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AUSTRALIA 2011 With Special Guests Pulp have decided to get together and play some concerts this year. The shows will involve the original members of the band (Nick Banks, Jarvis Cocker, Candida Doyle, Steve Mackey & Mark Webber) & they will be playing songs from all periods of their career. (Yes, that means they’ll be playing your favourites) If you wish to know any more then please visit www.pulppeople.com where you will be subjected to a barrage of cryptic questions. In the meantime ask yourself this: “Do You Remember The First Time?” Thank you for your attention.

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Contents Issue No. 1061 Tuesday 24 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! 24 The Front Line hits hard with industry fact and conjecture, plus how Sydney is in the process of reinvigorating its late night trading policy. 26 Mailbag – your say on what floats your boat or makes the red mist descend, plus Backlash and Frontlash. 28 The News – just like it says, with tours, releases and more.

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WU LYF has spirit and determination. 36 Propagandhi gets out there and makes a racket. 38 Morbid Angel’s philosophy is changing shit up and keeping it interesting. 40

THE VINES

Expect disco balls, fireworks, kung fu moves and inflatables from Amy Meredith.

42

I Killed The Prom Queen hopes to be appreciated by both sides of the fence. 43 The Dandy Warhols gain a little bit of mastery over their instruments without cheesing up their music.

44

It’s not the end of the line for Fleet Foxes.

45

Lyrics Born has stopped trying to define himself.

46

Mark Seymour resists the urge to over paint.

47

Two of the greatest jazz singers walked Dee Dee Bridgewater to the Grammys podium. 47

FRONT END LOADER

BE A VINES V.I.P.

49

Megastick Fanfare keeps the ideas flowing.

49

Thursday night, The Vines are playing Russian Standard Vodka Live at the Chapel in St. Stephen’s Anglican Church showcasing tracks from their new album, Future Primitive, due out Friday 3 June, as well as all your back catalogue favourites. We have one V.I.P. double pass to the show to give away that comes as part of a prize pack that includes a copy of the new album, two $20 music download vouchers, a branded T-shirt and more.

Kids think Tiki Taane is real gangster now. 50

EDUCATING AMY MEREDITH

Guy J builds up the journey.

50

There are more nice people in the world than assholes, according to The Haunted.

52

The Atlantics use their skill and ability.

52

Currently on the national Higher Education tour, the boys from Amy Meredith finally pull into their hometown this week, and in this edition of The Drum Media you can read all about what they’ve been up to before you catch them Friday night at the Metro Theatre. And we have two double passes to that show to give away too.

On The Record reviews new release albums and singles from Kitty, Daisy & Lewis, Death Cab For Cutie, My Morning Jacket and more. 54 Chris Maric gets local with hard rock and metal in The Heavy Shit.

58

YOU TAKE THE FRONT END

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

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Profiled in these pages recently, those inveterate rockers Front End Loader have been hitting stages about the place promoting their new album, Ritardando, and all that activity culminates this Friday with the official launch party at Rock’n’Roll Central, the Annandale. Maintaining the rage, we have five double passes to the show to give away, plus, for two lucky readers, we also have two additional Front End Loader prize packs, which each include a double pass, copies of their last three albums – Ritardando, Let’s Ride and Last Of The V8 Interceptors – and, wait for it, a shake of the hand of drummer Pete Kostic, redeemable at the venue on the night.

LIZ COMES TO CAMELOT Friday night at the Camelot Lounge in Marrickville, singer/songwriter Liz Martin presents songs from her new album, Dance A Little, Live A Little, with some of Sydney’s best string players – Veren Grigorov (violin/viola), Angelo Beradi (violin) and Kate Adams (cello) – along with guitarist Dirk Kruithof, in an evening that’s sure to keep you captivated. Why not join Liz on us? We have two double passes to the show to give away.

NAUGHTY CAT This one’s definitely for the over 18s only. Erotic art website shotwithdesire. com is celebrating its fourth birthday with a 18th Century-themed extravaganza Friday night at Notes, and it promises to be quite a night. Hosted by Cat O’Nine Tails, you’ll be taken on a journey into the erotic underworld the like of which you’ve never experienced. Among the artists performing are Glitta Supernova, Jamilla Deville, Lucas Wyld, Venus Vamp, Bonedaddy, Lucille Spielfuchs, Aaron Manhattan, Sheena Miss Demeanour and more. We have one double pass to the show to give away to one lucky reader over 18.

AN HORSE RIDES INTO TOWN They’ve barely drawn breath from a US tour with Manchester Orchestra and here they are, Brisbane duo An Horse, barely off the plane, shooting into the Annandale Friday 3 June. It’s a quick pitstop flying visit before they head straight back over to the US and Canada for a round of headline and festival dates through the rest of June, July and kicking into August as part of this year’s Lollapalooza in Chicago. Catch ‘em while you can we say, and as it happens, we have two double passes to the Annandale show to give away.

RNB SUPERCLUB VOLUME 11 You know every name on these two CDs – 34 cuts from the likes of Chris Brown, Usher, Pitbull, Jay Sean, Whitney Houston, Ke$ha, R. Kelly and the rest, names that have dominating international charts. But you might not have heard them as re-imagined by DJs G-Wizard and Def Rok, who deliver a disc each in the latest in the rnb superclub series, Volume 11. We have four copies to give away. Please note – prizes that are to be collected from the office must be done within four weeks of notification of winning. • 24 • THE DRUM MEDIA 24 MAY 2011

A home recording project turns into an avenue for experimentation with The Growl.

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Adam Curley muses returning home in The Breakdown. 60 Viktor Krum asks you to Get It Together with the latest in hip hop.

60

Dave Drayton gets Young & Restless with all ages goings on. 60 Bob Baker Fish looks at leftfield music in Fragmented Frequencies. 60 Dan Condon features the world of blues and roots with Roots Down.

61

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

61

Go south as you enter Pedro Manoy’s Swamp Shack. 61

FRONT ROW This Week In Arts plans your week ahead; Australian Ballet dancer Amy Harris talks Bodytorque. 62 A group of girls reunite to discuss their lives in Parramatta Girls; Cultural Cringe looks at the week’s arts news and whispers; Benedict Hardie talks about his new film Frank & Jerry. 63 The Beached Az creators gear up to bring their animated series to the stage; Made You Look gets excited about art openings… again. 64 Reese Witherspoon and director Francis Lawrence talk Water For Elephants and, obviously, Robert Pattinson.

65

Canadian comedian Jon Lajoie prepares for his stand-up tour with the Beached Az guys. 66

LIVE It’s all here: gig reviews, tour guide, what’s happening this week, charts, gig guide, random shit and Jackson Mclaren learned to get on by myself without having to rely on other people. 67 Backstage and BTL – your guide to studios, recording, gear, courses and more.

86

The Classies – need a singer/bassist/ drummer/any other service/product you can think of? Your answer is here. And on iflog.com.au. 89


BRANDED FASHION FORM BUSINESS APPAREL SUCCESS FAME

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THE DRUM MEDIA 24 MAY 2011 • 25 •


front

LINE

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

NEWS FROM THE INDUSTRY WITH SCOTT FITZSIMONS

SHOCK IN MANAGEMENT RESTRUCTURE Shock Entertainment’s long serving Executive General Manager Tim Janes has resigned, with the move generating a restructure of the independent label’s management. Current Label Manager Leigh Gruppetta will take up the newly created position of General Manager Of Music in the new look, while neither his replacement nor other management moves have been announced. In an internal email obtained by The Front Line, Janes, who has spent 13 years at the company, “has decided to pursue other opportunities within the industry”. It also said that his service to the company had been “immense”. Janes’ final day will be Friday 3 June. Speaking to newsletter Your Daily SPA, Gruppetta said, “I’m very excited to be heading up the music team and looking forward to a very bright future for Shock. We have a huge June coming up with new albums from City & Colour, The Prodigy (live CD/DVD), Kitty Daisy & Lewis, Gomez and Thievery Corporation. We are also a week away from making a very special announcement regarding a highly regarded and much loved singer/songwriter.”

LATEST STREET PRESS FIGURES ANNOUNCED The latest circulation figures for Australian street press magazines have been announced by the Circulations Audit Board for the October 2010 to March 2011 period. In Sydney The Drum Media – published by Street Press Australia [SPA] – slightly increased circulation, rising from 33,589 copies per week to 34,203 in this period. Main competitor The Brag was not audited. In Melbourne the tight numbers between SPA’s Inpress and Furst Media’s Beat Magazine continued with Inpress just taking the lead back from Beat. Inpress had 33,253 from 32,903 previously, while Beat had 31,428 from 33,013. In Brisbane, SPA’s Time Off is the highest circulating despite a drop from 21,928 to 20,262 copies per week. Rave Magazine Pty Ltd’s Rave Magazine offered figures of 16,524 for the majority of the period but posted 10,000 for its last three weeks. Rave’s publisher Colin Rankin told Daily SPA that 16,534 was their official figure and that the number for the three final issues was “just the mechanics of the way the CAB works”. If a publication’s figures are outside ten percent of the average, the CAB’s regulations state it requires a separate figure. In Perth, Columbia Press Pty Ltd’s X-Press holds the biggest circulation with 37,769 copies from 38,004 last period while SPA’s The Drum Media Perth is at 37,522 from 33,013. In Adelaide, Adelaide Review Pty Ltd’s Rip It Up is audited at 10,748 copies, almost steady from 10,109. DB is not audited. It was a tough period for street press, as along with Rave’s last three weeks SPA’s east coast title 3D World announced its closure and Junior Magazine is going online. 3D’s final figures were 15,100 in Brisbane, 21,936 in Melbourne and 20,841 in Sydney, all of which were down from the last audit period. National Junior posted final figures of 81,450 copies.

MANAGERS’ MEETING The next annual seminar from the Association Of Artist Managers is happening Tuesday 31 May at Notes, with three panels – The Majors, The Lawyers and the DIYs – to be discussed. Involved in the speeches/debates will be lawyers Jules Monro and Libby Blakey, Sony’s Courtney Hard, EMI’s Glenn Dickie, Warner’s Tony Harlow, MGM’s Sebastian Chase, Inertia’s Justin Cosby, Elefant Traks’ Tim Levinson, Resist Records’ Graham Nixon and more. It’s free for any members of the Association Of Artist Managers to attend.

TAFE SHOWCASES RUN BY AND FOR Phoenix Red Entertainment, run by current Music Business TAFE student Ellie O’Reilly, will be hosting a series of monthly TAFE showcase nights at Valve Bar on the first Wednesday of each month, starting with Wednesday 1 June. The four acts that’ll perform on each night come from Ultimo and Nirimba TAFE.

• 26• THE DRUM MEDIA 24 MAY 2011

PAUL KELLY. PIC: TONY MOTT

PAUL KELLY’S “OUTSTANDING SERVICES” HONOURED

Paul Kelly has been announced as the next recipient of the Ted Albert Award for “outstanding services to Australian music”, which is to be presented at the APRA Music Awards, to be held Tuesday 21 June at Sydney’s Carriageworks. Previous winners of the award – named after the founder of Albert’s Productions – include Don Burrows, Slim Dusty, Michael Chugg, Angus & Malcolm Young, Roger Davies, Dennis Handlin AM, Bill Armstrong and radio station triple j. APRA’s Director Of Membership Milly Petriella told The Front Line that APRA’s board – which decides the recipient – wasn’t necessarily looking for a musician this year. “It’s an over-arching award for achievement that can encompass anyone in the industry,” she said. “Personally, I think it’s the most honourable award of the [APRA Awards] evening.” Compared to the ARIA Hall Of Fame award, Petriella said that two were “equally as significant”, but the Ted Albert Award has a wider scope than that of the Hall Of Fame’s recording/performing artist focus. “This one is a little more about [someone’s] overall contribution to the industry.”

PETE TOWNSEND’S CONTROVERSIAL BOOK GETS RELEASE Controversial and long-awaited memoirs from The Who’s Pete Townsend will be released in the Southern Hemisphere spring next year thanks to a book deal recently announced with HarperCollins. In 2003 Townsend was cautioned by UK police for accessing child pornography, which he claimed at the time was research for the book. At the time he said in a statement, “I believe I was sexually abused between the age of five and six and a half when in the care of my maternal grandmother who was mentally ill at the time. I cannot remember clearly what happened, but my creative work tends to throw up nasty shadows – particularly in Tommy. Some of the things I have seen on the Internet have informed my book… and which will make clear to the public that if I have any compulsions in this area, they are to face what is happening to young children in the world today and to try to deal openly with my anger and vengeance toward the mentally ill people who find paedophilic pornography attractive.” The book has been in development for approximately 15 years and in announcing the deal, HarperCollins’ executive editor David Hirshey said, “In his autobiography, generations of fans will finally get the answer they’ve been waiting for.”

BOY & BEAR CHALLENGE IDOL/CLUB SINGLES Boy & Bear’s Feeding Line is the only local non-Idol or club track to feature in the ARIA singles chart this week, scraping into the top 50 with position 49. DJ Havana Brown’s We Run The Night is still the highest ranked local in 11th, while Tonite Only enters the picture with a track of the same name – though spelt differently – We Run The Nite debuting in 46th. In the albums charts Ben Harper’s new record Give Till It’s Gone debuted in ninth, but it was beaten out by Fleetwood Mac’s Rumours which, buoyed by TV show Glee featuring the music, re-entered the charts in second spot, still held out by Adele’s 21. The album’s going platinum 13 times over. Comedy group The Lonely Island managed 15 with Turtleneck And Chain, Friendly Fires slotted into 19th with Pala, Adelaide hip hop artist Vents into 25 with Marked For Death and newly-independent lads Trial Kennedy managed 48 with Living Undesigned. Elsewhere, this week marked one year in the charts for Justin Bieber and his album

My Worlds, which is now two times platinum. In the compilations chart the latest Ministry Of Sound: Sessions Eight release holds top spot, the two-disc set mixed by locals Sam La More and Tommy Trash. For DVDs AC/DC knocked André Rieu off top spot with their new concert film Live At River Plate, which hit the top spot in as many as 17 countries around the world. Internationally, INXS’ track Original Sin (featuring Rob Thomas) has climbed to second on the Dance/Club Play chart and Cut Copy’s Zonoscope has made it to the same position in the Electronic Albums chart. Hungry Kids Of Hungary’s debut album Escapades has reached 46 in America’s CMJ College Music Chart. Parkway Drive’s latest album Deep Blue went gold ahead of the band’s current tour, a first for both band and label Resist Records. Resist’s founder and owner Graham Nixon told The Front Line, “It’s a fantastic result for the guys, having seen all the hard work they have put into their band from day one. To get a gold record in today’s music climate is amazing.”

FRESHLY INKED Sibling starlets Stonefield have signed to newly formed Warner Music label Wunderkind, which is under the management of Michael Parisi. He told The Front Line that the label – which also has Owl Eyes on its roster – is very much an artist development label with a view to international success, with the idea coming from Warner boss Tony Harlow. “I just think Stonefield are one of the most exciting artists I’ve seen in a long, long time,” Parisi said. “They’ll make an impact both here and overseas… There’s already general excitement in the UK.” Stonefield are already booked to play Glastonbury (after being seen at the One Movement showcase) and their record picked up for release by Flock Music in the UK. Management, publicity and promotion company Red Rebel Music has announced the signing of alternative rock band Playdeaf, whose album Super Sexy Market is due for release later this year.

SPA TO LAUNCH NEW MAG, CLOSE 3D WORLD Street Press Australia, publishers of The Drum Media, have announced they’ll be launching a new magazine, with the last edition of 3D World to be hitting east coast streets today. Street Press Australia Managing Director Craig Treweek said, “3D World has served the dance community well for over 20 years but as the clubbing community is now part of the wider music scene, it can no

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longer be sustained as a standalone publication.” The new magazine will be east coast based, monthly and comprise a lot of the lifestyle and culture editorial content that 3D had following its redesign this year.

GURRUMUL AND WILL.I.AM MEET SPARKED COLLAB CHATTER A chance meeting between Geoffrey Gurrumul Yunupingu and Black Eyed Peas’ Will.I.Am sparked the possibility of a collaboration between the two, but at the moment that’s just “industry chatter”. The two met in Paris over 12 months ago while Gurrumul was working with Sting and Will.I.Am congratulated him on his career to date. Gurrumul’s producer, bassist, translator and friend Michael Hohnen told The Front Line the meeting was more the Black Eyed Peas frontman showing his support to “keep going with it” than proposing a collaboration. It was “more of a personal encouraging moment”, he said. The meet was revealed in an Inpress cover story whereby Blue King Brown’s vocalist Natalie Pa’apa’a was talking on the rare collaboration her band did with Gurrumul. “Yeah, we feel very honoured,” she said. “We have that connection together and he knows us, so when people like Will.I.Am approach him to do something, he probably doesn’t know who that is and it’s probably not important to him – he’s very down to earth and about the music and we have a good connection, so we were lucky in that sense that we’re one of very few artists who have been able to collaborate with him.”

FAIRFAX TO SELL OFF RADIO Fairfax has announced intentions to sell their radio assets, not long after announcing that they would be re-structuring their flagship newspapers and outsourcing sub editing. In a statement last week, the media company’s Chief Executive Greg Hywood said, “The decision to consider the divestment of Fairfax Radio has been taken in response to strong expressions of interest from prospective acquirers and as part of our ongoing review of opportunities to maximise shareholder value and the mix of assets we own.” The assets include Sydney’s 2UE and Melbourne’s 3AW, and John Singleton’s Macquarie Radio Network is being mentioned by observers as a possible buyer. It is hoped that sales will be completed by the year’s end, with the total assets worth about $250 million, possibly more if they’re split up.


“POSITIVE START” TO SYDNEY’S LATE NIGHT PLANS SYDNEYSIDERS AND THEIR COUNCIL WANT THE CITY TO BECOME ONE OF THE WORLD’S GREAT LATE NIGHT DISTRICTS. A POLICY TO MOVE CLOSER TO THAT DREAM IS CURRENTLY BEING DEVELOPED AND INPUT FROM INDUSTRY AND PUBLIC SOUGHT. IF THE LIVE MUSIC SCENE DOESN’T RAISE ITS VOICE THE COUNCIL MIGHT ONLY HEAR THAT OF THOSE WHO WANT QUIET OVER ANYTHING ELSE, WRITES SCOTT FITZSIMONS.

S

ydney is currently in the process of reinvigorating its late night trading policy in an effort to justify the city’s claim that it deserves to be recognised as one of the world’s best. The subject of heavy criticism last year, Lord Mayor Clover Moore is using the policy to consult venue owners and the public regarding the future policy through online and in-person forums. The criticism arose around a clause that was looking to be implemented into Late Night Trading regulations that would have allowed the council the ability to review the licenses of venues at their discretion. It was a move that was eventually blocked by the State Government, who Moore then claimed were the original instigators of the clause in a series of back-and-forth comments levelled in The Front Line last year. With the state election over and the dust settled, formation of the policy has started to take shape. In a statement Moore has indicated that she’s dedicated to ironing out the flaws in Sydney’s late night entertainment. “Make no mistake, I need your help in shaping this vision,” said Moore. “We have a long way to go in giving people greater choices if they are heading out at

front

LINE regulations haven’t had. “Make it easier for cafes and bars to have entertainment,” plead user Timbs. “During the Melbourne International Comedy Festival, every cafe and bar in the Melbourne CBD becomes a performance space. However, despite the repeal of the POPE provisions, the Council still tries to prevent venues from hosting public entertainment through conditions of consent, and generally appears to over-regulate public entertainment.”

SURRY HILLS’ TONE night – from a street bar with live music, to an energetic club to an inspiring art exhibition or bookshop.” Discussions between the council, venue owners and the public have already started and Ben Peterson of Surry Hills live music venue Tone told The Front Line that he believes early developments were off to a “very positive start”, with the major bodies starting to make the right moves. “Council, the State Government and the local business community are very keen to take a holistic approach and invest heavily,” he said. “The top night time economies from around the world are being studied to discover where Sydney can improve and many common themes are starting to come through including access to public transport, safety and appropriate regulation to encourage a wide range of businesses to trade well into the night.” Those topics are also the primary topics of discussion for the public online forums which are currently active. “It looks like one of the outcomes from this strategy will be a large increase in free community events and festivals which will draw more people into the city at night,” Peterson continued.

Face-to-face community forums are being held Thursday for Kings Cross/Potts Point/Woolloomooloo, Monday for Darlinghurst/Surry Hills/Paddington, Tuesday 31 May Newtown/Erskineville/Chippendale/Glebe and Thursday 2 June Green Square/Redfern/Alexandria, for which residents can register to attend on the council’s website. For those content to share their opinion from behind a computer screen, though, the online forums have been active for a while now and opinions starting to form. Available at sydneyyoursay.com.au, current topics – at time of deadline – included how to manage the impact of crowds on residents, which attractions could be open later at night, how safe the city is at night and a wish-list for things the public would like to see. User Leannelumb wrote, “I find Sydney is full of all these mega bars that don’t have any soul. We need to support live theatre and music more. The work that Cate Blanchett and Andrew Upton are doing on creating a theatre district in Walsh Bay is great but we need more small places to eat and drink down there.” There was also some criticism of the effect that the abolition of the PoPE [Place Of Public Entertainment]

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But not all contributors are so in favour of developing Syndey’s late night trading into something ‘bigger’, instead calling for better controls on the existing venues. In response to a user calling for the council to “close all the big clubs,” PottsPointer posted, “People like you and I are considered to be unrealistic in our desire to have a safe environment with footpaths that we can use and times beyond which we might expect to not hear the noise from venues and people accessing and leaving those venues. The big venues are adding masses of people to parts of the city and the surrounding residential areas are being impacted. Unfortunately many people are not realising this until there is a proposal next door to their place… then it is often too late.” Alongside the calls for increased support of live entertainment, retail is a big matter being considered with the possibility of stores being open later – possibly by starting trade later in the day – being raised, as is the question of transport. There are concerns surrounding the lack of reliable buses and bus lines late at night and the efficiency of taxis in getting people out of crowded areas such as Kings Cross, especially when drivers are refusing short fares. “It’s extremely important for the community to get involved in the discussion as this is our chance to create the kind of nighttime in Sydney that we all want and crave,” said Peterson. “Sydney is already a leading daytime city. It’s time that our nighttime economy caught up.” It’s an especially important time for the live music scene with the Annandale attempting to negotiate a sale, the Excelsior closing down in favour of the Beresford and other venues reinventing themselves. Sydney live music could be going through a revival, or it could turn out to be a stark decline.

