17 MAY 2011


Peavey Windsor series 400watt 4/12 slant cab. supreme XL speakers.HUGE bottom end grunt.AS NEW cond.$500..

EMPLOYMENT ADMINISTRATION

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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

DRUM KIT WANTED or cymbals, snares etc. Also interested in anything vintage, ph 0419760940 iFlogID: 13226

Drummer and Drum Lessons Drum Lessons avaliable in Gladesville Teach all Levels, ages, experience. Played for 16 years. Studied at Billy Hydes Drumcraft and Obtained a Dipolma in Drumming Mob: 0402 663 469 Michael iFlogID: 13042

Microphone! Rodes Classic 2,Top of the line studio Valve Mic,Custom spec 1” dual diaphragm, multy patterns,Custom Jensen output Transformer,was $2500 never used,half price now $1000, Phil 0410500334 iFlogID: 13254

SCHECTER OMEN-6 ELECTRIC GUITAR - - BRAND NEW-- small nick in veneer , $300ono, Craig -0449156490 iFlogID: 13128

Skins needed for new dance/punk project. aggressive guitar based music with a big beat. wollongong/ sydney area. txt/call 0403508102 for details and demos. male/female, pref between 18-30. must be committed. iFlogID: 13171

ADVERTISING / MEDIA “PHOTOGRAPHER (casual) needed for architectural magazine. Approximately $300-$500 per day. 10+ mega pixel Camera with full-framed sensor required to take high-quality photographs. Email: ancr@ancr.com.au iFlogID: 13224

ENTERTAINMENT Ghost Hunter needed for upcoming show..following hit cable series ghost hunters and ghost adventures..must have an interest for the paranormal and not afraid of the dark!!email ttonous@hotmail.com iFlogID: 13370

Manager Required with music industry experience, drive and enthusiasm for fast-emerging Sydney-based Musician/Entertainer with pop-rock Album on iTunes and new Album coming soon. Great opportunity ! Phone Geoff now: 9969 1179. iFlogID: 13069

PROMOTER Davidottomusic.com is looking for 2 bright fun loving models to join our team in Brisbane. Promoting & playing in the band - NO EXPERIENCE REQUIRED! Email Kittie with recent photo-kittielee@davidottomusic.com iFlogID: 13166

SALES & MARKETING

BASS Gibson Epiphone SG Bass guitar. solid mahogany.great fat tone. VGC.$450.Ph.0428744963.Cooroy. iFlogID: 13029

CD / DVD Attention Musicians, Record Collectors, Universities, Libraries - new Book (print/cdROM/direct download) compiling 100 years of popular music. GO TO www.plattersaurus.com web-site on how to buy. Enquiries: (02) 9807-3137 eMail: nadipa1@yahoo.com.au iFlogID: 13287

Suicidal Tendencies S/T & Join the Army CDs Signed by Mike Muir. $29each ono Ph:0449713338 iFlogID: 13314

DRUMS DRUM KIT WANTED or cymbals, snares etc. Also interested in anything vintage. Ph 0419760940 iFlogID: 13232

Zildjian Avedis cymbals for sale BRAND NEW! 16” CRASH, $250, 18” CRASH, $250, 14” Newbeat hihats, $275. All new in plastic bags. Bargain, ph 0419760940 iFlogID: 13236

GUITARS Fender Pink Paisley Strat. genuine 1980’s.all original.in case. great tone/action/condition.very rare.$2500 ono.Ph.0428744963. Cooroy iFlogID: 13027

1960 original Fender musicmaster in original used condition not used for over 20 years any offers ??? iFlogID: 13045

GODIN MIDI GUITAR ACS SA Nylon string semi-solid body with piezo and 13-pin MIDI output plus the Terratec Axon AX100 Synth controller & AX101 MIDI pickup. $2,400 including delivery. THE001Music@hotmail.com iFlogID: 13086

KEYBOARDS KORG TRITON Extreme88 synthesizer in new condition with keyboard stand and damper pedal. Worth over $7,000 sell for $4,295 including delivery. Currently in Perth. Phone 0439301165 Email: THE001Music@hotmail.com iFlogID: 13084