THE DRUM MEDIA 24 MAY 2011 • 27 •


YOUR SAY

LETTERS@DRUMMEDIA.COM.AU

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

THOSE THAT MAKE THE MUSIC Dear Drum, Recently I’ve noticed many letters citing the need for more people to go and see live bands and support our local live scene and not just flock to the larger international acts. And most of the blame for venue closures, bands that break up or artists that can’t get signed etc, is aimed squarely at the fans (or lack thereof), but can all the blame really be placed on a labelled apathetic public? Rarely do I hear – and almost never read – that perhaps the reason for a lack of fan support for the locals may be due to the quality and depth of some of the respective bands and the indomitable role word-of-mouth plays in spreading the news of what’s worth seeing and what isn’t. Bad news spreads faster and further than good news ever does.

It’s precisely when the crowd is small that bands need to take it up several notches to get themselves out there. Many are able to do this in spades and they can create a following, but sadly others are nothing more than an unremarkable, paint by numbers, never to be anything more than a warm-up act and leave many people thinking why they bothered. Felix Summer Hill It’s a vicious cycle, isn’t it? Acts need experience at gigs to get better as a live act, but can’t get the experience if they’re not good live, but they need the gigs to get better, but… –Ed

A BIT ON THE SIDE Dear Drum,

When I see an international act, I also make the effort to see the local support as well. There are those who don’t, which used to strike me as counterproductive to the ideology of more support = better quality. Yet, I think that’s no longer the case. If you’re in a band, you can either sing or play well, or you can’t. A random person being or not being at the venue shouldn’t make an ounce of difference to a performer’s ability.

When someone says no sideshows, do they always absolutely strictly mean no sideshows? I am broke as a goddamn joke, so I really can’t afford to go to Splendour and even Soundwave Revolution is looking to be a stretch for me right now, but there are artists on both line-ups that I would love to see – I loved the last Coldplay show, have always wanted to see Mogwai, Kanye would be cool and the possibility of Bad Religion being in the same city as me, without me seeing them, is kind of heartbreaking.

Too many times I have seen local support acts saunter out on stage looking unsure if they should be there, with no real presence of mind on what they need to do – they just plug in and expect the crowd to follow suit. Many international acts don’t: they generate an atmosphere and seem to own the stage from the get-go. Okay, chalk it up to an experience issue if you like, but if you can’t at least act the part, then maybe being on stage is not for you.

Yellowcard’s announcement of a SWR sideshow has me somewhat hopeful, but otherwise spirits are low. I understand exclusivity and all that, but sometimes I wish that bands/festival organisers (I don’t know the politics of this) would understand that not everyone can afford to shell out that much for just one or two bands and that the people need sideshows!

While not all local acts behave this way, enough do to create this cancerous effect on fans that are jaded over seeing too many sub-standard performances. No one wants to keep seeing a band that’s mediocre or indifferent. A large part of coming together as a band or artist is how they engage with their audience.

Madeline Ryde But wouldn’t say 40 bands be better than two bands? You never know, you may find a new favourite hidden amongst the festival line-up. – Ed

Subtlety is much underrated and it’s the unspoken mannerisms that speak volumes to people. If certain artists are not prepared to play at 100 percent to a small group, due to a perceived lack of interest, how do any of them expect to expand on that crowd in the future?

FRONTLASH

BACKLASH

WHAT A PLANKER

THE APOCALYPSE

Dinner party host attempts to demonstrate the dangers of planking to guests – and promptly falls off a wall and sustains injury. See, stay away from that shit, even if it’s in jest or “education”.

Worst. Rapture. Ever.

SPECIAL DELIVERY Having a vinyl edition of an album arriving at your door being almost a surprise seeing as it’s been a while since you’d ordered it and you’d almost forgotten about it.

THE AMAZING RACE AUSTRALIA

HE WON’T BE BACK Now that he’s out of office, it’s seems it’s game on with Arnold Schwarzenegger. And there was talk of changing the constitution so this man could run for President.

THE AMAZING RACE AUSTRALIA Subtitles? For one of the Australian contestants? We know they speak a bit slow in the bush, but it seems ridiculous to have subtitles for our native tongue.

Despite there being no Phil and casting done pretty much to type, we’re willing to give it a shot. We just hope Mos and Mo and the Big W ladies hang around for long enough to sustain our interest.

PUBLISHER Street Press Australia Pty Ltd

GROUP MANAGING EDITOR Andrew Mast

EDITOR Mark Neilsen

ASSOCIATE EDITORS Michael Smith, Scott Fitzsimons

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

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STAFF WRITER Bryget Chrisfield

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

• 28 • THE DRUM MEDIA 24 MAY 2011

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THE DRUM MEDIA 24 MAY 2011 • 29 •


NEWS@DRUMMEDIA.COM.AU

PINBACK COMES FORWARD

The Funk N Grooves festival returns to Tyrell’s Vineyard, Pokolbin, in the Hunter Valley Saturday 10 September with The Cat Empire, Amy Meredith, Muscles, Hungry Kids Of Hungary, Muph & Plutonic, Ash Grunwald, NZ’s Batacuda Sound Machine, Lanie Lane, King Tide and more, including, direct from the UK, the voice of Basement Jaxx, Vula.

Californian indie champs Pinback have announced they’ll bring their tunes to Australia for the first time in their 13-year career. The band most recently released an EP, Information Retrieved, Pt. A, for Record Store Day back in April, and will follow that with an album, titled Information Retrieved, next year. They’ve also recently made an appearance on kids’ cult show Yo Gabba Gabba!. So it’s safe to say that things have been pretty busy for the rockers, who fuse pop, folk, reggae, funk and rock to make a sound very much their own. They play Manning Bar on Saturday 20 August.

The four folks in Brisbane’s Los Huevos, currently recording their debut release, are taking time out from that, and who wouldn’t when it’s to open for The Dandy Warhols at the Enmore Theatre Sunday? Iconic American singer, songwriter and producer Van Dyke Parks is heading our way with his old pal Kinky Friedman. As well as the dynamic duo playing Wednesday 8 and Thursday 9 June at the Clarendon Guesthouse, Friday 10 and Saturday 11 at The Basement Circular Quay, Sunday 12 at Lizotte’s Dee Why, Tuesday 14 at Lizotte’s Newcastle, Monday 20 and Tuesday 21 at the Brass Monkey and Wednesday 22 at Lizotte’s Kincumber, Parks is releasing three new limited edition 7” singles available only at the shows. Melbourne-based singer, pianist and composer Monique diMattina will be the special guest of the world’s most successful contemporary jazz musician, Chris Botti, when the American trumpeter heads into the City Recital Hall Saturday 11 June, with his sevenpiece band, featuring Lisa Fischer on vocals. Botti also plays the Canberra Theatre Wednesday 8. His Saturday 25 June Metro Theatre show having sold out, American R&B/Gospel legend Brian McKnight has announced a second and final show at that same venue for Wednesday 29, once again with special guest Dwele. New Empire has been tapped to support Owl City on their forthcoming All Things Bright & Beautiful Tour, which hits the Metro Theatre Tuesday 16 August.

JAMES BLAKE

OTHERWORLDLY

DUBSTEP IT UP He is undoubtedly one of 2011’s most significant breakout artists – this year, James Blake’s self-titled debut was the catalyst for quite a stir (even if some of those discussions did centre around the definition of the word ‘dubstep’ and whether or not his music should rightfully be called that). The young Brit’s record has spawned successful singles like The Wilhelm Scream and cemented him as an artist to keep a firm eye on, and he comes to Australia for the first time as a part of the Splendour In The Grass lineup. Here in Sydney, he plays a sideshow on Thursday 28 July at The Factory. Tickets are available 9am Friday.

PARTY WITH PROXY Russian electronic DJ and producer The Proxy brings his beats to Australia next month in what is his first headlining club tour in two years. He recently released his debut album and also has an impressive collection of singles and remixes under his belt. Roaring in for the long weekend, he plays Onefiveone on Friday 10 June, and both Trinity Bar and Fake Club on Sunday 12.

Fellow Americans Band Of Horses have been announced as the special guests of Kings Of Leon on their rescheduled Australian tour, which finally comes to the Acer Arena Friday 4 and Saturday 5 November. Bringing along his four-month old son as well as partner David Furnish, Elton John, on his 15th tour of Australia, is obviously as popular as ever, announcing a second Hope Estate Hunter Valley concert to his December visit, now playing Saturday 3 and Sunday 4.

Elbow’s Build A Rocket Boys! has been one of this year’s most critically adored albums so far, and it’s rather well deserved too – for much of the decade-plus that the band has been making music, attention was never a huge thing for them and for the most part, they slipped under the radar. The last few years have seen Elbow gaining more and more attention though, including winning the much-lauded Mercury Music Prize in 2008 for The Seldom Seen Kid, and their most recent album debuted at #13 in Australia. They return to their loving fans here for Splendour, also playing Friday 29 July at the Enmore Theatre. Tickets are on sale Friday at 9am.

BACK AGAIN Following member Ben Ottewell’s recent solo tour of Australia, the regrouped Gomez returns to our shores to play shows in support of their new album, Whatever’s On Your Mind, which is set for release mid-June. The band and Australia have long had a healthy relationship, with Gomez returning every few years for the last decade to play shows to receptive crowds. The upcoming album is the band’s seventh, and these days the members are scattered all over the northern hemisphere, meaning that it was pieced together via the wonders of technology. Joined by Adelaide band Leader Cheetah, the band steps off its Splendour schedule to play two Sydney shows at The Metro on Monday 1 August and The Factory on Wednesday 3.

BREAK OUT Swedish garage punks The Hives last appeared here January 2009, playing sold-out shows to enraptured crowds. Though they’ve not released an album since 2007’s The Black And White Album, it’s still a pretty exciting bit of news that aside from their Splendour appearance, they’ll be playing at the Hordern Pavilion Thursday 28 July. Brisbane favourites The Grates will play in support. Tickets are available 9am on Friday.

Eyes Wide Open was received with rabid enthusiasm last year, soaring into the triple j Hottest 100, and it was just the first taste of Gotye’s new album, Making Mirrors, which is set to be released mid-August through Eleven. The ARIA Award winner was most recently seen playing to Laneway and Groovin’ The Moo crowds, and will soon release another single from the album – Somebody I Used To Know, featuring the vocals of rising star Kimbra. The album will officially be launched at the iconic Sydney Opera House on Saturday 20 August as a part of the Graphic Festival, where it will be performed in full by a ten-piece miniorchestra and brought to life visually by animations. The night will also feature Shaun Tan’s Academy Award winning animated short, The Lost Thing, with its score performed exclusively live by composer Michael Yezerski.

HINSON VISITS SYDNEY

The Middle East has announced an all ages Factory Theatre concert Thursday 23 June, in addition now to their Metro Theatre show Friday 17. With a new album, Charisma Weapon, due to drop Friday 15 July, Perth’s The Panda Band is heading east to give us a pre-release taster at the Lansdowne Saturday 4 June, a change in venue from their previous announcement. Coerce brings latest album Ethereal Surrogate Saviour to Hermanns Bar Friday 17 June, with special guests Sex Wizard. Didgeridoo maestro Ganga Giri and French Guyanan reggae/dancehall singer Jornick Joe Lick have been travelling the country the past month and Friday 17 June, they and the rest of the band play the Clarendon Guesthouse Katoomba, followed by the Great Northern in Newcastle Saturday 18, the Camelot Lounge Thursday 23 and Transit Bar Canberra Saturday 25. Releasing his debut album, Research, Friday 27 May under his new moniker, Mountain Static, Melbourne musician Simon Gibbs (ex-TTT) launches it Thursday 23 June at Paddington Uniting Church. Youth and experience have teamed up in the form of two of this country’s finer country music exponents, Catherine Britt and James Blundell sharing the bill on their Can’t Find Our Way Home Tour, playing the Brass Monkey Wednesday 6 July, The Basement Circular Quay Thursday 7 and, if you’re on the south coast, Milton Theatre Friday 8. • 30 • THE DRUM MEDIA 24 MAY 2011

PARTY ON, KELE Bloc Party frontman Kele is no stranger to Australian shores – his band has been a favourite here for many years, appearing at countless festivals and capturing the energy of youth with their hyper-exciting tunes. Kele himself has carved out a career on his own, though, releasing his debut solo album, The Boxer, to generally favourable reviews last year. He’s playing Splendour – a festival he’s also played before with Bloc Party – and also stepping into The Metro on Wednesday 3 August, where he’ll be joined by Strange Talk. Tickets are on sale 9am Friday.

SCRATCH THAT ITCH Dance fiends Itch-e & Scratch-e bring their beats to town when they do a DJ set to finish off the touring for their album, Hooray For Everything!!!, off the back of the release of that album’s latest and final single, Imperial Rockets. The single is accompanied by a three and a half minute “virtual colourful explosion”, created by Rob Mack of Mack3D Graphics. Launch shows are happening Friday 17 June at Newcastle’s King St Hotel and Saturday 18 at Chinese Laundry.

MIRROR VISION THE HIVES

THE MIDDLE EAST

KELE

VISIT THE VILLAGES

THE VACCINES

CO-OP PARTY TIME It’s been a year since the last Co-Op warehouse party and two since the whole thing began, so naturally there’s another party coming up. It’s on Saturday 2 July at a top-secret inner city location and features the sounds of Scottish electronic maestro Harri, who’ll throw in a four-hour set. Details of the event will be announced to those who manage to snap up tickets via email and also on Facebook, so if you’re interested, best to go find the appropriate event page and click ‘attending’.

ALL FOR YOU Melbourne electro-pop duo Oscar + Martin recently unleashed debut album, For You, and to celebrate the release, the twosome will hit the road, traversing the East Coast in support. They play GoodGod Friday 10 June before joining the Winter Chills line up the day after in Newcastle.

MONA’S SPLENDID TOUR Nashville rock band Mona is gearing up to release its first album, also titled Mona, and has already begun to take over the world, slowly but surely, currently touring with Kings Of Leon. The band was also handpicked by the BBC for their annual Sound Of 2011 poll, and makes music that’s been described as addictive rock and roll. They play Splendour In The Grass and have announced a sideshow Thursday 28 July at the Annandale Hotel.

RIDING DOWN UNDER

Texan music man Micah P Hinson is taking his new album, Micah P Hinson And The Pioneer Saboteurs, on the road and down to our parts of the world, and Myles Mayo is coming along for the ride. Hinson plays The Brass Monkey Friday 1 July, The Gaelic Saturday 2 and Clarendon Guesthouse Sunday 3. Major Chord will also appear at those first two shows.

Melbourne indie darlings Alpine released their debut EP, Zurich, last year, and the second single, Villages, has remained in the triple j Top 20 for the last eight weeks, peaking at #2. They’ll be playing Splendour In The Grass, but before that happens they jump in the van with Boy In A Box, playing Thursday 14 July at Oxford Art Factory.

MONA

LOVE INJECTION The Vaccines have become one of the bands to watch for this year – one of those hype groups that everyone talks about. Their debut album, What Did You Expect From The Vaccines?, dropped earlier in the year and saw them get a whole lot of love from every corner of the music media spectrum, including our cover. Garage pop at its finest, the band will blitz the stage at Splendour In The Grass and for those not attending the festival, play a show surely just as energetic at The Metro on Tuesday 2 August. Tickets are on sale 9am Friday.

THIS IS WAR After making their Australian debut at Laneway earlier this year to rave reviews and sold-out sideshows, the lovely ladies who make up Warpaint are returning to our shores – only a few months after they originally landed here – for Splendour In The Grass and Perth’s On The Bright Side festival. The band released its debut fulllength album, The Fool, last year and has ridden a veritable wave of super success since, playing major US festivals like Coachella and Lollapalooza. Sydney songsmith Jack Ladder and local disco lover Donny Benet join the girls when they bring their tunes to Manning Bar on Thursday 28 July – if you’re keen to check them out don’t hesitate in getting onto that ticket buying now, because if last time was anything to go by those things won’t last long.

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Boston band Doomriders will make its first appearance in Australia in July. The group, comprising members of bands like Converge, Disappearer, Cast Iron Hike and Clouds, is a mish mash of classic rock, hardcore and a bunch of other shared interests between the guys. They’ve recently released their latest album, II: The Broken Passage, and are buddying up with Canberra’s I Exist to tour around the country in a couple of months. They play the Annandale Hotel on Saturday 23 July, Cambridge Hotel on Sunday 24 and ANU Bar on Monday 25.

THIN BLOOD, THICK TUNES Melbourne singer/songwriter Jordie Lane has been hanging out in the US lately, but returns to the motherland for an extensive national tour on the back of his upcoming second album, Blood Thinner, which drops 15 July. It was recorded all over Los Angeles in various bizarre locations, from a remote desert motel room to a basement and a garage, and features gospel choirs, techno beats and more. Lane plays Front Gallery on Wednesday 27 July, Wickham Park Hotel on Thursday 28, The Vanguard on Friday 29, Grand Junction Hotel on Saturday 30 and Lizotte’s Kincumber on Sunday 31.

DESTINATION RIGHT NOW Destination Now, the new album from The Potbelleez, is set for release this Friday and the dance act is embarking on a national tour to celebrate and promote the record. There are promises of an explosive live show to support the album, including special new visual representations. The tour kicks off Thursday 16 June at Oxford Art Factory, continuing on throughout coming months across a number of areas. In Drum parts that’s Waves on Friday 17, King Street Hotel on Saturday 18, Southern Cross Club on Friday 1 July, The Cube on Thursday 11 August, Mounties on Friday 12 and Penrith Panthers on Saturday 13.


THE DRUM MEDIA 24 MAY 2011 • 31 •


NEWS@DRUMMEDIA.COM.AU

DJ SHADOW

IN THE SHADOWS For the last decade and a half, DJ Shadow has been one of the most respected names in electronic music. The American producer is considered an important figure in the development and popularisation of instrumental hip hop, and his debut album, Entroducing…, gained attention and acclaim for the fact that it was composed purely from samples. He has most recently released an EP, I Gotta Rokk, which features remixes of songs from his upcoming fourth album, The Less You Know The Better. Aside from his Splendour appearance, he plays the Hordern Pavilion on Saturday 30 July, where he will be joined by Midnight Juggernauts DJs and Ghoul. Tickets are available 9am Friday.

ISOBELL CAMPBELL & MARK LANEGAN

TWO’S COMPANY

PIECE OF CAKE

‘90s lo-fi legends Sebadoh are returning to Australia later this year for their first show here in over a decade and a half. The band, which formed in the late ‘80s as a songwriting vehicle for Dinosaur Jr’s Lou Barlow and friend Eric Gaffney, evolved into a full-time beast when Barlow left Dinosaur Jr in 1989 and Jason Loewenstein joined the new band. By 1993 they had released six albums and, when Gaffney left the band that year, Loewenstein became a principal songwriter with Barlow and they released their two best-known albums, Harmacy and the recently reissued Bakesale. Tickets are on sale Friday for the show at The Metro on Wednesday 21 September.

FEEL THE LOVE Two Californian bands set foot on Australian soil for the first time when Grouplove and Young The Giant bring their tunes to our cities in August. Five-piece Grouplove, another Splendour attendee, has received a myriad of blog love in the past year or so off the back of their selftitled EP, a sunny little affair guaranteed to bring at least half a smile to the face of even the most jaded. Both bands bring a slice of summer to our depressingly cold city on Wednesday 3 August, when they play Oxford Art Factory. Tickets are available from 9am on Friday.

THROW A TANTRUM American soul revivalists Fitz & The Tantrums have brought the sounds of Motown into the 21st century, picking the best bits of the ‘60s and giving them a modern edge. The band’s most recent album, Pickin’ Up The Pieces, also incorporated elements of funk and hip hop, making it a very varied collection indeed. Aside from their Splendour appearance, they’ll also be playing sideshows and in Sydney that happens Wednesday 27 July at The Basement Circular Quay, where they’re supported by rising Sydney star Lanie Lane. Tickets are on sale 9am Friday.

BROKEN BONES The last Dananananaykroyd show in Sydney has become the stuff of legend – if you’ve not heard what happened, basically a stage stack led to a whole lot of pain and broken bones. The band is brave, though – so brave that, stopping into Sydney again as a part of their second Splendour In The Grass touring schedule, they’re returning to the very same venue where that stack happened to kick out the jams once again. Supported by DZ Deathrays, they play the Annandale Hotel on Friday 29 July, and you can grab your tickets from 9am Friday.

WHALE OF A TIME London indie popsters Noah & The Whale have long captured hearts with their tunes, most recently with album, Last Night On Earth. It’ll be a gathering of the twee and the lovely at Splendour to see the band, as well as at The Factory on Tuesday 2 August, where they’ll play a headlining show. Tickets go on sale 9am Friday.

HEAPS DECENT Charity Heaps Decent, which aims to foster the creative talents of underprivileged Indigenous youths, has teamed up with the NSW Reconciliation Council to throw a bit of a party on Friday 3 June at Oxford Art Factory. All proceeds from the event will go to the charity. The show, which they’ve dubbed Tuned In, is happening during Reconciliation Week and will feature the best in both Indigenous and non-Indigenous Australian hip hop. Performing on the night will be Koolism, Briggs, The Last Kinection, Tuka and Stunna Set. • 32 • THE DRUM MEDIA 24 MAY 2011

STEAL YOUR HEART Based in Washington, DC, the two men behind Thievery Corporation have long woven their way around tunes that are tuneful as well as eclectic and beat-driven. It’s been 15 years for them now and in that time they’ve developed a distinct sound that’s very much theirs, melding parts of all genres and cultures with fluidity. They are bringing their 11-piece live band over for Splendour, but will also play one Sydney show only on the side, at the Enmore Theatre on Monday 1 August. Tickets are available 9am Friday.

PULP’S TRIUMPHANT RETURN Britpop would have been nothing without Pulp, and that’s a fact – tunes like Common People and Disco 2000 are known by most everyone, and records such as 1998’s This Is Hardcore have their own little place in music history. The band reunited recently after seven years off, in which time kooky frontman Jarvis Cocker rose to fame on his own merit, releasing two solo albums and also making a (pretty fantastic) appearance in the animated film, Fantastic Mr Fox. It was definitely one of the biggest Splendour surprises to hear that Pulp was coming as a part of the lineup, and now even better to hear that they will play a headlining show at the Hordern Pavilion on Wednesday 27 July. Tickets are on sale 9am Friday.

Isobell Campbell & Mark Lanegan – she of former Belle & Sebastian frontlady duties, he of Screaming Trees and occasional Queens Of The Stone Age fame – have been making music together for a while now and finally bring those tunes to Australia for Splendour In The Grass. Aside from their appearance at the festival, the pair will also be appearing at The Factory on Friday 29 July. Tickets are on sale Monday.

TIMID BUT STRONG TITLE FIGHT

TWO TIMES THE PUNK Two of punk’s biggest up and coming bands from across the seas, Title Fight and Touche Amore, are teaming up to bring to our shores what could possibly be one of the biggest punk and hardcore double bills for 2011. Title Fight’s new album, Shed, has seen them hailed by many for their sounds and is already being called a modern classic by the super faithful. Touche Amore’s live set is the stuff of punk legend – angry, honest and brutal. Tickets are on sale 9am Friday for the show at The Metro on Friday 9 September.