OTHER BEASTIE BOYS Paul’s Boutique Gatefold Vinyl LP. Sleeves and Records are brand new. $25 Ph0449713338 iFlogID: 13330

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FOR SALE Vase ‘Trendsetter 60’ guitar tube amp original 1960’s.2 2/12 matched cabs. HUGE sound.perfect condition.Aussie made.$1200 ono. Ph.0428744963. Cooroy. iFlogID: 13025

Laney GH120 Guitar Head 120 watt.2 channel.f/switchable.reverb.direct out.very punchy. great tone.UK made.VGC.$400. Ph.0428744963.Cooroy iFlogID: 13021

Peavey Bandit 80watt 12” guitar combo 2 channel.footswitchable.great fat tone.reverb/saturation etc.USA made. VGC.$350. Ph.0428744963. Cooroy iFlogID: 13019

NINE INCH NAILS Year Zero Triple Gatefold 2 x Vinyl LP. Special Edition Heavy Etched Vinyl w/16 page book! Sealed! $60 Ph:0449713338 iFlogID: 13346

Nissan Pintara Wagon 1990 model. 2 Litre 4 cylinder. 4 Speed Auto. A/C. Great for carrying PA, drums, instruments. Registered until 19/08/2011. 260,645 km. $1700.00. Greg 0419541089. Menai, NSW. iFlogID: 12993

PETE ROCK NY’s Finest 2 X Vinyl LP. Sleeves and Records are brand new. $25 Ph0449713338

COLDCUT Sound Mirrors 2 x LP Vinyl. Sleeves and Records are brand new. $30 Ph0449713338 iFlogID: 13326

CRADLE OF FILTH Godspeed and the Devil’s Thunder Gatefold 2 x Vinyl LP. Sleeve and Record are brand new Sealed! $25 Ph0449713338 DIMMU BORGIR In Sorte Diaboli Gatefold Vinyl LP + bonus 7”. Limited Edition No. 1424 of 2000. Sleeves and Records are brand new - Sealed. $35 Ph0449713338 iFlogID: 13334

GHOSTFACE KILLAH The Big Doe Rehab 2 x LP Vinyl. Sleeves and Records are brand new. $20 Ph0449713338 iFlogID: 13328

JELLO BIAFRA with the MELVINS Never Breathe What You Can’t See Vinyl LP Signed by King Buzzo. Sleeves and Records are brand new. $35 Ph0449713338

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ELECTRONIC DRUM KIT HIRE Legacy DD502. $15 per week. Conditions apply. Simon 0418 674 363

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LEGAL / ACCOUNTING DETAX GOT ME A GREAT REFUND!

SHELLAC 1000 Hurts Vinyl LP + CD. Steve Albini’s band! Record, Sleeve and CD in Excellent Condition. Outer box in good condition. $25 Ph0449713338 iFlogID: 13342

TYPE O NEGATIVE Dead Again Gatefold 2 x Green Vinyl LP. Sleeves and Records are brand new - Sealed. $25 Ph0449713338 iFlogID: 13336

PA EQUIPMENT 1200W PA system, ARX SS1200VC 600wx600w Power Amplifier, Studiomaster 8 Channel Mixer, ART Dual-Channel 31-Band Graphic Equalizer, Yamaha Digital Reverb Unit, Pair JBL EON1500 Speakers with Fender stands, $2500, 0414574299 iFlogID: 13130

BAND MERCHANDISE PRODUCER / ENGINEER PROVIDING DISCOUNT RATES IN A PROFESSIONAL RECORDING STUDIO, 32 TRACK ANALOGUE DESK, DEMOS, TRACKED MIXED AND MASTERED $400 3 TRACK EPs TRACKED AND MIXED $1000 Dave 04300 52 606

Audio Mastering, mixing, recording. CD-R music & data duplication, cover artwork, colour disc printing, online global distribution. Full studio package deal for EP or full album projects. Enquiries ph: 02 98905578 iFlogID: 13156

CD MANUFACTURING:Acme is Australias best price CD manufacturer. 500 CD package = $765.05: 1000 CD package = $1320.00 Short run also available. www.AcmeMusic.com.au KevinW@ AcmeMusic.com.au iFlogID: 13117

THE BUTLER MASTERING...

DRUM TUITION LUCIUS BORICH

GUITARIST

Do you want to hear your song fully produced before you hit the recording studio? Any Instrument. Any Genre! First song is free!! For more information: 0435556985 llewellynstudios@ live.com.au www.youtube.com/ llewellynstudios

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

Guitarist Available for WORKING duo/ band or studio session gig. Proficient in rock, funk, pop, acoustic and hard rock.Pro gear and attitude. For further info contact Scotty @ www.scottygraham.com.au

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Orianthi, Darlene Zschech, Stan Walker & Candice Alley. Music Entourage have worked with the best. And now you can get the best for your songs with ARIA quality music production, mixing and mastering. Perfect for songwriters/bands of all styles. Affordable packages from one song to a full album. Call 02 40131 977 or email hookmeup@ musicentourage.com to book in a FREE consultancy to discuss how we can help get your songs in front of the right people! www. musicentourage.com

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MASTERING SPECTRUM AUDIO MASTERING

Its time for AFFORDABLE as well as QUALITY Audio Mastering for YOUR next recording! Just $475 will get your freshly mixed album, in any format, professionally Mastered by an engineer with over 10 years experience. Or $225 for an EP. Or $90 for a single track! Contact Mike Roberts now on (02) 88501148 or 0416120637. Long distance Mastering also available. You’ll receive a production ready disc, and a copy for you to appraise, with any alterations afterwards welcomed free of charge. Give us a try at Spectrum Audio Mastering! iFlogID: 13051

PA / AUDIO / ENGINEERING P.A hire using top quality outboard gear; Lexicon, Allen & Heath, Sure 4.800, DBX drive-racks, 160SL compression, 4-way front-of-house, 3-way active fold-back. 30years+ experience in the music industry. Old-school sound.

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CHEAP PA HIRE @ BIG MUSIC

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KING CRIMSON Beat Vinyl LP Signed by Adrian Belew (guitars on Nine Inch Nails, David Bowie, Tori Amos albums). Sleeve and Record in excellent condition. $30 Ph0449713338 iFlogID: 13320

PIANO: BLUES, ROOTS & POPULAR

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WIN A FREE ALBUM RECORDING!!! WIN $10,000 WORTH OF STUDIO RECORDING – FREE! Have you always wanted to make an album but never had the budget or knew where to start? WELL THIS IS YOUR CHANCE!! Our team has worked with artists like Orianthi, Stan Walker, Ricki Lee, Guy Sebastian and more, and for a limited time you have the chance to WIN a complete 10 track album professionally recorded, produced, mixed & mastered to ARIA quality ABSOLUTELY FREE! Before the end of June 2011, anyone who books our studios for a minimum of 1 song for full production will go into the draw to receive a 10 track album ABSOLUTELY FREE! That’s over $10,000 worth of recording services totally FREE! The winner will be hand selected by our A&R team. We’ll even hook the winner up with FREE digital distribution (itunes, Amazon, eMusic) For full terms & conditions or to book now, email hookmeup@musicentourage.com, or call 02 40 131 977. www.musicentourage.com iFlogID: 13221

TUITION A GREAT WAY TO LEARN GUITAR

ProTools tips/lessons, ideal for the recording musician. Home studio tech support, setup and problem solving. I’ll come to you, or bring your sessions to me. $50/hr ($60 outcall) drewbisset@ me.com 0410193425 iFlogID: 13136

TECHNICAL SUPPORT @ BIG MUSIC

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

TEACHER TO THE STARS STEVE OSTROW VOCAL COACH who started the careers of Bette Midler, Barry Manilow, Peter Allan, and countless others now accepting limited amount of private students all styles pop, classical, beginners welcome. Call me on 0408461868 iFlogID: 11667

SINGER Female singer looking to start/join band with influences similar to crue, g n r, maiden etc etc. Email cassie_ long@hotmail.com iFlogID: 12990

MUSICIANS WANTED BASS PLAYER Aussie Boy and Mates need a Bass Player.We have gigs gear CD and loads of fun.Northern beaches. myspace/ aussieboynmates.com Have studio . Singing welcome.no egos just great music Russ 0433237004 russ@musicforcause.com