YES IT DOES UK electronic five-piece Does It Offend You, Yeah? recently ditched their major label to release their second album, Don’t Say We Didn’t Warn You – just another bit of proof regarding the band’s general bad-arsery. They burst onto the scene in 2008 when they released their first album, You Have No Idea What You’re Getting Yourself Into, and landed in the top 10 of Last.FM’s most listened to bands for that year, as well as being named Rolling Stone’s breaking artists. The band is no stranger to Australian shores, having played the likes of Future and Parklife, as well as headlining shows, in previous years, and returns this year for Splendour, also playing The Metro on Thursday 4 August with Purple Sneakers DJs. Tickets are on sale 9am Friday.

TRIPLE THREAT Friday 3 June at the Sando sees Melbourne rockers Hoss bring their tunes to Sydney for the first time in several years – their last visit was in 2008 for the Nick Cavecurated All Tomorrow’s Parties. The band, which has been together for over 15 years and has five albums to its name, is fronted by Joel Silbersher, who’s also worked with the likes of Tex Perkins and Dirty Three. They are joined by The New Christs, fronted by Radio Birdman’s Rob Younger, a band that’s been around for over two decades and supported international acts including Iggy Pop and The Ramones; and Nunchukka Superfly, featuring two members of The Hard-Ons.

SING ALONG FOREVER Now in its fourth year, Sing Along returns in 2011 with its biggest lineup to date. The show will happen on Saturday 16 July and hosts a number of acts across two stages – one main, one acoustic. Sing Along brings together acts that all have some commonalities to create a party-like atmosphere for people to come together and enjoy. Headlining the night will be Brisbane’s Screamfeeder, who’ve peddled out sounds since the early ‘90s, while other artists appearing include Peabody, Dave McCormack (Custard), Further, Sounds Like Sunset, Jamie Hutchings, Greg Atkinson (Big Heavy Stuff), Bosom and Grand Tango Fandango. It’s a perfect occasion to come together and celebrate what makes Australian music so great – by listening to some of its best musicians play live.

THE KILLS

KILLING IT Off the back of their critically adored new album, Blood Pressures, London-based blues/garage punk duo The Kills is returning to Australia to play Splendour, and will also play a headlining show in Sydney. Alison Mosshart and Jamie Hince have long taken the spotlight for their music, both together and separately – Mosshart is also a part of The Dead Weather with Jack White – and The Kills are known for their tight and energetic live shows. Landing in Australia for the first time in six years, the band will deliver just that when they play The Metro on Tuesday 26 July. Tickets are on sale 9am Friday.

RAISE THE ROOF Major Raiser is an initiative that aims to bring the best young Australian bands together, as well as raising funds for youth-related charities. The event coming up is supporting Australian Youth Against Cancer (AYAC), and the gig is happening Saturday 16 July. It is a pretty big lineup too, featuring some of the best in up and coming young talent including Parades, Rufus, Bon Chat Bon Rat, Generic DJs, Boats Of Berlin, The Lockwoods, Cross Beams and more. It’s happening at The Gaelic and there are more acts to be announced.

MORE BASTARDS The second lot of artists performing at Bastardfest has been announced. The event takes place at the Sando on Saturday 10 September and acts already announced include Psycroptic, I Exist, Pod People, Bane Of Isildur, Ouroboros and Chaos Divine. Joining those bands are Blood Duster, The Dreamkillers, Claim The Throne, Dawn Heist and Anno Domini. The festival aims to showcase the best in Australian heavy music and is travelling all over Australia, as well as making a stop in New Zealand.

SARAH SOLO Sarah McLeod has been a little quiet lately, but she’s a household name in this country, both for her stint as the frontwoman of The Superjesus from 1994 to 2004, and in her own right, having fairly regularly released songs since the band’s break-up. For the first time in years, she will perform an extensive string of intimate, strippedback acoustic shows across the next couple of months. Saturday 11 June she comes to The Vanguard, Sunday 12 The Brass Monkey, Thursday 16 and Friday 17 Clarendon Guesthouse, Thursday 30 Lizotte’s Dee Why, Friday 1 July Lizotte’s Kincumber, Thursday 7 Lizotte’s Newcastle, Friday 8 Vault 146, Saturday 9 Waves and Saturday 16 Coogee Diggers. She is supported on all dates but the final one by The Firetree, and Axle Whitehead steps in at The Vanguard, Waves and Coogee Diggers.

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Modest Mouse’s last Australian appearance was as a part of 2008’s V Festival, when they played a headlining show to a packed Big Top with Smiths guitarist and music legend Johnny Marr helming guitar duties. Though Marr has since left the nest, so to speak, it will be a very welcome return when the band comes back to Australia for Splendour, also throwing in a sideshow at a more intimate venue. Though they haven’t released an album since 2007’s chart-topper, We Were Dead Before The Ship Even Sank, Modest Mouse’s live reputation is formidable and so these shows are not to be missed. Tickets are on sale Friday for the show at The Metro on Monday 25 July.

BLOW YOUR MIND Gold Coast quartet Nine Sons Of Dan has announced an upcoming East Coast tour in support of new single, She’s So Fine, which features Paramore guitarist Justin York. The track – inspired by a pretty girl who frontman Jay Bainbridge spotted at Soundwave while watching Jimmy Eat World – is the second single from the band’s first EP, Landslide, which was released last year. The band will launch the single at Spectrum on Thursday 16 June, The Patch on Saturday 18 and the Cambridge Hotel on Wednesday 22.

SNEAKY TOUR Sneaky Sound System has big news for you. The multiARIA award-winning dance duo has recently become the latest artist to ink a deal with Modular and they’ve got a new album, From Here To Anywhere, set for release at the end of August. The first single, We Love, will hit the airwaves this Friday. You’ll remember the group for radio hits like UFO, Pictures and I Love It, and you can expect the same kind of vibe – but more adventurous, apparently – from this album. Tickets for the We Love Sneaky Tour, where they’ll no doubt preview songs from the upcoming third album, are on sale Thursday June 9, and they stop into The Metro on Saturday 2 July.

GREAT SCOT Scottish indie rockers Glasvegas are making the trip to Australia for Splendour In The Grass, and have also thrown in a few sideshows around the place. The band first gained attention in 2007 when its independent debut single, Daddy’s Gone, was named as one of the two best tracks of the year by NME. Following that, the self-titled debut album in 2009 scored them a Mercury Music Prize nomination, while the most recent album, Euphoric /// Heartbreak \\\, was released last month. The four-piece plays The Metro on Sunday 24 July, joined by The Dark Shadows. Tickets are on sale 9am Friday.

FIRE IT UP Splendour 2009 attendees Friendly Fires return to the festival this year, bringing with them all the new tracks that make up their recently released second album, Pala, the follow-up to 2008’s self-titled debut, which earned the band a swag of award nominations. The UK trio is renowned for its energetic live performances and has won over audiences in Australia on previous occasions, with a Good Vibrations slot already under its belt. Friendly Fires play The Metro on Thursday 28 July.


THE DRUM MEDIA 24 MAY 2011 • 33 •


BLIND LEADING THE BLIND Jumping on a plane from their native Germany to Australia for the first time ever are the dudes in metal powerhouse Blind Guardian, who bring their noise to The Factory for an all ages show on Friday 30 September. They’ll of course play songs from their most recent album, At The Edge Of Time, as well as faves harking back to their inception in 1988. Joining them for the tour are Black Majesty and Eyefear, so it’s set to be a night to remember for all those who love to raise their metal fists.

BEST FRIENDS FOREVER

THE PEOPLE ARE BACK

Having visited only a few months ago to play sold-out shows around the country, Los Angeles natives and electro-pop aficionados Foster The People are returning for Splendour, bringing their raucous energy with them. The band is only relatively new and has already caused plenty of waves around the world, especially with the hyped single, Pumped Up Kicks. Going along for the ride is Sydney’s Guineafowl, another band that’s caused a lot of excitement lately with its infectious liveliness. Catch both bands when they play The Metro on Friday 29 July – tickets are on sale 9am Friday.

They recently embarked on a tour together, but it seems Georgia Fair and Daniel Lee Kendall’s BFF-ship has become so strong that they’ve decided to do it again. Both have recently released their second EPs – that’s Times Fly for the former and Talk The Night Away for the latter – and take the tunes on the road together on a double headlining tour that will hit the usual metropolitan centres, as well as a few new spots. The Marianne, Hold Me Now Tour comes to Otis Bar on Wednesday 15 June, Notes on Thursday 16, The Brass Monkey on Friday 17, The Loft in Newcastle on Saturday 18 and Front Gallery on Wednesday 6 July.

HURTS SO GOOD The new record from Jack Ladder & The Dreamlanders is called Hurtsville and is set to drop 10 June through Spunk. The Sydney man and his band will, of course, embark on a tour immediately following the occasion, which will mark the first time the songs will be unveiled in full live. The album was recorded in a castle in Yass and is the follow-up to 2008’s Love Is Gone, the album that won Ladder an AMP nomination and a Red Bull prize. Hurtsville is showcased in its entirety at FBi Social, Kings Cross Hotel, on Saturday 18 June.

KISS ME Los Angeles dance pop duo Kisses makes its Australian live debut next month, bringing the sounds of summer to our increasingly freezing city. Last year’s The Heart Of The Nightlife, the band’s debut, showcased a youthful and starry-eyed optimism that is sure to be present in their live show too. It was that album, in fact, that led the band to be named one of NME’s Best 50 New Bands Of The Year in 2010. The band – which expands to a trio live – will play The Gaelic on Friday 10 June and Trinity Bar on Saturday 11.

GHOSTLY NEW SONGS Local indie band Ghostwood is hitting the road over the next couple of months to showcase new material to audiences on the East Coast. The guys are currently in the studio finishing their next single, I Am Overcast, and will head back in mid-year to record their debut album, so you can expect to hear material both old and new. Supporting on this tour, titled Stargazer, is Chicks Who Love Guns. They play the Northern Star on Saturday 4 June and The Harp on Thursday 30.

FOURTH TIME LUCKY The lineup for Slaughterfest IV is upon us and once again, the festival is a must for heavy music lovers who have a specific interest in tunes coming out of our fine country. Happening this year on Saturday 30 July at the Sando, the event features performances from Fuck… I’m Dead, Looking Glass, Roadside Burial, Summonus, Mother Eel, Deathcage, Mother Mars, Ether Rag, Red Bee, Agonhymn, Burial Chamber, Arrowhead, Rock N Roll Weapon, Fat Guy Wears Mystic Wolf Shirt and Van.

FINALLY LANDED Legendary rap group Onyx, almost two decades in the business, is finally making its way to Australia for the Bacdafucup Tour. Onyx was once considered pretty much the definition of New York gangster rap with their debut street single, Throw Your Gunz, following it up in 1993 with debut album, Bacdafucup, which sold three million copies. They’ve also worked with the likes of Dr Dre and Run DMC, as well as some members venturing into the world of acting. Since they haven’t released an album in a few years, there’s plenty of lost time to catch up on – so make sure if you’re a rap lover, you get along to The Gaelic on Sunday 12 June.

ON THE RIGHT TRAKS Darwin two-piece Sietta mixes hip hop and dubstep to make a unique kind of music, and is the newest signee to Elefant Traks. Their debut album, The Seventh Passenger, is set for release in July, and the first single, What Am I Supposed To Do?, is currently available for free download from the Elefant Traks website. The single is launched next month, and here in Sydney that happens at The Vanguard on Wednesday 8 June.

LOVELESS KIDS Children Collide is a name that’s familiar to most everyone who knows a thing or two about Australian music, and the band is gearing up to unveil a new single, Loveless, which hits radio on Monday. The single is lifted from their album, The Theory Of Everything, and also has an accompanying video directed by David Michôd, the man behind the film, Animal Kingdom. The Loveless Tour is the last off the back of this album, and takes the band to Manning Bar on Friday 12 August.

VIDEO KILLED… Melbourne ‘trash pop’ band Radio Star is gearing up to release its first EP, a self-titled effort, on 17 June. The latest single, I Got You (You Got Me), is currently on the airwaves and is the follow-up to A Common Tale and All The Things We Did, which got a bunch of love from the likes of Rage, Video Hits and MTV. The current single is available for free download on the band’s triple j Unearthed page. They play World Bar on Friday 10 June. • 34 • THE DRUM MEDIA 24 MAY 2011

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THE DRUM MEDIA 24 MAY 2011 • 35 •


got the M

LYF

anchester four-piece WU LYF isn’t the first act to refuse to play by the rules of the music industry, but at face value they sure seem one of the more persistent at it. While the likes of Bob Dylan and Tom Waits have long used humorous misdirection to mislead the media and contort their public image, in their short life to date WU LYF has opted for nonparticipation. While most young bands exploit every opportunity they can scrounge to increase their profile – whether it be tirelessly speaking with the press or leveraging the ever-expanding powers of the internet – by their own making, you’ll find scant concrete information about WU LYF anywhere, on or offline. What you will find, though, is plenty of ‘band to watch’ hyperbole from the likes of NME and discussion at length about how enigmatic the band is and the lengths to which they go to achieve obfuscation in the pervasive digital era. But on the eve of releasing their debut album, Go Tell Fire To The Mountain, and conducting what he says is only the band’s tenth-ever interview in their near three-year existence, vocalist/organist Ellery Roberts sets the record straight – it’s all bullshit. “The mystery is a media-created myth,” Roberts sighs in a thick Manchester accent. “We’ve had our names on fucking Facebook for a year. Everything’s out there if you want to find it, it’s just the website that we operate through [worldunite.org] has been more about the art than talking about ourselves. We talk about what we’re doing, rather than what we are, so I think the whole mystery thing is just fucking cheesy. There’s been so much speculation and cliché after cliché – ‘they all dress in white’ and ‘they burn crucifixes’ and so on. We probably haven’t helped that ourselves, [but] I’ve never felt any massive need to tell the world about myself. I just want to create stuff. There’s a level of narcissism that operates in the music industry and I think maybe people found it a little strange that we weren’t so interested in ourselves. The fact that I’m a white Englishman is probably almost a boring thing.” Swiping aside the spectacle of mystery the press has concocted around WU LYF, on the basis of their superb debut album this is a band that needs no such gimmicks to stir a groundswell of interest. Forging haunting and beautiful with bloodcurdling and primal, WU LYF plies a brand of anthemic, tribal indie rock laden with grandiose emotion yet rough and dangerous. Their riveting sound centres on the juxtaposition of Roberts’ pained howl and the stately resonance of his organ. Combine that with reverb-drenched guitar and a drummer who sounds like Keith Moon incarnate and you have what Roberts calls “heavy pop”: primal emotion expressed in a pop manner so it’s universally accessible, or, “pop music with its guts hanging out,” as he puts it. The roots of Go Tell Fire… lie in a semiallegorical narrative Roberts has been piecing together for the past two years. He’d originally aimed to turn these ideas into a film, but says he soon realised that at all of 20 years of age he just didn’t have the means to make that happen. “We’ve got our spirit, we’ve got our determination, but we ain’t got a fucking film crew,” he wryly chuckles. • 36 • THE DRUM MEDIA 24 MAY 2011

“So it became easier for me to tell the story through music and the emotion and feeling rather than a fixed narrative and for me that was more interesting because it was more ambiguous. We looked at each song as a theme, which made making the music easier because we knew how the song should feel. And we’re pretty religious about feeling – if it didn’t make us feel the right way, we got rid of it. We saw the record as each song working together as a complete piece rather than as individual songs, so every song that felt too different and too much like a stand-out single we left off.”

Having recorded the preceding 12” Heavy Pop/Concrete Gold single in a studio and finding the experience sterile and clinical, the band trawled through the back streets of Manchester looking for a setting that would better fit their dynamic sound. Wandering through the city’s former Italian district, they chanced upon an abandoned European-style church, decided it was to be the place they’d set up primitive shop and recorded Go Tell Fire… in a solid three-week stretch. In talking with Roberts, it’s clear he’s a young man with intelligence, conviction and awareness well beyond his years. In fact, when listening to Go Tell Fire… the same attributes can be applied to WU LYF’s music. With

We talk about what we’re doing, rather than what we are, so I think the whole mystery thing is just fucking cheesy.”

the oldest member in the band a mere 21, the fact that they also self-produced Go Tell Fire… is testament that their creative well runs deep. And despite being serially courted by record labels ever since rumours surfaced in early 2010 of an extremely limited run of homerecorded demo EPs that the band was flogging for £50 each, they’ve chosen to self-release the album on their own label, LYF Recordings. As Roberts bluntly points out, “There wasn’t much that a record label could do for us, other than us signing away our authorship and rights.” Regarding the legitimacy of the £50 EP rumours, which have been claimed to be myth, Roberts says the reality has been distorted through Chinese whispers. As he tells it, the band recorded the demo to circulate amongst friends – they had no intention of profiting off it, so set the price at £50 as a joke, thinking no one in their right mind would be so stupid. Then a stream of A&R “mad men” caught wind of the band and were willing to shell out the outrageous £50 a pop for this “amateur shit”, so they told them they’d already sold them all. However, the band does sell its 12” Heavy Pop/Concrete Gold single – for a modest price, of course – and each copy comes with a bandit mask. To avoid having to deal with record labels to fund Go Tell Fire…, the band printed 500 copies of the single to sell direct to the public. Purchasing the single gains one membership to the Lucifer Youth Foundation

IN ONE OF THEIR FIRST EVER INTERVIEWS, WU LYF FRONTMAN ELLERY ROBERTS EXPLAINS TO JUSTIN GREY HOW THE YOUNG UK BAND IS SWATTING ASIDE INDUSTRY HYPE AND WRITING THEIR OWN FUTURE.

(LYF) and they’ve since sold well over a thousand copies and are re-printing them in batches of 500. “Basically it’s our record label, but it’s not tied down to just making records,” Roberts explains of the LYF. “It’s a battlefront that allows us self-sufficiency and freedom. We spent the initial money recording the record, but we’ve not wrote in stone what we’re planning to do. The way the LYF is structured allows us total freedom – we pick and choose what we want to do and we don’t do things unless we’ve got a gut feeling that it’s the right thing to do. We could fucking sell this record as a piece of meat and take it everywhere, but personally I don’t want to do that. It’ll be interesting to see how the record is perceived, but that’s not why I make music. I’d prefer to keep it simple and do something interesting and exciting – and obviously playing in the Sydney Opera House comes under that.” With only around 20 live shows under their belt, about a quarter of which were residency gigs in their manager’s coffee house in Manchester, it’s indeed exciting for WU LYF to get invited all the way out to Australia for two exclusive gigs at the iconic Opera House as part of the Vivid festival. While they’ve played two shows in New York, they’ve mostly played in the UK and here and there in Europe to date. But later in the year they’ve got more US gigs and dates in Japan and their touring schedule will only further expand as Go Tell Fire… gains the wide acclaim it’s due. However, Roberts stresses that the band will never find it hard to keep any fame that might come their way at arm’s length and, through the LYF membership scheme, says the band won’t put themselves in a position that explicitly maps out their future and curtails their freedom. Referencing the famed Spanish soccer club that’s owned and operated by its supporters rather than being run by corporate big wigs, there’s a revealing band quote on the above mentioned website that says, “We want WU LYF to be more than a band, in the same way FC Barcelona is ‘more than a club’”. And that’s more or less a mission statement for WU LYF. “I want the LYF to be owned by the fans; I don’t want a record label with a record boss making the decisions,” Roberts explains. “Obviously FC Barcelona is a cultural institution for Catalan Spain and much more than four stupid guys from Manchester trying to have fun with something, but that’s what’s interesting with WU LYF. It could be anything – there’s no anchoring it. We’re not going to put ourselves in a position where we’re contractually obliged to ever make another record and we could do something completely different. And we’re so young – the oldest fella in the band is 21 – and I don’t want to spend the rest of my life making music as a recording artist.” WHO WU LYF WHAT Go Tell Fire To The Mountain (LYF Recordings/Liberator), out 17 June WHEN & WHERE Monday 30 & Tuesday 31 May, The Studio Sydney Opera House

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THE CURE’S ROBERT SMITH

VIVID DOES IT AGAIN While these days punters are increasingly spoilt for choice as more and more new festivals pop up around the country, you’d be hard pressed to find another event as uniquely singular as Vivid Sydney – in Australia, or anywhere. Much more of a multidiscipline celebration of art than merely just another music festival, Vivid Sydney is dubbed the “festival of light, music and ideas” and from May 27 to June 13 will colour The Rocks, Circular Quay and, of course, the Sydney Opera House, with creativity and inspiration. While the event hosts peak creative minds from various strands of the arts, the lineup of stellar bands and musicians Vivid has enticed to play the Opera House in its short history is nothing short of amazing. With Vivid Festival bringing the likes of Brian Eno and Lou Reed to Sydney in 2009 and 2010 respectively, this year the lead gig will be The Cure, who will twice perform their first three albums back to back in their entirety with a lineup that evolves for each album. Both Cure shows sold out almost instantaneously, and we hear that tickets have since gone for more than $1000 a pop in online auctions. Others on the stellar lineup this year include seriously hyped LA shock rap collective OFWGKTA, who just in the last two weeks have incited a riot at an in-store signing and incurred the wrath of Tegan & Sara and the US Gay and Lesbian Alliance Against Defamation; Spiritualized performing in full their 1997 opus, Ladies And Gentlemen We Are Floating In Space; Bat For Lashes; WU LYF; Tame Impala; Cut Copy; Architecture In Helsinki; ‘Saxophone Colossus’ Sonny Rollins; and others. WU LYF was over the moon to receive an invite to play Vivid 2011, particularly given that they’ve yet to release an album and have only played a handful of shows to date, none of which were anywhere near this scale. And it goes without saying that their heavy reverb and organ-driven sound is almost tailor-made for the Opera House. “We’re fucking crazy super excited,” Roberts enthuses. “For us to be asked to go to a thing like this is incredible. When we were asked to play it, we looked into it and found Brian Eno played in 2009 and Lou Reed in 2010, so it’s going to be pretty amazing. I’m a fan of Yo Gabba Gabba!, the kids’ TV show, so I’m pretty excited to see them play something.”


A BANGER’S EMBRACE

PROPAGANDHI MAY BE KNOWN FOR THEIR HYPER-POLITICAL WORLDVIEW BUT AS MARK HEBBLEWHITE FOUND OUT FROM CHRIS HANNAH, THEY’RE JUST AS OBSESSED WITH ‘80S THRASH METAL.

“N

o way, that is just an outrageous thing to say.”