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MUSICIANS AVAILABLE

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DRUMMER A1 PRO DRUMMER AVAILABLE for freelance gigs, tours etc. Extensive touring experience, gret time/tempo/ groove, great drum gear and pro attitude. Sydney based but will travel. More info, ph 0419760940. www. mikehague.com iFlogID: 13230

Brisbane based drummer available for fill in work (studio, live, film clips etc) around existing live and recording schedule. email - todd@thebloodpoets.com , www.youtube.com/thebloodpoets . iFlogID: 13348

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

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: 13285

Bass & Guitar Tuition in Surry Hills. Individually tailored from UNSW/ Sydney Conservatorium trained and accredited professional. Learn theory/ technique while learning the music of your choice. All styles and ages from 12 and over. Contact Christian on (02) 9280-3443 or via www.christianlaki. com iFlogID: 13356

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BASS PLAYER-VAN MORRISON SHOW

Session Drummer Available! Proficient in Rock, Blues, Country, Pop, R & B, Hip Hop, Funk. Own transport. Variety of gear. First session FREE (for producers and recording engineers only). Competitive prices for bands. Call scott on 0423 630 176. www. smproductions.net iFlogID: 12973

Alexi are looking for a new Drummer. Check out our music via www. myspace.com/alexitheband for more info and/or email us via chantellalexi@ iinet.net.au to audition. iFlogID: 13381

80’S PUNK COVERS BAND C.COAST

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Drummer needed for established 80’s Punk Covers Band . working Central Coast, Newcastle Sydney. Must be reliable, enthusiastic and energetic. please call Mark 0401 293 078 or email santashelpa@y7mail. com

BASS player Sydney. Available Sunday afternoons to jam at private residence lower North Shore. 50s, 60s, 70s influences, blues, rockabilly, R’n’R, pop. Want to write originals and play covers for fun. Ages 18-25. Call John 0419 987 598.

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For a limited time we are offering to create your music video for only $300. Get the look to match your sound and broadcast it to millions via YouTube. There are limited bookings at this price so email paul@popfilms.com.au

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DRUMMER

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BASS PLAYER WANTED! To play in new band with wide spectrum of influences within metal, punk, hardcore, groove. Anything that is cool & gets people moving. Based around Manly but open to who is keen. Scope to contribute to song writting as well. Have Drummer & Guitarist already. Jake 0402539280

FEMALE BASS PLAYER WANTED

AUDIO TRAINING @ BIG MUSIC

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

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

Bassist wanted for Sydney band. influences include Nirvana, the Beatles, Queen, Beach Boys, Pink Floyd, Slayer, The Hard-Ons. playitstrange@live. com

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Western Sydney Rock Band seeks bass player 15-20yrs old. Must have own gear and be prepared to rehearse weekly. Originals and covers with gigs ready to go. Call 0438137609

BASS WANTED LWR NTH SHORE

MUSIC VIDEOS $300

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Sydney based band originally from Dublin require a bass player to get involved preparing their debut EP and rehearse for gigs lined up. See the live sessions: http://www. youtube.com/user/smatchgame Demo stages: http://www.myspace. com/supermatchgame. Contact supermatchgame@gmail. com

Tight pocket bass player required for live hip hop band. Influences, the roots, snoop, gangstarr, tribe called quest, james brown, Chilli peppers etc. Our band is dedicated to creating a career in music. 0421286951.

VIDEO / PRODUCTION D7 STUDIO MUSIC VID FROM $250 music vid $250. Live gig edits, multiple angles, from $150 or 1 live track from $80. All shot in full HD. d7studio@iinet. net.au ph:0404716770

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SAMANTHA SCHINDLER - needs a central coast NSW bassist AND drummer for gigs. go to myspace.com/samschindler07 and see if its your thing,and leave a message.

BASS PLAYER FOR HIP HOP BAND

Bass player required to start up Van Morrison show must be a keen dedicated fan,experienced,reliable have own transport. Phone Matt 0433091888

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PRO bassist required for www.greendayshow.com.au and www.repliktrio. com.au. must be pro with good BV’s. currently doing around 6+ sydney gigs per month local gigs $150-200. contact rick on 0419 437 794

Western Sydney Band working on Originals and Covers needs Bass Player 14-18 years old. Must have own equipment and be available for rehearsals in Penrith area. Call Tanya on 0438137609

Want to learn an instrument? Or learn to read music? Drum, Bass, Guitar and Music Theory lessons for beginners. Based in Sydney. First lesson free!! For more information: 0435556985 llewellynstudios@live.com.au

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

PT SUPPORT/LESSONS FOR MUSO’S!

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Let Big Music cater a PA package for your event. We have top quality gear from QSC, DBX, Yamaha, Allen & Heath

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Recording Studio, Parramatta, $30hr casual rate. No kits! Singers, songwriters, instrumentalists for acoustic, world, classical genres specialist. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days.

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We have the experience, the equipment, and the room to deliver world class results for all music genres. - We have a fixed pricing structure for all of our mastering work, so everyone knows where they stand. This same price includes attended or un-attended sessions, as well as stereo or stem mastering. - We guarantee our results and archive all of our work. - Our many clients, both locally and internationally, both signed and unsigned have been happy with their masters for a reason. - Do your music, and your wallet a favour and drop us a line. - EP $320 / Album $600... including Red Book Master Disc, DDP Master DVD, 2 x Master Listening Discs & Archive. - WWW.THE-BUTLER. COM or INFO@THE-BUTLER. COM or 0403 435 686

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Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area. $40 hr, $30 half hr. Mature & patient. Harps for hire. Ph: 02 98905578

iFlogID: 13080

iFlogID: 13385

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: 13134

DUPLICATION/ MASTERING

RECORDING STUDIOS

iFlogID: 13192

MUSIC SERVICES

iFlogID: 13158

cLOUDDEAD Self Titled, 3 x Vinyl, Triple LP. Sleeves and Records in excellent condition. $35 Ph0449713338

(and many more) at very competitive prices. We can provide delivery and highly experienced sound technicians to setup and engineer your event. Contact Astrid today at B!G Music on 86226555 or email astrid.holz@ bigmusic.com.au. www.bigmusic. com.au.

iFlogID: 13332

iFlogID: 13322

iFlogID: 13340

AMPS

iFlogID: 13344

Celtic Harp kits. Unfinished / half assembled harps. All instructions & strings etc supplied. 45 string Rosewood, 27 string mahogany, 23 string Lap Harps. Need woodwork skills. Enqiries 02 98905578

iFlogID: 13324

People needed to send eMails offering a new music Book for sale. Must have own computer - payment by commission via Paypal. Contact Bill on (02) 9807-3137 or eMail: nadipa1@yahoo. com.au

NINE INCH NAILS Closer 12” Vinyl: further away (part one of a two record set), 1994. SEALED!!! VERY RARE! $90 ono Ph:0449713338

for punky/garagey band “Ang and The Airbenders”. Check out www. myspace.com/angandairbenders. We will be an unoriginal band that rips off better bands. Females preferred for affirmative action reasons. Email michaelcorpuzbrock@hotmail.com

DRUMMER NEEDED An experienced (played in gigging bands before), solid, creative drummer is needed to complete a line up supporting lead vox/rhythm guitar, lead guitar and bass. Ideally aged between 25 and 45. Theres a set’s worth of originals ready to go and we are looking to gig and record ASAP. straight ahead rock/pop style, get in touch for demos. 0413767850 iFlogID: 13189

Drummer wanted for girls band for jamming and occasional gigs.

iFlogID: 13392

iFlogID: 13411

Indie/rock covers band looking for bass player to join gig-ready trio in Surry Hills to play David Bowie, Killers, Radiohead, Arctic Monkeys, Bloc Party, Dandy Warhols etc.

Drummer wanted for Sydney band. influences include Nirvana, the Beatles, Queen, Beach Boys, Pink Floyd, Slayer, The Hard-Ons. Call Nathan. 0431 317 613

MATURE BASS PLAYER

Drummer wanted for Sydney pop rock band, The Sculptures. You are 23-27 years old, focused and energetic, with own transport. Past band experience is preferred. Rehearsals 1-2 times a week in the inner west area. Contact: emailus@thesculptures.net and visit www.thesculptures.net

iFlogID: 13177

with experience to match, required for Blues/Rock Band. Covering all the standard Blues songs in the style of SRV, EC, etc, with view to original material being the long term goal. Must be committed to regular rehearsals within Sydney metro area, have good gear and transport. Call Bryan 0430 968 147. iFlogID: 13040