What could Drum have said to make Propagandhi vocalist/ guitarist Chris Hannah put his fist down so quickly? That mink fur farming is fun? Corporate dominance is a positive thing for the Third World? No, even worse. Hannah has just heard a suggestion that Forbidden’s Twisted Into Form is a better record than Dark Angel’s Darkness Descends. And he’s not having it. While Propagandhi is primarily defined as a punk rock band (years on Fat Mike’s label tends to do that), metal courses through its collective veins. And the band isn’t afraid to admit it. “We’ve been fans since we were kids,” admits Hannah, who in a fit of metal nerddom demands that Drum readers all check out minor thrash classics by also-rans Sacrifice and Razor. “We never really defined ourselves as ‘this type of punk band’ or ‘that type of metal band’, we just wanted to get out there and make a racket. And to this day we don’t like to limit ourselves with tags.” Musically, Propagandhi’s output can be put into two categories. The first, consisting of 1993’s How To Clean Everything and 1996’s Less Talk More Rock, is sharp melodic punk with a cheeky nod to pop’s bubblegum sensibilities. The second, which coincided with the departure of bassist John Samson in 1997, saw the band unleash a new sound that could easily be described as progressive thrash/punk, but more simply was just louder, faster and heavier. According to Hannah, the answer to this shift lies in a number of directions and is not a cut and dried issue. “People think it was just John’s departure that saw the band develop in this different musical direction. But it’s not really that simple. I think the answer also lies in the fact that we were getting better with our instruments and we wanted to stretch ourselves. There’s only so much you can do within the framework of what you’d call ‘melodic hardcore’ and we wanted to try new things. We were already listening to a wide range of music, especially metal, so it was a natural progression for us to introduce different ideas into our sound. “But having said this I should also point out that if you listen to the stuff we put out before the first record, that is the demos, you’ll find a definite similarity between them and the sound we have on our more recent records. What’s more, I also think the opposite is true. There are echoes of the Less Talk, More Rock sound on the newer albums. Take a song like Human(e) Meat – there’s a definite melodic sensibility there. So when you talk about the different musical periods of Propagandhi I don’t think it’s accurate to create these neat defined boundaries.” While the musical mix of the band is up for debate, their political and social beliefs are not. Propagandhi put their money where their mouth is. Over 20 years they have not only maintained a consistent anti-capitalist, pro-animal rights political message, they have donated both money and time to causes as diverse as PETA, Partners In Health, Canada-Haiti Action Network and health clinics servicing refugee communities. In fact, the commitment of the band to political activism is so absolute that Hannah is comfortable with activists stepping outside the law if the cause is just, even those from organisations as controversial as the Animal Liberation Front who have, in the past, burnt down scientific laboratories that test on animals. “I do support direct action on the part of activists striving for a cause. I would qualify that by saying that my support would be determined on a case by case basis – but yeah, sometimes such action is the only way to get a message across. The Sea Shepherd organisation is a great case in point – what they are doing directly intervening to stop whaling is inspirational and has strong support throughout the world. And that’s not just in the activist community.” So what’s more important to the band members – the music or the message? “I like to think that we put a lot of effort into both,” says Hannah after an extended pause. “It’s hard to explain, but in the case of Propagandhi you wouldn’t have one without the other. Both are intrinsic to who we are as a band and if you took one away we would cease to be Propagandhi.” Ceasing to exist is actually something that plays on the minds of Propagandhi now they are getting somewhat, well, old. “We get asked whether we started out thinking that we’d still be playing music all those years later and to tell the truth, we hoped we would be. It’s only recently that the thought of this whole thing ‘ending’ has hit us. We’ll be in practice and Jord [Samolesky, drums] will be complaining about his shoulder or Todd [Kowalski, bass] will be having trouble with his vocals and we can’t help but think, ‘Will there come a day where we are no longer physically able to play music?’” Despite these darker moments Propagandhi fans shouldn’t worry about the band suffering an early demise. If anything, the boys are looking to up their work rate and give fans more than the ‘one record every five years’ strike rate they are notorious for. “Right now all any of us are concentrating on is this band,” offers Hannah. “Jord and Todd are doing some volunteer work, but otherwise we’re practising day in, day out. We’re also working on a new record and that’s shaping up really well.” And any hints for the faithful on said record? “Well, right now we have fifteen different pieces of music in varying forms. No song or album titles yet, but the music itself is shaping up great and I think I can safely say that you all won’t have to wait as long as you did for Supporting Caste. “Of course we’re also taking a break to head down and see you guys in Australia – it’s one of our favourite places in the world to play. We’ve always had a good time down there and have met a lot of cool people who have become great friends of ours.” WHO Propagandhi WHEN & WHERE Tuesday, ANU Bar; Wednesday, Newcastle Uni; Thursday, Metro Theatre; Friday, Wollongong Uni

• 38 • THE DRUM MEDIA 24 MAY 2011

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THE DRUM MEDIA 24 MAY 2011 • 39 •


BACK FROM THE DEAD

AHEAD OF THEIR TRIUMPHANT RETURN TO THESE SHORES, SUPREMELY CONFIDENT MORBID ANGEL MAINMAN DAVID VINCENT EXPLAINS TO BRENDAN CRABB WHY THEIR NEW ALBUM IS A MASTERWORK.

T

o place Morbid Angel in the death metal elite is understating the bleeding obvious – few bands in the field can legitimately rival the reverence afforded the Floridia veterans, who redefined extreme music with their 1989 debut, Altars Of Madness, before further raising the bar with crushing albums like Blessed Are The Sick and Domination. Considering it’s been eight years since the band’s previous record and double that since vocalist/bassist David Vincent’s last studio outing, expectations for new platter Illud Divinum Insanus are reaching extraordinary heights for many dedicated fans. Vincent is well aware of the buzz surrounding the new record. It doesn’t faze him; actually, he’d be disappointed if there wasn’t some degree of excitement for it. “Well, there should be some anticipation,” he emphasises. “We’ve made our own boots that we have to fit. We’ve always set our standards really high, so I wouldn’t want people to somehow not have high standards or expectations of us. I can tell you that the standards that we set for ourselves are high to begin with. I’m glad that people expect a lot out of us, because we expect a lot out of ourselves.” The new material has been a few years in the works, partially due to drummer Pete Sandoval being sidelined with injury. “Could we have done it, should we have done it sooner? Probably. But there’s been a lot of interesting developments. Some good, some not so good; as far as everything from the lineup [change]… So everything took a while for us to figure out, but we did and rather than making any excuses we have this new masterpiece that I’m looking forward to sharing and unleashing on the world. I tell you, this record is a piece of work; it sure is. I would really be happy to play any of the songs [live] on the new record, they’re that fun.”

DEBUT ALBUM

O U T

N O W

Fans of long-running bands can be possessive if a beloved member isn’t around anymore and Sandoval’s inhumanly fast and distinctive style has been a vital facet of the Morbid Angel machine. Due to his extended layoff, Tim Yeung (Hate Eternal, Divine Heresy) instead performed on the album and will join the band on tour, including their upcoming visit to Australia, which marks the beginning of the Illud Divinum Insanus touring cycle. Vincent is quick to dispel any misconceptions about Sandoval’s status. “Pete never got fired from the band. Pete bowed out because he couldn’t do it and he’s still not one hundred percent recuperated. We’re hoping for the best for him, obviously. The guy is a wounded warrior, but he’s a family member nonetheless. Let’s just say he’s on an indefinite hiatus while he heals.” So, what of his replacement? “He did a stellar job on the record; his playing is great. I like him a lot as a person – he’s funny, he’s just amazingly talented and we share a lot of personal likes and whatnot. He is a really good fit. Tim is a very respected player, people know that he has the chops and he delivers. He’s spontaneous, he works very hard… he’s a monster behind the kit, he really is. Some people have told us that they’re obviously going to miss [Pete], [because] everything sounds a little bit different. Tim does have his own style. People have said that all they can do is have the same hopes that we do, in that Pete continues as steadfastly on his road to recovery. In the meantime, we enlisted the services of someone who is more than capable of bringing every ounce of chaos that these songs need and then some. I can’t imagine that anybody’s going to be the slightest bit disappointed about the choice of Tim for this record.” The new album aside, numerous trends have been spawned and subsequently disappeared shortly after within metal during the past two decades, but Morbid Angel has possessed considerable staying power, despite a few lean years about the turn of the millennium, following Vincent’s temporary departure. “Well, that’s true that a lot of trends have come and gone,” he ponders. “I don’t think that we’re a trendy band. I think that we’ve just always been very honest about who we are and what we do. I think that’s resonated with people and they know when we do something, we give it our all and we’re unique. We don’t sound like every other band. There’s a lot of bands that came out of the so-called Florida scene, but we don’t sound like any of them and we never have. We’ve always sort of done our own thing, even though we’ve been portrayed as part of this overall scene, for lack of better terminology. That’s great but we really never considered ourselves part of anything other than we are who we are and we play extreme music. I am thankful that the people appreciate what it is that we do.”

“a fresh evolution of modern music” - NME

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• 40 • THE DRUM MEDIA 24 MAY 2011

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Death metal itself is in a curious state at the moment – the mutant strain known as deathcore has brought a whole new breed of fans to the dance, while others placing more focus on technicality have blossomed. At the same time, the old hands (Cannibal Corpse, Deicide, Immolation and Morbid Angel themselves) have found a new lease on life. The frontman isn’t going to be drawn into any debate about the overall shape the style is currently in – again, he’s just pleased someone is still listening. “Well, I can’t really comment on the genre. I can comment on what we do and I think that what we do is unique. There’s a lot of bands that have… That’s what they do, they’re lifers. Cannibal Corpse you mentioned, that’s one of them. Those guys get out there and they do what they do and you know what you’re gonna get from them and you know what you’re going to get from us. That’s part of the reason why someone would be attracted to something. We’ve probably been the most diverse… I think other bands probably have a formula that works for them and we’ve found the formula that works for us is changing shit up and keeping it interesting through the years. I think that and the fact that there’s just definitely a lot of personality in the band. I think these things people have gravitated to over the years. What they really like and respect about the band is that we kind of write our own rulebook.” WHO Morbid Angel WHAT Illud Divinum Insanus (Season Of Mist/Riot) out 3 June WHEN & WHERE Saturday, Manning Bar


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WWW.MAYAJUPITER.COM WWW.360MUSIC.COM.AU THE DRUM MEDIA 24 MAY 2011 • 41 •


STILL RESTLESS

IT’S BEEN NEARLY A YEAR SINCE AMY MEREDITH RELEASED THEIR DEBUT ALBUM AND THEY’VE SPENT IT PRETTY MUCH TOURING THE WHOLE TIME. CHECKING IN WITH BASSIST WADE OSBORN TO SEE WHERE THEY’RE AT NOW IS MICHAEL SMITH.

“W

e’ve done so much, it’s crazy that we’ve been lucky enough to get a chance at this job,” says an obviously very happy Wade Osborn. “It’s like, amazing that we can have so much fun doing something and it’s going really well.” Rewind to July/August last year and here’s a band from the Sutherland Shire that’s managed to finally get that debut album, Restless, out after what had promised to be a fairytale beginning that went sour, having initially scored an American deal with Tsubi/Ksubi on the basis of their MySpace presence. Undaunted, they released an independent EP in 2007 and, once they had enough material for two albums, set about the business of recreating the momentum they’d lost, eventually calling in American producer Rob Connolly to record the album and scoring a deal with Sony Music. This inevitably meant getting straight back out there and touring it hard, three months of it sharing the bill with Grinspoon, as well as being a surprise inclusion in this year’s Sydney Big Day Out shows. Scoring a decent bit of airplay here and there hasn’t hurt either, with third single Young At Heart reaching #2 in the ARIA Physical Singles Chart in September, while second single Lying, which cracked the top ten, went platinum in January. Meanwhile, the album reached #8 in the ARIA chart. “We’ve always been a touring band; we’ve always smashed touring and I guess that’s the funnest part of doing this. It’s good fun writing but there’s nothing better than getting on the road and just travelling around Australia. We went to New York for some showcases last year and Joel [Chapman, guitarist] and Christian [Lo Russo, singer and keyboards player] recently got back from New York and L.A. They were doing some co-writes over there for about a month, came back with about ten songs sounding pretty different to our usual stuff and I think we’re planning on heading back there after this tour to start working on the next album.” Not that Osborn can actually remember where they played in New York. “We were extremely jet-lagged when it happened” is his excuse, but it was one of those industry showcases, for Epic Records as it happens, “to try and get on the radar I guess, so we’ll be doing more of that towards the end of this year I think, and have the new record all finished and done.” The only American co-writer whose name Osborn himself recognised is Steve Harwell, the singer from Smash Mouth, so we’ll have to wait and see if Amy Meredith ends up using it or any of the other co-writes on the new album. But the band actually started working up new material towards the end of last year. “We went away on a writing trip, which is what we usually do. We went to the country and got a house and kind of cleared out the living room and set up there for a week and a bit and just jammed pretty much. That went really well and we came out of there with about five or six songs with no lyrics and then we went into the studio and worked on those and I think a few good songs came out of it. “We didn’t want to kind of have a continued version of our album. We wanted to do something a bit different for us, but not alienate the fans. So it’s something between heavy metal and hip hop, like right in the middle – don’t want to give too much away! Same formula, you know – we still want catchy tunes and whatnot – but it’s definitely sounding I guess a bit more raw than our first album. It’s still going to be pop music with edge, but not as squeaky clean as the songs on the first album. We don’t really know where we’re going to record it yet, but I’m pretty sure it’s 99 percent likely to be overseas.” The hard work has certainly paid off in terms of the band’s live following, not least the constant effort put into their cyberspace presence. “Yeah, I guess all the hard work pays off in a sense. I remember the days of playing up at Spectrum with, like, twenty of our friends in the audience and just thinking, ‘Is this really what I want to do for the rest of my life?’” Osborn laughs. “Thank God we’re beyond that now. We keep in contact with our fans over the Internet and it’s definitely worked for us over the years because the venues have been steadily growing and if the venue doesn’t grow, we might do two shows at one venue, which happened on the last tour. We ended up selling out two Sydney shows, which we didn’t expect. But there’s good memories of those small venues. “Big Day Out was certainly one of the standout gigs of a year’s worth of shows. We wanted to do the whole tour after those two shows! That was something we’d tried to get on in the past but didn’t work out and for whatever reason it did work out this time around, so we gave it our best shot. We had a lot of fun that day – it was about forty degrees; it was that ridiculous heatwave but we had water pistols and blow-up toys. We were just so fucking excited to be on there. I’m sure there were a lot of sceptics there but after the show, they would have been hopefully converted! The crowd we got was way bigger than we expected.” Meanwhile, when you join the boys on their Higher Education tour, which hits Drum parts this week, you can expect, we’re assured, “disco balls, fireworks, kung fu moves, inflatables” and some of those new songs the band has been working on. “We’ve been playing a million shows over the last year, playing the same stuff over and over,” Osborn happily admits, “so it’s a good time to put some fresh songs into our set.” WHO Amy Meredith WHEN & WHERE Wednesday, Wollongong Uni; Thursday, Newcastle Leagues; Friday, Metro Theatre; Friday 10 June, ANU Refectory; Saturday 10 September, Funk N Grooves

• 42 • THE DRUM MEDIA 24 MAY 2011

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SECOND TIME AROUND

I KILLED THE PROM QUEEN IS OFFICIALLY A GOING CONCERN AGAIN. THEY’RE NOT ONLY DOING IT FOR THE EXISTING FANS, BUT AIMING TO WIN OVER THOSE HEAVY METAL LEGIONS WHO REJECTED THEM THE FIRST TIME AROUND, AS GUITARIST/VOCALIST JONA WEINHOFEN TELLS BRENDAN CRABB.

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he scene: March 2006. Opening for international metal heavyweights The Haunted and Exodus on their Australian jaunt, I Killed The Prom Queen are subject to a barrage of some of the most vicious taunts and outright abuse Drum has witnessed in recent times. They soldier on and finish the set, albeit visibly dejected. Before embarking on a hiatus in 2008, the Adelaide quintet was one of the country’s most successful metal/hardcore acts, also receiving considerable foreign exposure. However, as the aforementioned example indicates, they were also maligned by many within Australia, something guitarist/vocalist Jona Weinhofen (also of UK outfit Bring Me The Horizon) is still frustrated by, even with the benefit of several years’ hindsight. “Yeah, it was bullshit,” he says with a laugh when describing their unfriendly reception on said tour. “It was a learning curve, for sure.” Despite their origins and strong association with the hardcore scene, albums such as 2006’s Music For The Recently Deceased were decidedly more in the metal vein than some detractors might like to admit. When it’s suggested it was an odd situation when they attempted to make inroads into the metal scene, Weinhofen quickly agrees. “Yeah, I think we were a bit ambitious at the time of writing that album, in the sense that we wanted to try and break into the metal scene a little bit more. Especially the Australian metal scene; it was almost like some kind of VIP club and you had to have long hair, a beard and a Slayer T-shirt to get into it. We’re all big fans of a lot of hardcore music, but also a lot of metal music. Around 2000 when we started the band, my favourite bands were Soilwork, In Flames and At The Gates – all the Swedish melodic metal. That’s why we always had a bit of that flavour and when we wrote Music For The Recently Deceased, we decided to let that shine through a little bit more. “Then we went and recorded the album at [Sweden’s] Studio Fredman, [where producer] Fredrik Nordström had recorded all those bands I’d loved forever. So we thought, ‘Let’s just go all out and broaden our metal horizons a bit more’. But then we played shows with bands like The Haunted and Exodus and pretty much got booed off stage. We were like, ‘What the fuck’s wrong with these people? We’re playing the kind of music they want to hear’. We just put it down that we didn’t have that crusty old, traditional metal look and that was really unfortunate. I think times have changed a lot over the past few years and those scenes are meshing more and more together now than ever before. So hopefully we’ll be able to do some stuff in future and be more appreciated by both sides of the fence.”

I guess we have to take into account that some of our releases are so old, some of those fans of that era of the band might not even be around anymore.”

ISOBEL CAMBELL & MARK LANEGAN

“Campbell’s sweetly hushed falsetto and Lanegan’s ravaged rock baritone make for sultry, sizzling duets worthy of a modern Hazelwood & Sinatra” 9/10 Rock Sound “Dusty desert blues… brassy blues and soul… a classic”

ÌÌÌÌ The Independent on Sunday (CD of the Week)

Irrespective of aesthetics, now the band has reformed (with former The Red Shore vocalist Jamie Hope a new addition), plenty are pleased they’re back. Weinhofen is audibly enthused also. However, the decision to not recall former frontmen Michael Crafter or Ed Butcher (who departed amid acrimonious circumstances) has already been dissected en masse by fans. “We talked about what we were going to do vocalist-wise and a lot of people thought the obvious choice was to get Crafter back, which was what we did with the last tour in 2008. But that tour at the time was a bit of a one-off and when we started to discuss the future – doing more stuff and writing together – that all meant spending a lot more time together as a band in the studio and on tour. We got worried that we were going to run into some of the reasons that we kicked Crafter out of the band in the first place. That worried us a bit, so we talked about getting a new vocalist. The list of potential people wasn’t very long and Jamie, [who] we’ve been mates with for about five or six years, was pretty much at the top of the list. We all lost contact with [Butcher] back in 2007. None of us have seen or heard from him, nor do we really want to. As much as some fans who don’t really know the back story of what happened between us and Ed hoped he would come back, that was never even talked about as an option.” Aside from reissues of previous releases, the band will remain busy – when they logistically can. “I’m on tour with Bring Me The Horizon pretty much full time and JJ’s [Peters, drums] got Deez Nuts; he’s pretty full on with that as well. But with both our bands, everything’s a bit better planned than stuff was in Prom Queen. Prom Queen was always self-managed and Bring Me The Horizon, we’ve got full management and booking agents and all our plans are pretty well laid in place ahead of time. So, it’s a matter of looking at the calendar with Horizon and Deez Nuts and going, ‘Alright, we’ve got gaps here, here and here where we both have time off’. At the moment, we’re looking at getting together to write material for a new album around about December through February. Once that’s out of the way, it’s just going to be a matter of finding a week or two here and there to do an Australian tour. Maybe if we’re really up for it and have enough time, we might look at visiting places like the UK and the US.” Before that, there’s the upcoming Destroy Music tour, alongside Brisbane’s The Amity Affliction, Deez Nuts and America’s Of Mice & Men. “I guess we have to take into account that some of our releases are so old, some of those fans of that era of the band might not even be around anymore. Hopefully some people will come out of the woodwork for this tour, but when we did the 2008 Say Goodbye tour, there was a lot of young, fresh faces and I feel like the Music For The Recently Deceased material is going to go down a lot better than, say, stuff from [2003’s] When Goodbye Means Forever. But we’ll definitely bust out a few oldies for the diehard fans.” WHO I Killed The Prom Queen

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WHEN & WHERE Thursday and Friday, UNSW Roundhouse

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THE DRUM MEDIA 24 MAY 2011 • 43 •


FINE AND DANDY

RESPONSIBLE FOR SOME OF THE MOST ENDURING ANTHEMS OF MODERN ROCK MUSIC, THE DANDY WARHOLS ARE ONCE AGAIN RETURNING TO AUSTRALIA. MATT O’NEILL CAUGHT UP WITH FRONTMAN COURTNEY TAYLOR-TAYLOR TO DISCUSS THE BAND’S IDIOSYNCRATIC HISTORY.