Metal bass player wanted. 5-string or B-tuning. Influences include Disturbed, Evanescence, the GazettE, and more. Preferred age 18-25, at least intermediate playing level. Contact dragonlugia@hotmail.com for more info and demos.

iFlogID: 13400

iFlogID: 13141

DRUMMER WANTED Drummer Wanted for Sydney Based Alternative Rock band. Influences modern and classic British Rock. Must have passion, desire and good work ethic. Album to be released. Age 19-30. Contact- 0410972573 iFlogID: 13252

iFlogID: 13109

New three piece needs a (fourth piece) BASS player who isn’t scared of solos and melodic work. Sounds like Tumbleweed, Custard, Magic Dirt. Rehearsing at Marrickville. Call 0414184301 or 0411757469 iFlogID: 13394

Newtown based Metal/Hardcore/Punk band needs committed and reliable bass player. 18-28, good gear and transport. Email arteries@hotmail.com for more details/demos or myspace. com/arteries_au

DRUMMER WANTED Drummer wanted for Sydney rock band. Currently gigging and recording. Music video scheduled for June. We rehearse at Zen Studious, St Peters and live across Sydney. Prefer aged from 19 to 25. www.myspace.com/ ramshackleau. For details call Manager, Mark, on 0407 453 466.

iFlogID: 13055

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

iFlogID: 13162


COUNTRY... THE NEW BLACK.

DRUMMER WNTD LWR NTH SHORE DRUMMER Sydney. Available Sunday afternoons to jam at private residence lower North Shore. 50s, 60s, 70s influences, blues, rockabilly, R’n’R, pop. Want to write originals and play covers for fun, gig ASAP. Ages 18-25. Call John 0419 987 598. iFlogID: 13124

FEMALE DRUMMER WANTED for punky/garagey band “Ang and The Airbenders”. Check out www. myspace.com/angandairbenders. We will be an unoriginal band that rips off better bands. Females preferred for affirmative action reasons. Email michaelcorpuzbrock@hotmail.com iFlogID: 13390

Infl: Wilco; BRMC; TGUK; Ryan Adams. Musts: Transport; good gear; rehearse at least weekly; be willing to record/ tour. 2nd EP recorded. 1st EP at www. myspace.com/bayonetsforlegs, more tracks on request. Email bayonetsforlegs@live.com

iFlogID: 13009

SAMANTHA SCHINDLER - needs a central coast NSW bassist AND drummer for gigs. go to myspace.com/samschindler07 and see if its your thing,and leave a message.or schindler249@gmail.com iFlogID: 13310

GUITARIST 18 year old guitar player looking for another guitar player. Influences: GN’R, Aerosmith, Zeppelin, New York Dolls. Preferrably someone in the south (Shire). Call Tom on 0401722767 iFlogID: 13407

3pce originals rock band needs guitarist quality gear, transport, 3pce experience preferred, this is not thrash/punk but definitely heavy rock Come a be part of something different phil 0402069500 shovel 0434612416 iFlogID: 13126

Professional guitarist required. Rehearsals east 2xweek -fingerpicking essential. Trad/nashville style. Originals and standards, ready to go/ gigs waiting. Please email for audition details. BV/Harmonising ability an advantage. email: rebeccalorraine@ email.com

KEYBOARD/ SYNTH PLAYER WANTED we are looking for a confident synth player to add some flair to our covers and some originals ,rehearsing weekly playing some cure, police ,pink floyd,depeche mode, and many others, so if interested call 0417044497

iFlogID: 13195

iFlogID: 13242

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

Metal keys/synth player wanted. Influences include Disturbed, Evanescence, Nightwish, Within Temptation, the GazettE, and more. Preferred age 18-25, at least intermediate playing level. Contact dragonlugia@hotmail. com for more info and demos.

iFlogID: 12980

Guitarist required for Iron Maiden cover show. Rehearse at LA Studios at Wetherill Park. Own equipment & transport required. If interested please email warpath6666@gmail.com iFlogID: 13396

GUITARIST WANTED Guitarist wanted for melodic rock band with female vocalist. Some of the music we like includes MC5, Led Zeppelin, The Bellrays, Thin Lizzy, Black Gasoline, The Stooges, Sahara Hot Nights. Song writing ability an advantage. We are all in our 40’s. Suit amateur looking for a regular creative outlet. Rehearse inner-west. Call 0410 865 035. iFlogID: 13350

instrumental prog rock/metal outfit needs guitarist, bass, influences ISIS,PELICAN,DEFTONES www.reverbnation.com/thenetofbeing call 0401056876, rehearse zen st peters.

iFlogID: 13143

LEAD GUITARIST WANTED for “The No Such Things” 60’s punk/garage/ psych (Love, Kinks, Seeds, Standells etc.) Central Coast area Ph Rob 0423014819 iFlogID: 13160

KEYBOARD Aussie boy and mates and solo required fun female keyboard backup vocalist to join us mypsace/aussieboynmates.com northernbeaches have gigs gear and cd released mix of covers and originals russ@musicforcause.com 0433237004 iFlogID: 13387

CAN YOU SING?!!

iFlogID: 13107

Piano or keys player wanted to form working duo or form small band - jazz standards, rock, pop covers - with female vocalist. Prefer over 35, Northern Beaches area. iFlogID: 13398

we need a piano/ keys player big nick cave influence, inner west rehearsal.

iFlogID: 13065

OTHER BANDS WANTED FOR VENUE We are currently running original bands in this venue. It is located in the eastern suburbs. We are looking at building up fri and sat nights using local and inner city acts.Excellent room accoustics,engineer and top quailty PA supplied.It does’nt get any better than this! Send contact details with music link to rix@netspace.net.au. iFlogID: 13268

www.ozjam.com.au is free to join, and with over 5000 members its fast becoming the largest online music community in Australia! If your looking to join or form a band, find a band member, or get exposure check Ozjam out today! iFlogID: 12986

SINGER Attractive Female Backing Vocalist Required for pop/rock Band/Show with Album on iTunes. Paid performances booked. Genuine singer, melodic, harmonic voice and professional experience. Mosman area. Phone Geoff on: 9969 1179. iFlogID: 13067

GOSPEL SINGERS WANTED for nondenominational music ministry to record triple-CD in Perth. World-class, passionate and devotional vocalists sought. View www.THE001Music.com for details. Jesus is KIng! Reverend Eslam. God Bless You! iFlogID: 13088

The Cleftomaniacs, the enthusiastic 25-member a cappella choir who brought you the most recent Sydney A Cappella Festival, invite new members (especially those lovely tenor & bass blokes). Eclectic repertoire from Sting to classical polyphony to gospel and we love to gig! Rehearsals school term Thursday evenings in Waterloo. Contact Catherine 02 9388 7010 / 0414 517 010 / flittie@iinet.net.au iFlogID: 13239

female singer lyricist wanted to complete songs. Electronic dance .email s_tait@tpg.com.au for demos iFlogID: 13298

FEMALE SINGER/ SONGWRITER We have experienced bass, guitar, keys, and drums and need a creative female singer to write & co-write funk/acid jazz/soul numbers for a new Funk/Soul band project. Experience and professional attitude plus good stage presence needed. Influences are Jamiroquai, EWF, B N Heavies, Steely Dan, and similar. Interested?? - email pscottman@yahoo.com.au with your details. iFlogID: 13095

FRONT PERSON Singer with strong dynamic vocal ability wanted for powerhouse rock cover band ready to work, Sydney, Gladesville base, presently 2G/B/D, female or male, age 20-50, contact Murray at rocksolid@hotmail.com.au or 0432059943. iFlogID: 13228

hey people, im a guitarist, been playin 30 yrs, 39 yrs old, looking for jam buddies in sutherland shire to , well, basically, party ! i have a full studio, elec drums, PA, bass + rig, plenty guitars+amps. or bring your own. i play for fun so if u do too, call me. Mick 0420 317537 all ages welcome. if u like beer, even better.. cheers. iFlogID: 13113

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: 12997

LEGENDS OF ROCK & SOUL - TINA! 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: 13175

Looking for a skilled and confident rock singer and a rhythm guitarist to complete a tight rock outfit. Rock covers band. E.g Zeppelin, Deep Purple, Hendrix, Beatles, The Rolling Stones.