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he Dandy Warhols are that rare example of a phenomenon often discussed but only occasionally actualised – a band defined more through its mythology than its music. While certainly a musically successful act in their own right (with a surfeit of charting albums and successful singles), popular perceptions of the band have always seemed mired within a very specific aesthetic and ideology; namely that of self-indulgent rock star hedonism. In fairness, it’s largely their own fault. Since their inception in Portland, Oregon in 1994, The Dandy Warhols have been as defined by rhetorical and aesthetic sensibilities as by their musical ambition – from their breakthrough film clip for 1997’s Not If You Were The Last Junkie On Earth being directed by fashion photographer David LaChapelle through to their perpetually subversive and celebratory approach to art and rock music history, their name being a prime example. “We didn’t really know how to play our instruments really well when we started,” Taylor-Taylor reflects. “I just kind of put together a group of people that had taste – had really good taste. I really liked their taste and their take on things. They’re all wonderfully creative people. When we first started, we could have been a group of filmmakers. It could have gone in any direction. Pete Holmstrom [guitarist] just said I wrote good songs so we decided to be a band.” Their most commercially successful material has consistently positioned the band as ironic retro-rock performance artists. The celebratory haze and ironic posturing of singles like 2000’s Bohemian Like You (from third album, Thirteen Tales From Urban Bohemia) and 2003’s We Used To Be Friends (from fourth album, Welcome To The Monkey House) couldn’t help but suggest an ensemble of postmodern pranksters luxuriating in rock star clichés.

www.handsometours.com

“Bohemian Like You was huge, but I did not like our audience. I didn’t enjoy how it changed. The only person that warned me about that was Robert Smith. He said, after he got back from recording Disintegration, they were touring America and they’d be playing these massive venues where everyone in the front row was wearing a white baseball cap. He said it was really depressing to let a whole different kind of person get near you and your music.” This hedonistic mythology, meanwhile, has consistently obscured the band’s true musical legacy. While popularly defined through retro-flavoured hits like Bohemian Like You, The Dandy Warhols’ catalogue has actually proven considerably more expansive over the years. Over the course of the band’s seven studio albums, their sound has touched on everything from trashy garage-rock and sleek synthpop through to psychedelic jamming and blissed-out shoegaze. “I marvel at what we did; I really do. I can’t believe what talented people I’ve worked with on all these records. These cats are amazing. Even when we didn’t know what we were doing and we were just playing these one, two chord songs – everyone was doing really simple things, but those really simple things were really cool – and we’ve managed to gain a little bit of mastery over our instruments without cheesing up our music. That’s phenomenal.” Their 1995 debut album, Dandys Rule, OK?, was heavily indebted to The Velvet Underground, the aforementioned Thirteen Tales... saw explorations into country and gospel, Welcome To The Monkey House – produced by Duran Duran member Nick Rhodes – was a concentrated venture into synth-pop while albums like 2005’s Odditorium Or Warlords Of Mars saw the band engage with freeimprovisation and the avant-garde. “Somehow, we’ve botched up every single thing you can except the music,” Taylor-Taylor laughs. “I mean, every single mistake you could make, we’ve made and just learnt bitter, bitter painful lessons – but the thing we never let get away from us was the music itself. It’s always been what we were and what we are and all that stuff. The music is great. It doesn’t really sound like anything other than music – it doesn’t belong to any trend or era or scene or anything. It’s all varying degrees of good. You know, it goes from ‘oh, that’s pretty good’ to ‘wow, that’s really good’ to ‘that’s absolutely fucking brilliant’ – it’s all in there. We never got tricky so we never tried anything we couldn’t get away with. It’s always been very simple. We’ve just finished up work on our next record and I think it’s amazing. It’s a lot like what we do live. We just sort of limited ourselves to what we can play live and just laid all the guitars down. It’s a very minimal record.” Regardless of the album’s stylistic temperament or quality, The Dandy Warhols will undoubtedly find themselves in the same position following its release later this year. Despite their catalogue and accomplishments, the band will once again be characterised as decadent, post-modern retro-rockers still riding the wave of their initial spate of hits as opposed to a veteran rock ensemble delivering yet another well-crafted and intriguing album.

Wednesday September 21 Metro Theatre

Tickets on sale Friday May 27: www.handsometours.com, Metro Box Office (02) 9550 3666 & Ticketek www.ticketek.com.au or 132 849

Sebadoh’s ‘Bakesale’ reissue

“You know, if someone’s out there thinking we’re a bunch of lazy drug addicts or a bunch of filthy perverts or just a group of winos who got famous – I don’t really think about it much. You know, whatever anyone’s kind of understanding of us may be, my preference would be that they just not think about us at all. All I really want is for people to feel our music and have a reaction and response to what we do as musicians. If someone has fucked up ideas about you because of the media, though – well, they’re just a part of life.”

is out now on Domino/EMI

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• 44 • THE DRUM MEDIA 24 MAY 2011

“Honestly, I don’t really think about that anymore. After seventeen years of complete unpredictability, after five years of the media spinning every little thing you do and reinterpreting every remark you make to fit whatever image they have in mind for that particular article, you don’t really think about it anymore. I think people who believe in media just aren’t really interested in our band at this point, so I don’t really think about it anymore.

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WHO The Dandy Warhols WHEN & WHERE Sunday, Enmore Theatre


A ‘YES’ OR ‘NO’ ANSWER

THEIR BEAUTIFUL PASTORAL TAKE ON THE INDIE FOLK AESTHETIC EARNED SEATTLE OUTFIT FLEET FOXES MASSIVE WORLDWIDE ACCLAIM ON RELEASE OF THEIR EPONYMOUS DEBUT ALBUM, BUT THE FORMATION OF ITS FOLLOW UP, HELPLESSNESS BLUES, WAS ANYTHING BUT PLAIN SAILING. FRONTMAN AND SONGWRITER ROBIN PECKNOLD TELLS STEVE BELL HOW THE BAND MANAGED TO PREVAIL AGAINST THE ODDS.

I

t’s long been documented how many bands struggle with the dreaded ‘difficult second album syndrome’, so it can only be imagined how much this paradigm must be exacerbated when the original album from the band in question is one of the most lauded debuts in recent memory. Such a conundrum was recently faced down – and, most would agree, ultimately defeated – by Seattle-based folk exponents Fleet Foxes, who spent the last couple of years confronting the challenge of equalling the critical acclaim and accolades afforded their 2008 self-titled debut. The pastoral beauty of Fleet Foxes was like a breath of fresh air when it arrived, its gorgeous harmonies and warm instrumentation winning over pundits and music fans alike, with the unrelenting touring schedule undertaken in its wake also serving to compound the band’s already considerable reputation for excellence. But the questioned remained – was Fleet Foxes a serious long-term proposition, or merely on overnight sensation that would struggle to replicate the considerable success of its debut?

It feels very reflective, on a personal and existential level.”

In light of these stressors, the fact the elongated genesis of the band’s follow-up, Helplessness Blues, was plagued by doubt, illness, recording delays and relationship breakdowns therefore comes as little surprise. Fortunately, for those with faith in the band, particularly the songwriting and arranging acumen of its key creative lynchpin and frontman Robin Pecknold, it’s also no surprise the band’s second album is an unmitigated triumph of skill and talent over pressure and adversity. The record represents the perfect fine-tuning of the aesthetic that carried their original opus, with the songs as warm and inviting as those of its predecessor but pushing the harmonies and arrangements into new territories, a move that avoids it sounding like a mere rehash of former glories. “I think I’m as happy with it as possible,” a friendly but pensive Pecknold offers. “You know, I think it’s all relative. I think there are definitely places to go from here; it’s not like some masterpiece which just leaves us without any ideas. I feel like we went away for a bit and have done our job. I’m happy with it, but it doesn’t feel like the end of the line.” Pecknold is obviously aware of the bigger picture and the import that Helplessness Blues may be given when ultimately viewed in the context of his entire career, but during the writing process it was ensuring substance over style that he was striving to capture. “There were a couple of things that were sort of at the front of my mind, writing-wise. I wanted something that was truer to and had more of the substance of certain folk influences and less of just the aesthetic, you know? I think I wanted the lyrics to be these really concise thoughts and them to be really personal and direct and that was something that I didn’t really focus on, on the first album. I think to me if there’s a theme it’s about grappling with self-awareness or something, or recognising things about yourself and just seeing what you can do about it. It feels very reflective, on a personal and existential level – concentrating inwards rather than on anything that’s happening around me. It’s quite self-centred in that regard.” The contents of Helplessness Blues may indeed be self-centred, but they’re shaped in an existential rather than a narcissistic manner, with the doubts and problems that seemed to plague the formation of the album eventually seeming to predicate its success. “It was a hard process, but it was hard for different reasons at different times,” Pecknold recalls. “I was pretty sick while I was trying to record vocals, so I would try and do stuff and it wouldn’t work and I’d have to wait a couple of months and go see a bunch of doctors and get shots and steroids and then go and see the ayurvedic doctor and try and do some crazy ayurvedic stuff... so that was frustrating. It was tough when you kind of run up against a wall and don’t know what to do. And then we went and mixed the album in New York in September, but the album still totally wasn’t done and it ended up being this big waste of time and money. So stuff like that was frustrating. I’m happy with how it came out, but I wouldn’t do another record the same way again.” Pecknold is also obviously a complete perfectionist. “Oh yeah, totally. I mean what was the alternative – release something that you’re half happy with and you have to live with it for the entirety of the rest of your life? I mean I freaked out about the font being too big on the cover of the first album – I seriously think about that at least once a week, like, ‘God, I wish the font was smaller on the first record!’ I’m just the kind of guy that can’t let go of those types of things at all, so there’s no way I could have just accepted compromise. “It was strange to see where people put us and not just where we thought we were and that led to this level of self-awareness that was way different to before the first album came out. I’m also like one of those guys who equates popularity on some level to something not being that good. There’s definitely awesome bands who are hugely popular, like Radiohead – there’s plenty of great huge bands – but I’m just one of those jerks who thinks that popular stuff is bad, so then I get all concerned that we’re bad because we’re suddenly popular. It just led to that self-reflection – ‘Are we doing bad because people like it?’ It just wasn’t as strong as the internal pressure that we felt to make something that we could live with. It was just about making something that we would want to hear.” WHO Fleet Foxes WHAT Helplessness Blues (Sub Pop/Inertia)

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THE DRUM MEDIA 24 MAY 2011 • 45 •


STAYING OPTIMISTIC

CALIFORNIA-BASED HIP HOP ARTIST LYRICS BORN – REAL NAME TSUTOMU SHIMURA – IS HEADING BACK TO AUSTRALIA. ALEKSIA BARRON CATCHES UP WITH HIM FOR A CHAT ABOUT LABELS, TWITTER AND THE GLOBAL FINANCIAL CRISIS.

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yrics Born is pretty much the opposite of the man with no name – he’s almost got too many of them. Born Tsutomu Shimura, he often shortens his first name to Tom. Then he adopted the moniker Asia Born, before switching to Lyrics Born in a bid to make his career about his music, not his ethnicity. It’s quite fitting, in a way, that Shimura’s name has avoided concrete definition, much like his music. He’s built a reputation as one of the most innovative members of the American hip hop scene. Not content to merely carry the mantle of an MC, he blends melody into his vocal technique, which often resembles singing more than rapping. Has he ever felt pressure to rein his style in and stick more to the traditional idea of “rapping”? “Yeah, sure,” he admits readily. “But I think internally I just feel more pressure to continue to explore. I’ve just grown to accept the fact that I’m wired a certain way.” It’s Shimura’s penchant for exploration that is so evident on his most recent album, 2010’s As U Were, where he once again pushed the boundaries of stylistic experimentation. While the album perplexed those hoping for tracks more in line with his previous efforts, for Shimura, repeating the past was never an option. “It’s just so difficult for me to make the same album over and over again. I think of myself as somebody that is interested in pushing not only myself forward, but music and boundaries – pushing those forward and continually trying new things to keep it interesting, keep myself interested, keep the audience interested. I have ADD, so I think that accounts for most of it. That’s just the way I’m built.” It’s made him notoriously difficult to categorise and throughout his career Shimura has found himself the subject of much description and debate. In particular, journalists and fans alike have long debated where he sits in terms of his “commercial” appeal. It’s been going on so long that he’s no longer fazed. “To be honest with you, I don’t really care,” Shimura admits bluntly. “I’ve been called a million things since I started and I didn’t come up with any of them. At a certain point, I just stopped trying to define myself. I’m not interested in that anymore.” After all, by this point Shimura knows that his reputation precedes him. It’s been 18 years since he released his first single (1993’s Send Them) and he’s fairly confident that now, in 2011, people know what he’s about. “I think I’m fortunate that I’ve been going long enough that people know me to have a certain calibre of album and certain calibre of live show, a certain artistic commitment. To me, that’s all that matters. I just can’t be overly worried about what the new hot buzz word is this year.” As for the fact that he’s eluded the “commercial” world of American hip hop, Shimura points to the changes in the industry. “The only thing separating commercial from non-commercial is a hit, really, or sales. The criteria changed that indicates what’s commercial and what’s not. I don’t really get caught up in that. To me, it’s all art and that’s just how I look at it.” The gap between commercial and non-commercial artists has been diminished even further, in Shimura’s opinion, by social media. Commanding one of hip hop’s most well-regarded Twitter accounts, he’s loved the increased communication with his fans. “I’ve been an independent artist my entire career and I think that one of the things that you used to always hear independent artists complaining about was the access to the resources that our major label counterparts had.” With the rise of social media, though, exposure is no longer just for the people with a record deal. “I think that Twitter and Facebook and the internet have really allowed [independent artists] to sort of level the playing field. It’s not difficult now to find out about us and it’s not difficult for us to express ourselves and be heard on a broad level.” Still, while it’s become easier for artists to connect with their fans, there have also been roadblocks – most notably the Global Financial Crisis, which has seen the USA hit with an all-out recession. It’s a topic of considerable interest to Shimura. “I think that what a lot of people don’t realise is that, particularly in America, the music business’s recession began a lot earlier than the American or global recession began. When the American economic recession hit, it really knocked the wind out of the business. It’s unfortunate to see, because it’s a business that I love and it’s a business that I’ve done my entire life. It’s been hard to watch on a lot of levels.” In particular, he’s found it difficult to see so many people denied the opportunities, however small, which helped launch his own career. “You see so many talented artists – and so many great record companies and labels – so severely affected by the whole thing and as a result, we just don’t get as much music,” Shimura says sadly. “That’s the ultimate toll. We just don’t see the great art coming to life like it was.” Still, Shimura, whose career has spanned more than a decade and continues to evolve, isn’t the type of guy to shrug his shoulders and say that’s that. “I’m an optimistic person. I think for most of us who’ve been fortunate enough to weather the storm, like myself, I think if we so choose to, I think it’s our responsibility to help find ways to heal it.” WHO Lyrics Born WHEN & WHERE Saturday 18 June, Metro Theatre

• 46 • THE DRUM MEDIA 24 MAY 2011

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LOVE SONGS

THE ‘KISS’ PRINCIPLE

ONE OF THE MOST CELEBRATED CONTEMPORARY JAZZ SINGERS PERFORMING TODAY, DEE DEE BRIDGEWATER IS PRESENTING HER OWN PERSONAL TRIBUTE TO THE IMMORTAL BILLIE HOLIDAY, THOUGH SHE TELLS MICHAEL SMITH IT WAS ACTUALLY MEANT TO BE MUCH MORE.

ON HIS LATEST ALBUM, UNDERTOW, MARK SEYMOUR HAS GONE BACK TO BASICS – AND A BAND – AS MICHAEL SMITH DISCOVERS.

“I

’ve been listening to a lot of really recent Dylan and that’s been very interesting,” Seymour explains, as he ponders the evolution of his latest album, Undertow. “And broadly speaking, a lot of the songs on this album are really simple, very basic, just playing on a four-chord song and just not changing it. Do we need to change it? I had that conversation.”

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ack in 1986, the Memphis, Tennessee-born Dee Dee Bridgewater, who had decided to move to Paris after having toured France with the musical Sophisticated Ladies a couple of years before, was invited to perform in Stephen Stahl’s play, Lady Day, a one-woman show based on the autobiography of Billie Holiday. Nearly 20 years later, Bridgewater, who returned to the US in the early ‘90s, decided it was time to revisit the show. To that end, she got together a crack team of musicians and cut Eleanora Fagan: To Billie With Love From Dee Dee Bridgewater. “Originally this album was to be part of a larger project,” she explains from her home in New York City. “I was trying to produce the play here in the United States, because I’d never performed it here. I wanted the opportunity to come back to the stage and I thought this would be the perfect way to do it. My intention was to do a double CD, so this is half of the songs from the play but performed in a more contemporary and celebratory manner. Then the other half of the material from the play I was going to do in the style of the play itself, which takes place in the early ‘50s. “So when the project fell through, due to the producers who were going to co-finance it getting cold feet, I had already recorded this album because I knew once I was in preproduction I wouldn’t have the time to devote to it. Then Universal Music, which distributes my label, DDB Records, asked me if they could hear it, because they were going to invest in the play as well. When I sent it to them they flipped out and said I had to put it out as a single album and I said, ‘Oh, no no no, then I’m going to fall back into that ‘tribute singer’ again and I don’t wanna do that!’” Bridgewater won two Grammys and France’s top honour, a Victoire de la Musique (Best Jazz Vocal Album) in 1998 for an album tribute to Ella Fitzgerald, Dear Ella. However, her label prevailed and her Billie

This album, his first new studio recording in three years, is the closest Mark Seymour has come to making a band since the act that put him on the broader musical map, Hunters & Collectors, split in 1998. It features Cameron McKenzie on guitar and keyboards, John Favaro on bass and Pete Maslen on drums.

Holiday album was released, a wise move since it won Bridgewater her third Grammy at the 2010 awards. “It was the best thing they ever made me do,” she laughs, “because she walked me to the podium. My two Grammys I’d have to say, you know, I’ve been walked to the podium by two of our greatest jazz singers; first Ella Fitzgerald and now Billie.” The girl that became Billie Holiday spent her early years as Eleanora Fagan, hence Bridgewater’s use of that name in the album’s title. But this was always going to be a Bridgewater album, not merely Bridgewater emulating Billie Holiday. “I gave Edsel Gomez, my pianist, who did all of the arrangements, pretty much free rein on the songs. I gave him some ideas of what I wanted to do; I was very particular about what I was doing on My Mother’s Son-In-Law with [bassist] Christian [McBride] as a duet because musically we are very, very in sync in a wonderful way. And I was also pretty adamant about how I wanted to do Strange Fruit.” WHO Dee Dee Bridgewater WHAT Eleanora Fagan: To Billie With Love From Dee Dee Bridgewater (Universal) WHEN & WHERE Saturday, Sydney Opera House Concert Hall

“I don’t think the songwriting’s been affected much. I still write the same way, but I just think it’s more about allowing their physical presence, in the way they play their instruments, to affect the direction the songs take in arrangements terms; dynamics and energy and the shape of songs. That kind of came about because I just was in a real rut at the beginning of last year. I tried making a record and couldn’t get anything together that was interesting. I did write a bunch of songs and one of them I kept – there are a couple in there that go back to the beginning of last year. “But I was also just working a lot. I’m still constantly gigging and I just came to the conclusion that I had to find some other way of pushing the process forward. So I started throwing ideas at the guys – just really rudimentary things – at soundchecks because that’s when we’d be together, exploiting the time as efficiently as possible. One thing led to another and we just eventually decided we’d start recording. Just a gradual process – little decisions that got made over a few months – and then eventually I just committed to booking some studio time. We didn’t really know whether we had an album on our hands.” For Seymour, it turns out that the key to the whole thing came in the form of bass player John Favaro. “I’ve had quite a few bass players, but when he arrived, he just brought a simplicity to the picture, which I don’t think was there before. The idea of having a complete

ensemble that just works on a very simple level and bringing their own mood to the material and not questioning the material itself. “I think broadly speaking the whole journey was sort of about trusting my intuition, just only really moving forward when I felt good about what I was doing, rather than feeling like I had to kind of answer the negative voice, feel the pressure and time constraints. The whole fabric of my career has changed. I just do a lot more work and I enjoy performing much more than I used to.” One of the most obvious changes on Undertow is the greater emphasis on the stories within Seymour’s songs. “I was sort of going that way with the last album [2007’s Westgate],” he admits. “Things have been heading in that direction for quite a few years. I think one of the interesting things about this record is I think my lyrical stuff has been evolving on its own. The first track actually, Castlemaine, I wrote three different types of music for that, but it wouldn’t sit – just the mood wasn’t right – and I think that’s why things got simpler, because I’d have these ideas in my head but I knew I’d start over-painting if I didn’t have other people there to hold me back.” WHO Mark Seymour & The Undertow WHAT Undertow (Liberation) out Friday WHEN & WHERE Thursday, The Basement Circular Quay; Friday, Brass Monkey; Friday 10 & Saturday 11 June, Lizotte’s Kincumber; Sunday 12, Lizotte’s Newcastle

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THE DRUM MEDIA 24 MAY 2011 • 47 •


• 48 • THE DRUM MEDIA 24 MAY 2011


LABOUR OF LOVE

CHANGING TEXTURES

THE LONG AWAITED DEBUT ALBUM FROM SYDNEY FIVE-PIECE MEGASTICK FANFARE HAS FINALLY ARRIVED. SAM GOLDSMITH AND ADAM ZWI SAT DOWN TO TELL GISELLE NGUYEN ABOUT HOW IT CAME TO BE.

CAMERON AVERY, THE MAN BEHIND THE GROWL, TELLS SEBASTIAN D’ALONZO ABOUT HIS DIY PROCESS OF MUSIC MAKING.

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eginning as a solo project, Perth’s The Growl was always in the vision of frontman Cameron Avery. It was a project that was never meant to be a band, but an outlet to focus on songwriting whilst overcoming the learning curve of home recording. “I never really intended on releasing this EP, it was kind of more of a recording project,” he says, mentioning the band’s recently released debut EP Cleaver Leaver.

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am Goldsmith and Adam Zwi – both keyboardists/ drummers in megastick fanfare – have taken time from their university timetables to duck into a Redfern café to chat with Drum. It’s this juggling of schedules that delayed the release of the band’s debut album, grit aglow – which they started recording in 2009 – for so long. “All the writing we do, we do as a five-piece… Most of the recording was done with most of us there and we made a point of making sure as many people could be there as possible when we were making musical decisions… That’s very difficult to do with five people studying different degrees and working different jobs,” Goldsmith begins. “At this point we’re already talking about the next set of recording sessions, about how much better we can approach recording just in practical terms, like making sure that we have a decent chunk of time during which everyone will rule out as much of their other commitments as they can.” The band hadn’t released anything prior to this album besides a handful of radio-only singles and a 2009 split 7-inch with kyü. Even their song for that (Brain Tooth) appears on grit aglow. “We kind of said we’d record songs and then see how we feel about the chunk of songs and if we feel like it could be an album we’d put it on an album, if we feel like it could be an EP then we’d do that… We got to the end of the recording process and felt that these songs fit together as the first chunk of megastick and we didn’t really want to break them up,” Goldsmith adds. “All the songs changed a lot in the process of recording,” continues Zwi, “in a way that we were really happy with and they all felt really fresh to us by the time we’d finished recording.” The album is a colourful ten-song collection that echoes the exciting psychedelic sensibilities of bands like Animal Collective, but isn’t just a rehashing of influences, rather sounding quite original and inventive. Interestingly, this is the first “serious” band that all members have been in. “The main unifying feature about [the album’s songs] is that they were written in a similar time period and they represent the first batch

of stuff that we wrote. And it’s surprising, I guess, that being the first batch of songs a band wrote, they are quite different,” says Zwi. “You reckon that’s surprising?” Goldsmith counters. “Because I reckon given what we were trying at the time – which was to work out what the hell we were doing as a band, or sounded like, or wanted to sound like – I think it makes sense.” Both musicians admit the density of the material makes it “impossible” to replicate live, so performances differ from what you hear recorded. “There’s a clarity on the album that we don’t really have live, either because we’re terrible musicians or because we’re a bit more texturally and rhythmically focused with the live stuff,” says Goldsmith. “I guess it’s also the reality of live shows compared to recorded stuff,” adds Zwi. The band begins performances with ‘fanfares’, unique pieces penned especially for each individual show, and some of the album’s songs – as well as many tracks written since – originated from these semiimprovisations. “Our first couple of shows we had, like, three songs in total. We thought we should have something new,” explains Goldsmith. “It sort of became one of the ways we write songs in that a song that eventually ends up getting fleshed out fully might start out as a really small and brief idea that we played at the beginning of the set… It kind of just serves at the moment as a way of keeping ideas flowing.” WHO megastick fanfare WHAT grit aglow (Other Tongues) WHEN & WHERE Thursday, Kings Cross Hotel; Friday, Otis Bar

It wasn’t until a spontaneous gig booking that new members were recruited to create the live show. The line up now consists of fellow home studio goer and bass player Clinton Oliver (from Avery’s previous band Red Shoes Boy) and Mike Jelinek (of The Silents) and Sam Kuzich on percussion (yes, they have two drummers, but more on that later). “The Growl only came about because… there wasn’t as much experimentation in Red Shoes Boy. Like I would bring songs to jams, we’d jam and then when we go to record them it would be a live recording. Which is good in some senses but I don’t think the songwriting was really coming across.” Now, though, Avery is the one who calls the shots. He is aided by second drummer Jelinek, who got to the project late into the EP recordings, but ended up reworking and re-tracking a lot of the percussion, adding lags and off-beats for a more diverse sound. “He gave it some real unique independence after he re-tracked it.” Recording 90 per cent of the Cleaver Leaver EP himself at a home studio – and not knowing how to play any instruments apart from guitar – the drums were double tracked and pieced together in an unusual fashion. “A lot of the drums it’s not actual drums, it’s just like bits and pieces of drums overdubbed over the top of each other.” Two drummers then became a necessity to replicate the rhythm created on record. “It’s not so much two guys playing the same thing at once,” he says, “One guy will be playing in 4/4 and the other guy would be playing in an even time signature like 3/4 or something like that.” With limitations in gear and sound quality for a home studio, one microphone did most of the work as Avery does his best to describe how he achieved certain

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sounds, often through air drumming and percussive onomatopoeia. “We’ve got some weird instruments and stuff. I mean I sung some of the vocals on [With The] Sharp End [Of A] Trowel – the first track, through the pickups on my guitar which kind of gave it a really weird sound. And on 3,6,9 there’s no kick drum, just sort of ‘doon de dum dum gat’. It’s just floor tom and snare and we played all the stuff on different instruments. Like I played them with shakers, so the shaker had a really sharp attack on the snare hit.” Already with a new Growl album in the works, Avery is adamant it will remain a home recording project. “At the end of the day the studio engineer or the producer and stuff doesn’t know what you want it to sound like, which is good for people who don’t know what they want to hear sonically,” he says. “I feel like I have an idea of how I want it to sound before I start recording the song. When you’ve got that sort of strong idea in your head it gives you a lot of time to experiment when you’re on your own time.” That sound of raw garage blues rock is the end result of the process in which Avery has worked so hard, and now has an EP to show for it. “When I was making that EP I was really experimenting with changing the texture of the sound rather than having just like a bass, drums, guitar sounding thing,” he states. “I’m just really stoked to have it out.” WHO The Growl WHAT Cleaver Leaver (Shock) WHEN & WHERE Wednesday, Beach Road Hotel; Thursday, Lansdowne Hotel; Friday, The Gaelic; Saturday, Oxford Art Factory

THE DRUM MEDIA 24 MAY 2011 • 49 •


REAL GANGSTER

TIKI TAANE, NEW ZEALAND’S FRIENDLY AS HELL CROSS-GENRE SPECIALIST, TELLS TYLER MCLOUGHLAN HOW SPENDING A NIGHT IN THE BIG HOUSE HAS FURTHERED HIS CAREER PROSPECTS.

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iki Taane is puffed from dancing around his lounge to The Wiggles as Drum interrupts playtime with his son. It couldn’t be further removed from the scene on the early hours of 10 April that landed New Zealand’s own ‘King of the Dubs’ in jail following an incident with police at his Tauranga show after performing part of N.W.A’s Fuck Tha Police. “I sang the first two lines of the song and the crowd joined in for the last chanty bit,” Taane recalls of the song that has made a regular appearance in his set over the years. “The whole thing lasted thirty seconds and I did it while the police were at my gig. It was my gig, it was private, it was R18, people paid money to be there and I sang it – that’s what I do sometimes when the police are there just as a bit of a laugh, because I know it’s not illegal. But the police officer who came back an hour and fifteen minutes later who questioned me about it was really upset about it and really offended by it and it ended up with me being handcuffed, arrested and walked out through the audience, put in the police car and taken off to the cells for the night. I’ve been charged with disorderly behaviour likely to cause violence and I’m due in court on the 30th of May.” Coinciding with the current promotion and touring effort for his second solo album since leaving Salmonella Dub, titled In The World Of Light, Taane couldn’t have planned his run-in with the law better if he tried. “Since then I’ve released some T-shirts called ‘Love The Police’ that I’m selling and a percentage of that goes towards charities,” Taane says, whose extensive range of merchandise also includes teething necklaces for baby and soft toys decorated with Maori prints. “I’ve also written a song about it called Freedom To Sing, [of] which I’ve done a recording with Michael Franti as well and I’ll be releasing that as a single. So the whole thing for me is fine you know – I’ve gotten a lot of press out of it, kids think I’m real gangster now and I’m getting heaps of gig offers and it’s awesome,” he says with genuine delight.

With the hard time out of the way for now, Taane is focused on the genre-traversing set he’ll bring across the Tasman, which will please both longtime fans and newer ones brought into the fold by the success of 2007’s sweet, acoustic, chart-busting single, Always On My Mind. “I’ve been fiddling around with that genre for a while now, the acoustic stuff and the bass-heavy kind of reggae dubstep drum‘n’bass thing,” he says without missing a beat. “It sounds weird when you think about it – an acoustic set into dubstep drum‘n’bass – but it actually works really well and flows really nicely. I’ve got a couple of acoustic tracks that I can play live and then my DJ can mix into that the dance version… So it’s not like a sudden stop, bang, all of a sudden we’re into heavy shit. “This record is gonna hit more the underground… I can keep those [old] fans happy and just let them know I haven’t gone commercial, I haven’t softened up – I’m still representing bass culture and underground music. Then later on in the year I’ll release the acoustic album which I know will do really well because it’s gonna be more of a mainstream kind of thing. It’s got nice pop songs on it!” WHO Tiki Taane WHAT In The World Of Light (Stop Start/EMI) WHEN & WHERE Thursday, Penrith Panthers; Friday, Selina’s

WORTH A PICTURE

WHETHER YOU CALL HIS CREATIONS PROGRESSIVE HOUSE OR THE MORE MODERN ‘MELODIC TECHNO’, IT’S HARD TO ARGUE WITH THE ARTISTIC VISION OF ISRAELI PRODUCER GUY JUDAH. ANGUS PATERSON SPEAKS TO THE CREATIVE GENIUS BETTER KNOWN AS GUY J.

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or anyone who enjoyed Guy Judah’s compelling and surprising 2008 debut artist album, Esperanza, which saw him break the rules of what’s expected from an artist known mostly for club singles, his new album under the Guy J moniker, 1000 Words, is an even more comprehensive representation of the Israeli producer’s capabilities. Spread out over three discs, it’s positioned to be one of the year’s key releases for underground house. With the expansive collection of music on 1000 Words, he’s been allowed the luxury of both being able to meet expectations and defy them. “I think this is the fun part,” Judah says ahead of its release and his return to Australia in June. “Bedrock [Records] really gave me a free hand to do whatever I was feeling when doing the artist album. I don’t see them as a company or brand that’s about the money or the schedule, it’s about the music and it’s always been about that. I think it’s important to do something different when you’re given this opportunity. With club music, people have expectations and you’re a little more limited in what you can do; but with an artist album, it really is an opportunity to express yourself more.”

His debut artist album took everybody by surprise. While a release featuring 12 or so club tunes would have been the predictable result, instead fans were treated to a gentle and relaxed soundtrack of beautiful, down-tempo techno – similar in essence to Guy J’s club music, but removing the dancefloor drive and allowing the rich melodies and deepness more room to breathe. On the first disc of 1000 Words this approach is replicated, though this time the music is even more accomplished and varied, a polished selection of down-tempo beats, blissed-out ambience and silky smooth house. Contrastingly, on the second disc Judah happily meets our expectations and more. Essentially a carefully paced selection of club tunes that begins on the deeper end of the spectrum, the energy bubbles and builds over the running time in a journey that’s crafted in the fashion of one of your most treasured mix CDs. “With the club mix, • 50 • THE DRUM MEDIA 24 MAY 2011

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I tried to build it up really, giving one hour of growing towards something. To make it really build up, as kind of a journey and to hold together as something that really feels complete.” The third disc offers the tunes in their unmixed form, meaning we’re not denied a proper look at Guy J in his element. Along with a select few others, he’s been responsible for driving a new movement in electronic music that’s become known as ‘melodic techno’; fusing the deeper rhythms of techno with the warmer melodies of progressive house, he’s been embraced as much by the techno elite as he’s helped give an exciting new lease on life to progressive house veterans. Does he ever feel like he’s become a figurehead for pioneering a new sound? “It’s hard to for me to see it, whether or not I’m creating something new, because it’s something that comes naturally. It’s hard for me to say myself whether I’m creating a new genre – I’m not trying to make a statement about melodic techno, or to create any new special kind of genre.” Of all the producers mining this sound for creative inspiration though, Guy J is arguably still the richest and most realised, bringing something a little deeper and textured, a sense of it being alive and organic. “Every time when I make a track, I try and make it musical as much as I can. But it’s not something that you can force on yourself, or create any expectations for yourself as to how it’s gonna sound. That’s the artistic part… I have a lot of tracks that I start but I don’t finish. It’s a special process.” WHO Guy J WHAT 1000 Words (Bedrock) WHEN & WHERE Saturday 11 June, Chinese Laundry


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THE DRUM MEDIA 24 MAY 2011 • 51 •


NOT REGULAR PEOPLE GARAGE DAYS

WHICHEVER WAY THEY HEAD CREATIVELY, THERE’S NO COMPROMISE FOR SWEDISH METALLERS THE HAUNTED, AS AMIABLE FRONTMAN PETER DOLVING EXPLAINS TO BRENDAN CRABB.

BATTLING A “MASSIVE TOOTHACHE”, THE ATLANTICS’ DRUMMER PETER HOOD CHATS TO JUSTIN GREY ABOUT NEW ALBUM, COLLECTIBLES, AND MAKING GIRLS CRY IN THE GOLDEN ERA OF ROCK’N’ROLL.

T

he Haunted’s recorded career could be placed into two chapters: the blistering thrash/melodic death emanating from the violent assault of their 1998 self-titled debut through to 2004’s stellar rEVOLVEr and the far more expansive, melodic direction explored since. Suffice to say, recent releases have come under considerable fire, with Drum for example seemingly one of the few to embrace latest platter Unseen, which was otherwise critically mauled. Ask The Haunted vocalist Peter Dolving about this reaction, though, and he’s not troubled. “I’m not bothered in the slightest,” the immediately friendly vocalist emphasises. “We make our music primarily for ourselves and secondarily for the people who actually like what we do,” he laughs. “Those who don’t like what we do – we don’t go looking for you. You’re entitled to your opinion and in ten years, you might find you like that record.” If that response seems a tad tokenistic, that’s not a quality characteristic of Dolving, who is animated, engaging but also unpredictable in conversation, covering the recording process, working out, side projects and “how beautiful life is”. The band’s sevenalbum career (Dolving temporarily departed from 1998-2003) encapsulates not only a wide spectrum of sounds, but also a distinct shift in lyrical focus – from the pure vitriol dripping from their debut to the more reflective and worldly, yet still abrasive, men of today. Questioning him about the difference in mindset from their debut to 13 years later draws a loud chuckle. “I’m really happy – all of us are really happy – that we’re not those kids anymore. “We’ve been on the road since we were little kids. I don’t even know what so-called normal people with an everyday job, how they think, perceive and act. We don’t know what it’s like to have a regular job and stay in one place for a long period of time. You’re at home for two weeks and then you go again. It really changes you as a person. It’s hard to get your head around what that does to how you perceive the world. I think as an artist it’s a good headspace to be in; it’s really positive in that

• 52 • THE DRUM MEDIA 24 MAY 2011

W

the more we travel, it becomes apparent that people are much the same everywhere and enjoy similar things. There are also a lot more nice people than assholes.” Dolving documents many of these unique observations via social networking and therefore has become somewhat of a minor online celebrity in recent years. “I really like Facebook,” he says. “I live and work very solitary… I live in a house in the countryside and the only people I see are my kids – and the occasional hot woman will come and see me, which is rather enjoyable,” he adds, bursting into laughter. “It’s nice to be able to talk to people about what I’m doing as I’m doing it. I don’t like hanging out, unless it’s connected to touring. I’m a very private person when it comes down to it.” On the touring front, Dolving is surprised at how effectively the Unseen selections meld with the earlier material in the live environment, but quickly adds that he enjoys covering each of their albums at shows. “When we play live, we play a lot of stuff from our old records. We don’t say,” he begins, adopting a voice akin to a sportsground announcer, “‘Well, we’re only going to play songs from our new record, as that’s what we’re here to sell and promote’. We are there to just play with the most intensity that we can. We’re not the kind of band to ever feel forced to do this or that. If the audience enjoys it, they will show their appreciation in their own way. There is no standard of how to get something across to other people – you just have to be honest in the end.” WHO The Haunted WHEN & WHERE Friday, Manning Bar

hile The Atlantics remain best known as the Aussie surf rock legends responsible for the seminal 1963 instrumental, Bombora, a song that still boasts more heart-pounding thrills than most, there was another side to the band in its formative years in the early to mid-‘60s. As that decade gathered steam and drummer Peter Hood and guitarist Jim Skiathitis were piecing together Bombora in a house in Coogee, The Atlantics were concurrently plying the same blues-influenced garage rock that was exploding onto the charts and working the whole music world into an excited lather courtesy of The Rolling Stones, The Beatles and The Animals, to name a few. With Johnny Rebb on vocals they were covering the aforementioned bands as well as the likes of Jimi Hendrix and Cream, while also recording their own tracks with vocals. In what’s come to be recognised as The Atlantics’ ‘garage days’, originals such as the Hood-penned Come On and a wild version of Screaming Jay Hawkins’ I Put A Spell On You enjoyed modest commercial success. As Hood tells it now, the band always did vocals but decided to focus on the instrumental path due to their strong musicianship. “Usually bands of that era had one lead guitarist and one rhythm guitarist; in our case we had two super strong lead guitarists and we thought we had to use that skill and ability,” Hood explains. “So we started to do instrumentals and it was a total accident of fate that we created Bombora one day. And Bombora went on to become a massive hit and stamped us forever as an instrumental band, whereas we’d been doing vocals all along.” Now shedding some light on those garage days, The Atlantics have released Collectibles, which as its name implies is a collection of tracks that were recorded as far back as 1964 and released here and there over the years on at times obscure overseas labels. Many of the 14 tracks on Collectibles are now so hard to find that even Hood admits he doesn’t own a copy of opening track, The Good, The Bad And The Ugly, which the band recorded for an Ennio Morricone tribute album released

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by a Croatian label in 2002. With Come On and their I Put A Spell On You cover as well as a third vocal track in It’s A Hard Life, the album offers a look into the other side of The Atlantics, with Come On in particular proving they’re equally as handy with garage blues-rock as they are surf rock instrumentals. “It’s A Hard Life, Come On and I Put A Spell On You were during our era when we were trying to really get into the blues and it was a phase we were going through in the mid-to-late ‘60s,” Hood says. “Jim wrote …Hard Life, I ended up writing Come On and we covered I Put A Spell On You and those were tracks that always seemed to go down well live. I Put A Spell On You used to get the girls in the crowd really, really intense and almost crying – I don’t know why. Johnny Rebb was very good at mimicking The Animals’ vocals and Mick Jagger.” With Collectibles gathering tracks through to late-2010 recorded new number, Tequila Slammer, written by Skiathitis and current guitarist Martin Cilia, Hood says the album provides a “glimpse into the sound then, the sound later, the sound later again and the sound as of 2010”. And with the band now gearing up to launch Collectibles, Hood hints that we may yet hear more songs from The Atlantics’ garage days. “We’ve got lots of other tracks with vocals which highlight how we were at that time. Hopefully we’ll release them on subsequent albums over time – one or two or three here and there.” WHO The Atlantics WHAT Collectibles (Atlantics Music) WHEN & WHERE Friday, The Vault; Saturday, Coogee Diggers Club


THE DRUM MEDIA 24 MAY 2011 • 53 •


WITH ROSS CLELLAND

EAGLE AND THE WORM Too Young Warner Previous offerings had the now nine-piece ensemble skipping about somewhere between Latin rhythms, old T. Rex records and whatever else came out of the bag. But now aligned with one of those things we used to call ‘majors’, a fondness for Brian Wilson (with some flattened edges) becomes apparent, while the B-side – this coming on old-school vinyl, naturally – Young And Free has layers of op-shop brass and a fair approximation of Stevie Nicks’ goat vocal rippling in and out. Weirdly wonderful.

THE PAJAMA CLUB From A Friend To A Friend Lester Records This week’s Finn family instalment finds Neil drafting in the woman who has probably inspired some of the most glorious and emotional pop music of all time. That’d be his missus, Sharon. Her dancing light counterpoint vocals got some airing on the latest of those 7 Worlds Collide collective things where she held her own with likes of various Wilcos and Radioheads. This has a favourite slippers comfortable feeling to it, but that pop sense is unavoidable. Just a home hobby, a time-filler, or something more?

BEADY EYE Millionaire Liberator The somewhat more dysfunctional family story, with Gallagher the younger proving himself by pretty much sticking to the simpler end of old Oasis template – you know, the one that took the simpler end from the old Beatles template. Look, it’s not bad. Millionaire is a breezy little tune with maybe even a touch of old skiffle in there, which audiences of the faithful will find easy to sing along with while they wait to see if he’ll sing Roll With It or just call his brother a fucker. Does as little as it needs to. Much like its creator.

ARCH ENEMY

CAGE THE ELEPHANT

DEATH CAB FOR CUTIE

Century Media/EMI

Jive/Sony

Universal

Khaos Legions

Thank You Happy Birthday

Codes And Keys

Arch Enemy has copped it en masse recently from the extreme metal scene police, with most criticism seemingly rooted in their adopting a more (relatively) accessible bent. Claims questioning the Swedes’ metal credentials are ridiculous, because although hookladen, their melodic death sound remains relentless and bristling with thrash riffs. Recent albums (compilation The Root of All Evil aside) have been patchy – real gems placed alongside respectable, if less-than-stellar cuts which drew allegations of guitarist Michael Amott and company operating on autopilot. The solid Khaos Legions follows a similar formula – a mix of balltearers, a few recycled riffs and melodies and a decent chunk of filler, all impeccably produced. The Amott brothers boast immense chemistry and proficiency, but a handful of songs are again relegated to the forgettable and uninspired pile. Yesterday Is Dead And Gone is excellent, a surefire live show opener capturing all their best elements – technical prowess, strong hooks and visceral thrills. The groove-laden Under Black Flags We March is another certain live starter, and No Gods, No Masters (Angela Gossow’s cheesy “I am who I am, take it or leave it” bark included) is decidedly catchy. Overall they’ve cranked up the tempos a fraction – Cult of Chaos juggles vicious thrash with a stomping mid-tempo groove and Cruelty Without Beauty segues between startling, almost neo-classical leads and Gossow’s seething rage. If you’ve even remotely enjoyed the past few Arch Enemy records it’s difficult to envision at least not embracing selected tracks here, as they tick almost all the right boxes. That classic follow-up to 2001’s Wages of Sin still eludes them though.

Thank You Happy Birthday is a patchwork of intensity and calmness. Kentucky-bred Cage The Elephant flaunts its eclectic nature as a punk/rock outfit in this second album. It comprises all the greatest elements of ‘90s grunge rock, embellished with raucous guitar hooks, anthemic melodies and other stylistic surprises along the way. Recorded and produced by Jay Joyce, the album breathes with influences of Pixies, cemented in the opening seconds of Aberdeen. The five-piece has also taken ideas from bandmate Daniel Tichenor’s father, who contributed a guitar riff or two to Shake Me Down. The song features professionally recorded toy drums and is developed into a pop/rock track, with its catchy bridge and melodically contrasting verses. The album at times runs along the path of the typical punk/rock formula, reaffirmed by the inclusion of anthemic tracks like Around My Head and head-banger Sell Yourself, the latter also reminiscent of the anthemic nature of Rage Against the Machine’s Killing In The Name, as the repetitive chorus yells out the one phrase – “Sell yourself, don’t be a fool” – over and over again. Waltzy ballad Rubber Ball’s melancholy and circus-like aura is one of the many surprises on the album. Indy Kidz and Always Something seep into moments of psychedelia, enhanced by the wavering use of guitar reverb and loose strumming. Indy Kidz is also wound up with anger and hatred towards ‘indie hipsters’ reflected by the guttural yelling, bringing out their predominantly grungy aesthetic. These various styles have been successfully pasted together, resulting in an eclectic product that would easily gain new fans who are not necessarily into punk/rock music.

In the lead up to the release of Codes And Keys, the band’s seventh album and first since the chart-topping Narrow Stairs pushed them from indie cult(ish) favourites to global stars, chief songwriter and singer Ben Gibbard suggested that it would be the least guitar-centric effort the band had done yet. He told no fibs. As the album opens with Home Is A Fire, the warm and well-rounded bass drives in short bursts like a rapid pulse. The rhythm section of bassist Nick Harmer and drummer Jason McGerr is as tight as ever and takes a more pivotal role driving the songs, as a kaleidoscopic soundscape of guitars and samples twinkle above them. In this sense it is perhaps the closest Death Cab For Cutie has come sonically to Gibbard’s side project The Postal Service, particularly on the electronica-heavy Monday Morning.

Brendan Crabb

Celline Narinli

Dave Drayton

DUFF MCKAGAN’S LOADED

HEROES FOR HIRE

Eagle Rock/Shock

Shock

MARK SEYMOUR & THE UNDERTOW

For the most part the reverb and delay-soaked guitars serve more as atmospheric elements than the driving force of songs, with keys and piano taking a more prominent role as in the bellowed piano chorus of Doors Unlocked And Open, the modern meets antiquated pop of Portable Television and the sombre Unobstructed Views. Elsewhere uplifting strings (Stay Young…) and a yawning yearning violin (Codes And Keys) fill the void. Guitars finally emerge as the focal point midway through the album on You Are A Tourist and pull you in with a playful, optimistic riff. Similarly, album closer, Stay Young Go Dancing, begins with acoustic guitar and Gibbard’s vocals, at first a simple ditty that soon swells into the cinematic, melancholy pop that Death Cab For Cutie has rightfully made their own.