iFlogID: 13306

Looking for female singer to complete pianoman whose into Beatles, U2, Bowie. Teacher by trade looking for creative outlet. I’m an absolute beginner with nothing much at stake. Ben 0404345484 iFlogID: 13060

MALE & FEMALE SINGERS REQUIRED

VOCALIST-VAN MORRISON SHOW

GIG AND BAND PHOTOGRAPHY

Experienced female and male singers required for working cover and show bands. If you can harmonise or play an instrument this will be a bonus. Serious applicants only. Phone Renee 02 4647 2311

Lead Vocalist required to emulate the man himself for a new and up coming Van Morrison show. Must be a keen and dedicated fan of the music,Have experience in his vocal, range and style. Be reliable and have own transport. Phone Matt 0433091888

Gig photography, tour photography, band publicity & portrait shots. Reasonable rates & friendly service. Robert 0438 02 72 21

iFlogID: 13209

MALE SINGER FOR GIGGING BLUES / SOUTHERN ROCK BAND IN WESTERN SYDNEY. INFLUENCES INCLUDE ZZ TOP, SKYNYRD, BLACK CROWES, STONES, DOOBIES. MUST BE RELIABLE WITH OWN TRANSPORT. COL 0412613456 STEVE 0404959756 iFlogID: 13271

Melodic Death Metal Band from Western Sydney looking for SINGER/ FRONTMAN who can growl and possibly clean. Good stage presence and high commiment required. For further details email Michael at divinecarnage@hotmail.com iFlogID: 13053

REVERTIGO are a Campbelltown based band looking for a talented front man to complete the band line up. Patrons must be dedicated to at least 2 practices per week. We have studio time and gigs lined up. If you are interested please contact Mark on 0412195446 iFlogID: 13363

Rock/Hard Rock band from the Inner West seeking vocalist. Preferably in their 20’s, originals and covers, must have transport and a good attitude. Call Michael @ 0420371624 iFlogID: 13417

Singer wanted - The Julees are looking for a lead vocalist. Power pop/ rock band with original songs. Visit myspace.com/thejulees. for further info. Contact Elvio on 0412 251 207 to audition. iFlogID: 13100

Singer wanted for blues band, any age, gender etc but must love to sing Chicago type blues. We have two guitars, bass and drums just need a singer. Email Ken@noiseandsound.com.au. iFlogID: 12984

SINGER WANTED FOR SYDNEY GRUNGE BAND. Less than 24 years old please. Contact Daniel on 0403 885 433 for more info and demos. Band already has Guitar and Bass.

iFlogID: 13404

Western Sydney Band working on Originals and Covers needs Singer 14-18 years (preferably male), available for rehearsals weekly in Penrith area. For info and audition please call Tanya on 0438137609

iFlogID: 13011

TUITION GUITAR LESSONS with experienced and qualified tutor. Rock, pop, jazz, etc. Beginners to advanced. In the convenience of your own home. Good results guaranteed. Phone Oles on 0407413143 email oles85@yahoo. com iFlogID: 13413

iFlogID: 13250

SERVICES

SHARE ACCOMMODATION

GRAPHIC DESIGN

AVAILABLE

BAND MERCH.....

CAR CAMPERVAN PARKING

For excellent quality band merch at affordable prices. No minimum quantities. Fast turn around. email inquiries to sales@originthirst.com, call (02) 9667 0688 or visit www. myspace.com/pretty_in_ink_printing

available camperdown close to sydney uni and hospital $25 per week for san campervan boat or what ever 24 access facilities available toilet wifi.

OTHER

WANTED

iFlogID: 13282

iFlogID: 13168

OTHER

CIRCUS ARTISTS WANTED We are looking for wild and talented carnival/circus performers looking to showcase their act at a new festival bringing together the best underground artists in Sydney. Musicians, magicians, comedians, clowns, contortionists, dancers, all welcome. Please send interest to info@redfirered.com

PLAY MORE CHINESE MUSIC love, tenzenmen. www.tenzenmen.com

iFlogID: 13426

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

iFlogID: 13145

Online andprint classifieds iFlog.com.au

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

iFlogID: 13077


Drum Media Sydney Issue #1060  

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