THE PANDA BAND The Fix Bam*Boo/MGM Their still quite wonderful Sleepy Little Deathtoll Town introduced them, got them on the Hottest 100 and led to… well, not much it appeared. Apparently, they’ve been off lost in America building an audience and their art. They now arc up to precede a Magoo-produced album in a couple of months. The song skips and stumbles around the room in a friendly and familiar manner, and adds a spiralling upwardly soaring Arcade Fire-like chorus just to show they’ve polished up the act. Why not be happy they’re back?

KATALYST Ready To Drop Invada Records He’s our ‘top hip hop producer’, apparently. And yes, he layers the sounds and voices with skill. The result is polished, yet somehow generic and maybe even dated sounding. Then again, he’s apparently being ‘old school’. Includes the necessary subheading, though thankfully it’s a ‘Featuring’ rather than a ‘Versus’. Kween G is that other voice, but it still sounds like it could have come from anywhere at anytime. Then again, as previously advised, some audiences crave the familiar. And this is about as familiar as it gets.

THE OWLS Sugarcane Independent Newcastle: Home to good meat-and-potatoes rock bands since time immemorial. Doing credit to the traditions of their homeland, The Owls crank it out, with enough modern flourishes – think QOTSA or the like – to make it reasonably relevant. There is an obvious energy and enough smarts to carry this along. But not sure if it’s my ears, speakers or the recording that lets it down a bit – it just seems to need a bit more, er, how you say… guts? Somebody give them a bigger budget and bigger amps. • 54 • THE DRUM MEDIA 24 MAY 2011

The Taking

It would be far too easy, and slightly disrespectful, to crap on incessantly about McKagan’s other bands, Guns N’ Roses and Velvet Revolver, as from his first solo release, Believe In Me, in 1993 McKagan has always shown enormous depth in his melody lines and challenged himself personally when it comes to song structures. Opening track, Lords Of Abbadon revolves around a singular guitar riff, with McKagan’s typical in key/off key vocals. Whilst singing is not his strong suit, the passion is more than evident throughout The Taking’s 14 tracks. We Win, for example, displays McKagan’s broadening vocal range, whilst Executioner’s Song has its roots heavily planted in a half-time hard rock groove, as does Easier Lying. The Taking is a more complete record than the band’s previous album, Sick, which may have a little to do with Terry Date (Slipknot, Deftones) producing this record, and largely due to the band focusing on hooks, whether they be vocal, rhythmic or guitar lines, and the overall result is that The Taking is a solid rock and roll album. With the tracks Indian Summer, Follow Me To Hell and Dead Skin, the emphasis is on compelling vocal lines, whilst guitars dominate on Cocaine and King Of The World.

Take One For The Team Pop/punk as a genre is often looked down on as being too sugary sweet and too juvenile for the grownup music fan, but when a band gets it right, pop/punk has a zing and fizz that can really get a party started. Western Sydney’s Heroes For Hire are, for the most part, a pretty good reflection of their genre. Most of the songs on their second album, Take One For The Team, sizzle and pop along at a frenetic, giddy pace. Produced by Paul Leavitt in Baltimore, a man with a hand in setting All Time Low on their path to pop/punk glory, Take One For The Team easily matches in quality many of its US counterparts. And like a lot of other examples of the genre, most of this album is concerned with young love – the kind that is born over a game of beer pong at a summer house party. Even so, there’s a gorgeous sparkle to choruses like The World For You that make them just as deserving of a place in the charts as any Gaga or Katy Perry song. Of course there’s the ballad, which isn’t nearly so cringeworthy as it could be, though if singer Brad Smith’s voice isn’t your cup of tea, Keep Me Safe is definitely the song that will push you over the edge.

Undertow Liberation

Undertow is Mark Seymour’s eighth studio album since he released his debut solo album in 1997 while still in Hunters & Collectors. Since then he has been plugging away as a solo artist doing his thing – gigging and a bit of surfing apparently. This album has a decidedly country rock feel, especially evident on tracks such as Legend Of The Snowmen, The Red Lady’s Gone (about a car he once owned that was stolen “by some junkie from over the river”) and Little Bridges, co-written with Angie Hart, who also provides some sweet vocals, pretty much the only feminine touch to an album which deals with a lot of masculine themes. Even the nostalgic Classrooms And Kitchens, about memories of his mother, is handled from a uniquely male perspective. The album opens with Castlemaine, which is a parable of sorts, folksy almost with its opening line which asks the listener to “…please indulge me, a story I must tell”. A good song with which to open actually, enticing the listener with the promise of a story. It’s also perhaps the album’s catchiest, with a chorus that stays with you for a while before gently drifting away.

The sad fact of the matter is that the aforementioned bands will overshadow any potential success that McKagan could experience on his own merit. And whilst bandmate Slash utilised his friends to create a buzz around his latest record, McKagan has once again shown his punk roots and released a record without huge fanfare – and that is what makes The Taking compelling.

Heroes For Hire still haven’t written that one song that catches on with people outside of their genre, like Blink-182’s All The Small Things or Fall Out Boy’s Dance, Dance, something so undeniable that its genre becomes irrelevant. But this second effort suggests they certainly could.

As an album Undertow flows well. It’s easy to listen to first go, but one that takes a few listens before really showing its true beauty. You can listen to it soft and it will blend in nicely but turn it up and go for a drive. That is where this album should be listened to – in a car on a coastal road, without any intention of getting anywhere too quickly.

James Dawson

Danielle O’Donohue

Francesca Palazzolo

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of the retro gimmick and is instead just a good tune. Nice work indeed. Liz Giuffre

FACT FILE Length: 13 tracks, one hour. Moods: Retro, warm and old school.

DID YOU KNOW

MONA

MY MORNING JACKET

Island/Universal

EMI

Mona

• Lewis Durham, the middle child of the three siblings comprising Kitty, Daisy and Lewis, cuts the band’s vinyl himself using equipment at the Exchange Mastering Service, which is owned and run by their father.

Circuital

There are major touchstones, like Kings Of Leon, U2 and worryingly, at times, Bryan Adams, that weave through the band’s big choruses. Lines In The Sand seems to combine all of those reference points by starting off as a KOL slow-burner before Bono seems to magically appear in the song as singer Nick Brown unleashes his impressive angsty howl. But while you can hear the passion in their music, it translates as an observation of emotion rather than an absorption. The single, Teenager, deserves to be plastered all over modern rock radio as it pushes all the right buttons with its moody verses, stomping flag-waving chorus and sensitive-guy bridge. Shooting From The Moon carries a nice weight of drama and grit, showing that they can write songs that sound more natural and less like attempts to match the winning recipes of those who have succeeded before them. These few highlights and a general blandness will no doubt afford Mona their moment of glory in the spotlight but you get the feeling that in five years’ time, they’ll barely rate a mention in rock’s back pages.

The hotly anticipated newie from music critics’ favourites My Morning Jacket should restore the faith of those disappointed by 2008’s all-over-the-place Evil Urges. Circuital takes its title from the lead track, which has long been performed live and is eaten up by concertgoers for its pop progression, twinkly keyboard hooks and overall jamminess. The album’s title is a reference to returning to a place where MMJ began, and sees them return to Kentucky to record for the first time since third album, It Still Moves (2003). There’s “something old and dirty about it” says frontman Jim James, who recorded this with his band live in the gym of an old church in Louisville, with horns, vocals and further instrumentation added later. Sonically, there’s less eclecticism than the last record, and it’s more focused on reverb-loving, shoe-gazing psychedelia meeting country and southern rock. Victory Dance is a slowbuilding wonder, adding layer upon layer to itself before exploding and allowing the leader a half-minute denouement to recover. The title track showcases antishredding guitarist Carl Broemel’s phrasing and melodyloving approach, bringing forth more goosebumps in a 16-bar solo than most extreme sports axemen can manage in an entire concert. First Light brings back some of the funk MMJ dabbles in, though there’s not so much of it this time around. Holdin’ On To Black Metal is the left-field track and, despite its title, has nothing to do with burning churches. Fuzz-factory guitar tones, wah’d-up horns and generous amounts of borrowing from the Thai pop song, E-Saew Tam Punha Huajai, feature. Still, it works somehow on this record. This is a very good collection from a band that’s even better live.

Chris Familton

Brent Balinski

It seems this quartet is being pushed blinking into the spotlight by both its major label and the music ‘tastemakers’ in the UK, such is the feeling of organised marketing that surrounds Mona’s debut release. Their story tells of three of the band having strict church upbringings in America’s southern states before their souls were rescued by rock and roll. To their credit, Mona does harness the fire and brimstone preacher angle in their anthemic rock rather well, but it does end up sounding for the most part a fairly generic exercise.

KITTY, DAISY AND LEWIS Smoking in Heaven Shock

This sibling trio has taken its ‘50s rock and roll sensibilities and injected it with a little ska for this new album, kicking off this vibe with first track, Tomorrow, and carrying through in particular with instrumentals like Ska Song (cryptic, I know). But fear not ye faithful fans of more traditional rockabilly, as the band also pays faithful homage to its (adopted) roots with Boogie Woogie Jam, Since You’ve Been Gone, You’ll Be Sorry (You’ll Be Mine) – featuring a very cool harmonica solo to end – and I’m Coming Home, which sounds like something the Johnny Cash estate has been sitting on, waiting for just the right opportunity to reveal. The band has, thankfully though, also expanded its scope here, with title track, Smoking In Heaven, using the same old tools but in quite a sinister way, with the only lyrics “smoking in heaven” serving almost as a threat, then a promise for a delivery that never quite arrives. Simple, repetitive and long, it shouldn’t work but it really, really does. Also, try Baby Don’t You Know, an Amy Winehouse-like sultry serenade that’s the next step after the playfulness of the usual KDL-fare, while Why You Messing With My Life is catchy and, shock, quite modern sounding. Something different, indeed. Finally, Messing With My Life really gets closer to an original sound, or at least, one that isn’t so obviously helped by the conventions of one style. It’s still recognisable as KDL, but the type of thing that has less

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• Jamaican ska legends Eddie ‘Tan Tan’ Thornton (who has played on such notable hits as The Beatles’ Got To Get You Into My Life) and trombonist Rico Rodriguez, who plays in Jools Holland’s Rhythm and Blues Orchestra, make guest appearances on Smoking In Heaven. • The trio likes to keep things in the family. Graeme Durham and Ingrid Weiss (former The Raincoats drummer), the siblings’ parents, are members of the Kitty, Daisy and Lewis live ensemble, playing guitar and double bass respectively.

THE DRUM MEDIA 24 MAY 2011 • 55 •


NEW SINGLES/EPS ROUND UP WITH ROSS CLELLAND

GURRUMUL The stylistic spread within the indigenous music community remains great, if sometimes overlooked, or patronised – which is possibly worse. Although, the reggae element remains something of a mystery, the link between Arnhem Land and Jamaica being somewhat tenuous. But for every crap dance act attempting to trade on their Aboriginality, thankfully there’s a towering, unpigeonholeable, extraordinary artist like Gurrumul. His Mala Rrakala (Skinnyfish) again allows you to get lost in the sheer glory of that voice. Doing their bit to allow some others the encouragement and voice they deserve is Music NSW’s WhichWay artist development project: Daniel Stockley’s Separation Anixety shows a lighter pop touch, a little Josh Pyke round the edges. PJ Gordon has the long traditions of Koori country music in his work, Ngemba Country suitable for a drive to Tamworth. Meantime as Ngaratya, the teenage Johnson sisters have their voices intertwine over sweet folk guitars. The band name translates as the EP’s title, Together, and that seems right. If you’re seeking something a little angrier, Tyler, The Creator may suit you. Yonkers (XL/Remote Control) is full of old-fashioned righteous hip hop anger and some industrial noise, along with some threats Bruno Mars may wish to ignore at his own risk. There’s a guy with a power-drill working in the next apartment. It’s harmonising disturbingly well. Menacing in another way – doomy, and country, and well-schnickered – Graveyard Train’s Dead Folk Dance (Spooky Records) rattles at you with a murder ballad’s delight, and jerks like a badly performed lynching. More rough country from Bang Bang Boss Kelly, their song, Damien Barber (Starving Kids Records), their style and Brisbane location giving them a good leg-up when SixftHick is looking for a support act. Keeping up their work ethic of new single every month or so, super FLORENCE jam adds Signals (Independent) to their catalogue, its choppy cross-currents offering something different again to their bluesy-psychedelic bottom line. Felix Riebl is the guy from The Cat Empire, but don’t hold that against him immediately. Recorded in the US Of A, Wide Open Rivers (MGM) lopes along in typical singer-songwriter fashion. From the sunnier climes of north Queensland, Cairns’ Emma Louise has some suitably tropical storytelling to her Full Hearts And Empty Rooms (MGM). Mark Myers, just up the road in Townsville, and member of The Middle East, produces. The Fearless Vampire Killers don’t quite sound as their name might suggest. They’re from Melbourne, and For You And Me (Independent) has some surf, some blues, and some 1968 to it. The Moniters have no such identity crisis. A debut EP, Sex City Lovers (MGM) rocks in the prescribed manner to get them on Triple M. Confusing the issue, Fatti Frances is really Raquel Solier – formerly of The Ancients and Jemima Jemima among others. She makes distant, breathy synthbased music from off in a Julee Cruise direction on I’m On My Way (Independent). Let’s call it art. Similarly sparse, but mostly built on quietly rippling piano, Agnes Obel is charting across Europe. Riverside (Play It Again Sam/Liberator) is not-as-quirky as Spektor, and not-as-visceral as PJ. Elan Tamara’s left hand on the keyboard is a little heavier, and her voice a more direct. Organ (Big Dada) will draw supporters who will write in their diaries of how the songs are talking right to them. Some cross-cultural mix from Behiye Suren’s Turkish/Australian background seeps through her melodic Season Of Plums EP (Independent) without being self-consciously ‘world music’. More quiet mood music from locals, The Duchesses. There’s just enough tension across By Morning (Independent) to keep your attention, and outbreaks of vocals which seem to be from somewhere around 1978 Manchester. There We Stand (Show Off Recordings) from Winter Street also has a slightly more energetic take on the indie style from that time and place. Perth’s Young Revelry has that same serious intent, and a richness to their You And I (Redcat Sounds) which has some vision of bigger things. Jimmy Hawk & The Endless Party are more carriers of Melbourne’s eternal folk-pop flame. Meet Me At The Party (First Love Records) swings as it should. You’ll see Dom at the Opera House next month. Not a prediction, they’re on Modular and thus on the Vivid program. There’s beeping and buzzing keyboard noise, and a suitably superior attitude to their Sun Bronzed Greek Gods. They may be being ironic. Or not. • 56 • THE DRUM MEDIA 24 M<AY 2011

PAPA VS PRETTY

SIERRA FIN

United In Isolation

Cautionary Tale Of The Beautiful Blackout

Peace And Riot/EMI

With three reasonably popular (and highly played on radio) EPs to their name already, it was bound to be interesting when Papa Vs Pretty tackled a long player. On United In Isolation, Paul McKercher’s production brings together a pastiche album with a slick and theatrical finish. The band picks and chooses, darting between folk, psychedelia, grunge, classic rock and indie, though rarely is it seamless – they seem like a band brimming with promise that have not quite found their sound. Bitter Pill is either the best parody of an ‘80s ballad ever written or a prime example of how this band is yet to settle on a coherent sound. Alongside other songs like I Felt Nothing and You Are Not In Love Anymore (which is saved by a wonderfully eclectic outro), the band’s disconcerting tendency to become a hyperbolic caricature of itself becomes apparent. There’s an element that sits somewhere between the sickening earnest and cheesiness that is a little perplexing. They are a good band though, and sometimes it works. On tracks like Honey, Look For Me and Charity Case, they elicit the kind of inspired theatricality that made Silverchair’s Diorama what it was. Life’s Got A Hold On Me and first single, One Of The Animals, possess the driving riffs of Jimmy Eat World circaBleed American. Darkest Way draws heavily on The Lemonheads by way of Kisschasy. As is apparent, their influences cannot be flawed; neither, for the most part, can their execution. Though I’m left wondering who exactly Papa Vs Pretty are.

Half A Cow/MGM

A full orchestra on a debut – moreover, a local debut – is outrageously ambitious, and yet here it is. There should be a stage show accompanying this. It plays like a musical, both to its benefit and detriment, the latter because at times it’s too complicated – the concept is dense (it’s split into “yesterday”, “today” and “tomorrow”) and some of the songs do not need such grandiosity. The centerpiece, Beautiful Blackout, works well because it’s perfectly aware of its surroundings, falling to a calm piano when needed and swelling into enormous orchestrations at just the right time, but a piece like Wrapped In Plastic speaks for itself and while the extensive instrumental section is certainly arranged impressively, it adds little beyond showiness to a song that could stand on its own. Lost Man’s Lie, similarly, is a little too excessively bombastic in its cabaret tones. At other times, though, the orchestration takes already effective songs and pushes them to hugeness – like Scrapbook, which never goes over the top – and arranges them in a way that conveys the message musically (the terrifying Claustrophobia). The orchestrations are undoubtedly stunning – opener, Death By Alarm Clock (Overture), is all the proof you need, strings and brass and wind intertwining beautifully. It’s also very cohesive, with recurring themes and titles that make it quite cyclical. There is little technically here to fault, but the problem is that the massiveness and slight pretentiousness of the album makes it hard to stomach. There’s too much happening and not enough layman explanation, and that can feel isolating and confusing. When all the flashiness is peeled back, this takes patience to really understand.

SISTER JANE Mercy

Broken Stone/MGM As Sydney edges hesitantly into a tough and bitter winter, we’re all looking for something to keep us warm. Sister Jane is that something – a big, bluesy trenchcoat, covered in a funk of dust and ready to be wrapped around your soul to stave off chill and melancholy. Mercy is the first full-length from the Blue Mountains exports and has a raw aspect that has been absent from Australian music recently. It’s a tremendously impressive debut, as well as a glorious album for a road trip. Great Highway travels the great untapped road of Aussie rock, bringing jangling guitars dangerously close to the sweet screams of front man Dan Davey. It opens Mercy with a bucketful of force and sets up a strength that flows throughout the album. Outer Suburbs Of The Soul is another powerful song, its guts delivered via grungy palm-muted guitar and the almost choral back and forth of the two vocalists. It’s loosely swung and sits comfortably in the back of your mind. Indigo Shire is a touch more laid-back, mixing gliding flute with treble heavy guitars and light drums. In some ways it’s very reminiscent of early Cloud Control – the same darling pseudo-chillwave underpinned with soaring vocals – yet brings something entirely new to the table. Mercy explores the scope of Sister Jane’s talent as a band, drifting between ambiance and rough-riding rockabilly. If you’re looking for something tight and fresh to keep you warm but can’t find a nice girl, pick up Mercy before winter hits.

Dave Drayton

Giselle Nguyen

Alex Watts

THOUSANDS

TYLER, THE CREATOR

WIM

Bella Union/Universal

XL/Remote Control

Modular

Goblin

The Sound Of Everything Here is a Seattle duo with some significant detail preceding them. Not only are they signed to prestigious label Bella Union (Fleet Foxes, Vetiver, Midlake, John Grant, Beach House), their debut album comes with the novelty of its being recorded in some rustic, very American locations. The liner notes take pains to point out that these sparse yet energetic acoustic songs were recorded in the woods, an abandoned barn, a university stairwell and other appropriately inappropriate places. The question of whether the music measures up is, however, not straightforward. This inconsistent LP, while struggling towards something of the Bon Iver sense of beautiful isolation, often falls short of that pastoralinspired gravitas. Songwriter Kristian Garrard has a knack for very short phrases of melodic excellence, yet maintaining standards over a whole album – sometimes even a whole song – is apparently a trickier business. Touchstones must be Tom Brosseau, DM Stith and the more boring morsels of Simon & Garfunkel.

Very disappointing. Yonkers remains a cool song. Some of Tyler’s beats are truly great. Goblin’s title track has some interesting insights (one example: Tyler’s newfound fame means that he doesn’t have time to skate anymore; he can barely kickflip these days). Radicals, shitty intro and lazy hook aside, has some neat moments. Sandwitches is the one you saw on Jimmy Fallon. It’s still pretty killer. Tron Cat is the album’s best, an angry, hateful, ridiculous stream of consciousness: “I’m awesome. And I fuck dolphins.” Plus, any album that features a big dose of Frank Ocean is always bound to be the better for it. Fundamentally, though, this a difficult, frustrating album. It’s music made by a melodramatic teenager for other melodramatic teenagers. It’s repetitive. It’s long. It’s filled with wild, repulsive misogyny, homophobia and strange anti-Semitism. Tyler’s concerns are, in the main, immature and pathetic. Absentee fathers are jerks, yes, but Tyler is nearly as concerned about whether critics call his music horrorcore. He doesn’t want to be a role model. He’ll stab critics with a Pitchfork. It’s all pretty drab and uninteresting stuff, and the would-be interesting material was all covered by Eminem more than ten years ago. Put simply, we’ve been here before. Yawn.

Wim

WIM’s self-titled debut is a bit of drifter, wandering between piano-filled ambiance and heart-thumping indie-pop to dark, chilling blues and laid-back mountain folk. While only nine tracks deep, the album does not feel unfinished or shallow; it’s fulfilling and ticks every box. Simply, an excellent first outing. The penultimate track, Moth, probably best encapsulates the album in a single song, showing off WIM’s harmonic talent and bluesy guts. It has the same melancholy brightness that this album is laden with, mixed with (at times) menacing drums overlaid with light guitar and bubbly organ, tied together by the whiskey-filled warmth that is front man Martin Soloman’s voice. See You Hurry is another top pick off the album, subtly hinting at WIM’s inherent folkiness with dashes of mandolin and elegant vocal harmonies. Once again, their heavy low end darkens the mood of the piece making the brief multi-vocal breaks all the more poignant.

A very good EP might have been a better option for Thousands here, as the humdrum three-quarters of this record prove that the homegrown, organic approach will work only if the songs are outstanding, and it’s not enough to simply take a four-track into the depths of the forest and expect that alone to be a catalyst for magic.

But – wait! – that’s sort of the point of this thing. It’s about including some and excluding others; Tyler is explicitly creating ‘us and them’. I’m definitely one of them. You may not be? A few solid moments aside, for me, this album feels more likely to be found on a ‘troubled’ 13 year old’s iPod than in a competent critic’s top 50.

In The Morning is a rolling piano-driven piece, stripped back and left raw and haunting. It could almost be an indie-pop anthem or a power ballad, but its delivery loses the cliche, making it instead charming and seemingly heartfelt, as well as surprisingly touching from such a young band. There’s something wholesome about this album. WIM has put together a musical effort that feels universal – an album for the downtrodden and the uplifted, for losers and winners. At times it’s completely heartbreaking, at others like the embrace of an old friend. WIM is producing material mature beyond their age that seems uncorrupted and pure, whilst still warm and dirty.

Barnaby Smith

James d’Apice

Alex Watts

Despite that pervading mediocrity, there are moments of startling charm. It may take a few listens to realise the structure of some of these very measured examples of gentile songwriting, but once inside them, songs like Everything Turned Upside Down, To Save The Truth and the very fine title track are absorbing and pretty.

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THE DRUM MEDIA 24 MAY 2011 • 57 •


METAL AMALGAMATION Orange-based metallers Deprivation chatted to Drum about the release of their debut album, Amalgam, before they launch it Saturday at Club Venom.

What’s it like being a metal band from a small town? Everyone seems to think that it would be a disadvantage for us not living in a big city, but we believe it works in our favour. Geographically, obviously it’s not ideal as we have to travel a fair distance to get to shows. However we love letting loose on the road and seeing our great country. In Orange, we don’t have 100 bands to compete against which gives us the upper hand and more opportunity to be original. The music scene in Orange has always been passionate but the actual metal scene has grown tenfold since we started out five years ago. A lot more metal bands have been coming here for shows from all over the country and we think we’ve really been the driving force behind building the metal scene here.

What would you say the theme of Amalgam is? Amalgam, to us, means the coming together of all our influences, life experiences etcetera. It’s taken some time for us to solidify our lineup and sound so it feels quite rewarding to finally have this album under our belts.

How does your live show differ from your recorded material? At our live shows you will really see the songs from the album come to life. We think we’ve captured our live sound on this record with the help of incredible producer/engineer Darren “jENK” Jenkins (Daysend, Mortal Sin, Switchblade). But obviously, a visual experience is much more of an adrenaline rush than sitting in your bedroom listening to a CD. We don’t fuck about on stage, we’re not cardboard cutouts and there’s no way you’ll be let down by coming to a show.

What are your goals for the latter half of 2011? We have booked a tour in support of Amalgam. It’ll see us visit Qld, Vic, SA, ACT and do an extensive run in NSW. We’ll be playing with the best metal bands Australia has to offer and hopefully we’ll pick up some international supports along the way! We’re always on the lookout for a label to take us on. It’s been a huge goal for us from the beginning to get our music out to as many people as we can.

• 58 • THE DRUM MEDIA 24 MAY 2011

METAL AND HARD ROCK WITH CHRIS MARIC My first draft for this week’s column was over 1700 words. The ed gives me an even thousand, so clearly this is a big week in metal – no time for chit chat, let’s get to it shall we…

Venom is the location for the official Morbid Angel after party too – where else would it be? And you might just see one of two of them lurking around after the show. The Bald Faced Stag will have its Whiplash night in full battle dress too – you really are starting to get spoiled for choice around town now aren’t ya! Four acts are confirmed this week. They are Hell Itself, Remains The Day, On The 8th Day – who are up from Wagga – and Putrefaction. There will also be the obligatory DJs jamming out all the hardcore, metal and rock you can handle out in the main bar and they have offered to spin the CDs of any local band who has one, so bring them down and have your babies heard in a public forum. Just don’t admit it’s your CD if the crowd reaction sucks. Doors are at 8pm.

Those Bards of Deutschland, Blind Guardian, are returning to our shores and this time they’re actually coming to Sydney! So practise your fist pumping and fine-tune your singalong voice for a night of ultimate power metal when The Factory becomes Middle Earth on Friday 30 September. One of the fastest drummers on the planet, George Kollias from Nile, will be out here on Monday 27 June with a blistering clinic to be held at The Basement Circular Quay. I doubt his kit will even fit on the stage! Kollias’ special guest is the one and only Dave Haley of Psycroptic. Tickets are on sale now for just $20 and are available from Allans Music/Billy Hyde. Those awesome metal warriors who are known collectively as Bane Of Isildur will be wielding their brand of war metal in Japan this June. Taking in Osaka, Nagoya and Tokyo with a bunch of local bands both with real metal names like Funeral Moth and Raging Fury and also some with a more local flavour like Gokuraku Jyoudo. Pray our warriors return home victorious. If you’re up for a laid-back Thursday, head over to the Sando, where Johnathan Devoy from Melody Black will be strumming on the old acoustic again. Joining him is Patrick Arnold.

FRIDAY It’s about that time, ain’t it? No Life Til Leather is back once again! And this time, they’ve brought Sebastian Bach! In another reminder of how old I am, one of the best albums of the very early ‘90s – Skid Row’s Slave To The Grind – is now 20 years old and DJs Sultan Of Sin and Colonel Knowledge will be playing selected tracks from it and other kick-arse glam/cock/hard rock from the decade of debauchery. As usual, there’ll be giant video screens playing the clips that time has forgotten, there’ll be giveaways and there’ll be more Skid Row than you can poke a nose chain at. So get down to Hermann’s Bar, right opposite the main gates of Sydney Uni, or you can get the fuck out! If you don’t want any part of that monkey business, head over the road to Manning Bar where The Haunted will be playing a bunch of Hate Songs and the like with

www.utopia.com.au

BLIND GUARDIAN three very impressive local bands who are primed to kick your arse, those three being Recoil, Dawn Heist and Buried In Verona.

SATURDAY Is an absolute monster of a day if you’re a metal fan… First up, the mighty Morbid Angel will be dressed in their finest black latex – well, Mr Vincent will – and they will be giving everyone a taste or two from their new album, Illud Divinum Insanus, which is out on 6 June. It’s an interesting album to say the least. There are some classic Morbid moments on there and some rather experimental tunes as well. Up at the Agincourt, sidebar heroes Deprivation will be headlining the Venom Basement in support of their debut album, Amalgam, which is also being launched on the night. Joining them on stage will be Ilcontent and local thrashers Head In A Jar. Be sure to mention Deprivation at the door and you’ll not only get in for $10 instead of $12, but you’ll be helping out the band too. Other album launches for this week are from Earache band The Soulless, who used to go by the very cumbersome name of Ignominious Incarceration (yeah, good call on the name change Digby), and also reggae-metal cool dudes and Soundwave Revolutioners Skindred.

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You know that little room at the top of the stairs in The Metro that’s near the men’s room? It’s called The Lair and Nekrofeist told me they are thrilled to be performing in the second heat for Emergenza, the largest band competition in the world, with thousands of bands competing across Europe, Asia, USA and Australia annually. Each year the winner in Australia will get the chance to play at the Taubertal festival in Rothenberg, Germany against around 20 other finalists who’ve won their country or area final. The competition needs audience votes to be successful, so go checkout some local talent and decide who deserves to make it to the next round! Tickets are $15 and available exclusively from the band, so hit ‘em up on Farcebook. If you are ‘Gong bound this evening, drop into the Cabbage Tree Hotel and catch Birdmouth, a four-piece rock band that has fused the finest elements of Southern American blues, Stoner And ‘70s rock and roll and drops all the right names like Sabbath, Down, Clutch, Orange Goblin and Kyuss as influences. I also hear that beers are only $3.70 there, so what’s your excuse? Further south into the freezing cold heart of the nation’s capital, Lab 64 will be bringing their acoustic blackness to The Basement. Along for the ride will be the definitely unacoustic proggers Centred Self and Upside Down Miss Jane. Local acts Mark Robinson and Lady Ace will be kicking off the night at 8pm. heavy@drummedia.com.au


PUNK AND HARDCORE WITH SARAH PETCHELL Rumours have been floating around for a few weeks about Doomriders hitting Australia. These were partially fuelled by Deathwish Inc (their label) posting on Tumblr that Doomriders may be heading to Australia sometime soon. While I’m sure a lot of people were excited at this news, I’m sure they didn’t expect the tour to be this soon or this big. That is, they didn’t expect it to be this July (I know I was thinking around September or so) and they didn’t expect Doomriders to be supported by Canberra’s I Exist. So there we go, the lineup of Converge bassist Nate Newton, Jebb Riley (Disappearer), Chris Pupecki (Cast Iron Hike) and new drummer Q (Clouds) will be hitting these shores for the first time in about two months. If you haven’t heard Doomriders before, I strongly suggest you check them out, especially their most recent effort, 2009’s Darkness Comes Alive. This will also be I Exist’s very first tour on the back of their new album, II: The Broken Passage. The dates for the tour are as follows: starting in Sydney at the Annandale on Saturday 23 July, they then hit the Cambridge Hotel Sunday 24 and finally on Monday 25 the last NSW show is at the ANU Bar in Canberra. I know it is in Melbourne, but the lineup to this year’s Poison City Weekender is too good to not mention here, especially for those that are planning on making the trip down. The weekend is scheduled to run from Friday 16 until Sunday 18 September, with the first two days at the East Brunswick Club and the Sunday at the Tote. This year features Bridge & Tunnel from the US. Think DC post-hardcore like Rites Of Spring or Fugazi and you’re on the right track here. Joining them will be Screamfeeder, The Nation Blue, The Hawaiian Islands, Paper Arms, The Smith Street Band, Anchors, Jen Buxton, Fires Of Waco, Grim Fandango, Headaches, The Optionals, Stolen Youth and many, many others including reunions by Mutiny and The Gifthorse. I’m seriously considering making the trip down this year. This year a limited Early Bird allocation of three-day passes will be for sale as well, but you can check out all the details on the Poison City Records website. Though not all the details have been released yet, I can announce that two of the most hyped names in punk and hardcore circles are touring together this September. They are of course Touche Amore and Title Fight, and both bands have new albums under their belts that undoubtedly fans will be dying to see performed live. Title Fight’s The Shed sees them taking a

DOOMRIDERS softer approach as they start to sound more like Brand New (at least to me) than their more pop/punk-based debut. As for Touche Amore, their Deathwish-released full-length has so much hype around it that when pre-orders went up on the Deathwish site for the record, the site crashed under the amount of traffic. Titled Parting The Sea Between Brightness And Me, the album is already having the label “Best Album of 2011” attached to it. These shows are going to be pretty big and the promoters are obviously expecting them to be considering that the Sydney show is at The Metro. The date for that show is Friday 9 September, so mark that one in your calendars and stay tuned for more details as they get revealed. After six weeks of touring the US and recording a debut album that is set to undoubtedly burst strongly into the Australian music charts, Sydney pop/punk outfit Tonight Alive has announced a headline run of dates on their own this July. They will be joined by their buddies from the Gold Coast, Skyway, for dates in most capital cities (and Wollongong). You can catch them at The Harp in Wollongong for an 18+ show on Wednesday 13 July, and then on Friday 15 July at the Annandale in Sydney for an 18+, before an all ages show in the afternoon (also at the Annandale) on Saturday 16 July. Seeing Fucked Up twice during Soundwave season was definitely one of the highlights of my gig-attending career so far, so the impending release of their most recent effort, David Comes To Life, has me shouting that THIS will be the album of 2011, hands down! The album is due for local release via Matador/Remote

Control on 3 June, and to build even more hype for the album, the band has released an almost ten-minute-long mini-documentary on the making of the album, which features interviews with band members as well as live and archival footage of the band doing what they do best – put on an amazing live show! David Comes To Life is a 78-minute rock opera set in a fictional British town during the Thatcher administration. The story is split across four acts, telling a tale of lost love, global meltdown, depression, bombs, guilt and madness. This is an epic undertaking on so many levels for this accomplished Canadian band, and honestly I can’t wait to get my hands on the thing. You can check out the video on YouTube or through most music sites (including noheroesmag.com), but definitely check it out and get psyched! Last week Parkway Drive hit town as a part of the Mix N’ Mash Tour, the only set of touring that they will do in Australia this year. The shows were awesome, as was to be expected, and now it also sits on the back of the news that Parkway Drive’s most recent effort, Deep Blue, has reached Gold status for record sales. This is both the band’s and Resist Records’ first Gold album. This ends a cycle for the album that was full of momentous occasions, including being Resist’s 100th release and selling out some of the biggest venues in Australia on last year’s Deep Blue tour, as well as taking out the inaugural ARIA award for Best Hard Rock/Heavy Metal Album for 2010.

BETHANY COSENTINO

HIPSTER MEETS POP/ PUNKS It’s a bit of an unlikely pairing, but isn’t that the nature of this beloved industry of ours? Pop/punk champs New Found Glory are currently in the studio recording their new album, Radiosurgery, and posted on their website last week that Bethany Cosentino of Best Coast had come to join them that day, contributing guest vocals to a song on the record. Above is a photo of the petite miss doing just that. Guitarist Chad Gilbert wrote: “Today our friend Bethany from the band Best Coast came into the studio and sang vocals on one of our new songs! We are totally pumped to have her guest on our record. We have been big fans of her band for a while now. We met Best Coast through the power of Twitter. The story goes, I wanted to get in to see their sold-out show at the Troubador and didn’t have a ticket. I tweeted them half kidding about putting me on the guest list! Come to find out they were NFG fans and totally hooked me up. Since then we’ve been buds! It’s refreshing when you meet a band you love that inspires you and they are actually cool people too! If you haven’t heard their newer album, Crazy for You, yet you are truly missing out. It rules!” Curiouser and curiouser. We’ll have to see how Bethany’s voice pairs up with the nasal whine of Jordan Pundik, but until then…

wakethedead@drummedia.com.au

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THE DRUM MEDIA 24 MAY 2011 • 59 •


HIP HOP WITH VIKTOR KRUM

ALL AGES WITH DAVE DRAYTON

So, the Big Village compilation is out. I’ve already had a chance to listen to it. And I had that chance before it was released. Jealous? You’re jealous. I know. But you have to realise that one of the perks of writing about Sydney rap crews is that sometimes you get to listen to their music early. It’s a magical life I live.

The Seven Hills Shoot-Out! all ages band comp is currently accepting band submissions. The comp runs heats through May, June and July at Lily’s, Seven Hills and offers a $200 cash prize for the winning band of each heat. Contact burgess_ventures@bigpond.com for more details or to enter.

Aaaanyway… It’s a cool compilation. You either agree now or you will soon. While Ellesquire’s journey of self-discovery and self-deprecation may be one of the better-told yarns you’ve heard in a little bit, it’s probably Rapaport’s solo contribution that shines the brightest. Rapaport has been around for a fairly long time. He was winning rap battles in 2002. He was recording music around that time. He’s been in various bands and championed various mini-movements. He’s also a fairly self-conscious rapper. One of the topics that most interests him (and makes for the most interesting listening) is when he gets introspective and shares a little – or a lot – of himself on the track. These rap confessionals have built up over the years and we have gradually got a clearer picture of Mr Rapaport as a little angry, a little hungry, a little anxious and a lot talented. Who’s That Guy is a culmination of all of that. Alongside the self-knowledge and introspection is confidence and cadence. It’s energetic. It’s exciting. It feels like a new moment for a man who’s been around a long time without the shine some say he deserves.

The Penshurst RSL all ages band comp continues this week with Hiding From The Gallows, EIII, Days Gone By, Kids Of Yesterday, Kids & Cousins and No Alternative battling it out for Heat 3 on Friday night.

Also worth mentioning is the live footage Big Village has put out for the posse cut from their compilation called Be My Guest. It’s a cool song and it serves as an introduction to most of the Big Villagers. Just listening to the track, though, when you’re hearing unknown rapper after unknown rapper and wondering who’s who, can be an experience confusing as it is exciting. So, what do your BV mates decide to do to help you out? They perform the track live, on the roof of Hibernian House and add some cute graphics to tell us which artist is which. The footage looks great, too. Search for it. “Elefant Traks have a new signing!” It’s a phrase that has often heralded the arrival of a previously locals-only, absurdly young and obscenely talented act on the national scene. And it has (almost) always been the herald of new rap music. Not this time. Sietta’s the newest addition to the stable. Like Mista Savona before it, Sietta has the potential to push ET’s boundaries a little bit. Sietta has What Am I Supposed To Do? up

On Saturday from 7pm, Bondi WAYS Youth Service is hosting April Falls, Dystopic, The Frogs, Your Way Sucks, Oscar & Friends and The Lucid Jefferys at the Bondi Pavilion High Tide room. It’s a great venue, a great initiative and only $7 so get down there. For the young hardcore fans Abandon All Hope, Trainwreck and Endless Heights play the Masonic Hall Blacktown on Sunday.

DIALECTRIX for free download and its new album, The Seventh Passenger, will be with you on about 22 July. (I’ll probably get it days before that. Jealous?) P-p-p-p-Pegz! His tour’s burning around the country as I type (and as you read). This week he makes his way into the ACT and New South Wales supported by Dialectrix, Choose Mics and Dutch. The shows you need to know about are in Canberra on Wednesday at the ANU Bar, The Harp in Wollongong on Thursday, the Cambridge Hotel in Newcastle on Friday and the Annandale on Saturday. The Annandale show will also feature the mighty Bingethinkers! If you’ve never caught Pegz live then correct that mistake. Firstly, he’s a talented performer. Secondly, and perhaps as important, people go nuts. You’ll be a fan in a sea of fans. Get to one of these, guys. Yeah, I’m not either Tegan or Sara and I’m not a member of the Gay and Lesbian Alliance Against Defamation (aside: get better lawyers, GLAAD. You can’t defame a group of people. You’re actually against hate speech) but I did find most of Tyler, The Creator’s hyper-hatred on Goblin a bit much. Bear in mind that I’m old so it could be my age but still… Yikes. getittogether@drummedia.com.au

Also on Sunday is the return of a fantastic event hosted by the Museum of Contemporary Art. Generation Next is a free event for teens at the MCA and features live music, exhibitions, art competitions and mocktails as well as a great crowd of like-minded young creatives. While it is free, RSVPs are essential so get in touch with generationnext@mca.com.au. A few weeks ago I mentioned a new book called Get Your Break! Recording Artists that features interviews with all kind of artists, from Ben Lee to Kate Miller-Heidke offering advice to young people looking to get into the music industry. One of the interviewees, Kisschasy’s Darren Cordeux, who speaks candidly about Kisschasy’s experiences as a young band in the book, spoke to Young And Restless about Get Your Break!. “I think it’s really great to have something like that out there for young people coming from actual musicians. When I was starting out in my band a lot of the books out there were just from people behind the scenes – the labels or the lawyers, stuff like that – so it’s really cool for young people who are looking for info into the industry to actually get it from the musos themselves – and young musicians. I mean, that’s what’s great about the book – it’s got young musicians as well as more established artists,” says Cordeux.

POP CULTURE THERAPY WITH ADAM CURLEY We pull out of the service station and she puts on a song I haven’t heard before. It’s fast and heavy and the singer is shouting about how being in love makes him feel sick.

“It’s good,” I nod. We get back out onto the highway and listen to it in silence, and I wonder what she’s thinking. Probably something about some other time she’s heard it, or maybe the first time she heard it. Some other time when I wasn’t here, where I grew up with her, where I left long ago to go towards something else, but also – maybe even mostly – to go away. Away from everything. It’s my turn, and I plug my iPhone in and put on a song I’ve been listening to lately, but it doesn’t fit, and I change it before it ends. It’s not meant for here and it doesn’t say anything about this place, and it definitely doesn’t say anything about her. “You put something on,” I say. We get to the beach and step into a café to buy drinks. The radio is playing – some community dance station – and she makes a comment about how it must drive the staff crazy having to listen to it all day. But, to me, this is what makes sense here – some young DJ playing up to his place behind the mic, talking shit about a T-Pain remix that played at some club he went to on the weekend that I’ve never heard of. The DJ ends his shift while we’re at the counter – “Laterz, surferz” – and I laugh and she gives me a confused look because she’s tuned out. Because, to her, it’s stupid. The stupid side of home; the stuff she tries to ignore because, unlike me, she never left and she has to put up with this every day. People like this. People who say ‘laterz’. We find a place on the sand and lay out our towels and I say I want to swim. “It’s too cold,” she says. Because, to her, it is. “I’m just going to read for a bit.” I go in alone, striding into the green water and standing my ground when the waves hit, then going further in and swimming out past the break. There’s barely anyone around because, I guess, they all think it’s too cold. I lie on my back and let my feet rise up in front of me, • 60 • THE DRUM MEDIA 24 MAY 2011

T-PAIN and all I can see is the marbled acres of green and white and a sweeping sheet of dark blue above them. Back where I live now – at home, or wherever – the sky doesn’t look like this. I’ve never really noticed before, but it’s almost like you can stare into it and see how far it goes, and the longer you stare the deeper the blue gets. And I’m here. Not there. And he doesn’t want me. And I don’t know what I’m doing when I get back. I don’t know what I’m doing at all. Later, when it’s dark, we go to an old friend’s house and he gets out an acoustic guitar and a stomp box he’s just bought off the internet, and she plays us a song she wrote while he makes muffled thumps with his sock-covered foot. The song is about a girl she liked once – some girl I never met – and I sit and listen as she self-consciously sings it, and I wonder what the words mean to her, or how much, or something. “You should play somewhere,” he says when the song is finished. “No, I’m not good enough for that,” she shakes her head and laughs and starts to play the riff to a different song – a Martha Wainwright song, she says. Something that makes sense to her. Like her own private radio station. She puts the guitar down and they keep talking about music and jobs and travel plans, and I pick it up, but I can’t remember any songs now, only chords, and I play them in no particular order and they don’t pay any attention. And I’m home. And I’m nowhere. breakdown@drummedia.com.au

“The great thing about the book is it’s really current, it deals with today’s issues. Back in the day all you had to do was have a hit radio single and you kind of covered all bases and now that’s only part of the puzzle. There are so many more boxes to tick; there’s the internet, there’s phone companies, there’s iTunes. There’s all these different things; you have to be giving exclusives and uploading things on Youtube and bombarding people almost with you and letting them know that you’re there. It’s exciting because it gives young bands a chance to connect with their fans in ways they never could have before. But at the same time it’s almost daunting because lots of people are doing that so you’ve got to kind of up the ante and find new exciting ways to offer something new and different. As everyone says, everyone in the industry will tell you, it’s a pretty shitty time for the record industry, but it’s a really exciting time for the overall music industry.” When asked about the best piece of advice he’d ever received Cordeux said, “Do it cause you love it. Don’t do it for money or anything like that. If you want to make money, being a musician wouldn’t be your first choice. But, it is a fucking fun job and if you can make anything that resembles a living out of it then that’s a bonus. But just do it because you love it and if you love it then that will be contagious and an audience will grab on to that.” You can get the book from getyourbreak.com.au. allages@drummedia.com.au

OTHER MUSIC FROM THE OTHER SIDE WITH BOB BAKER FISH In 1964, Phillips unveiled the compact cassette. Small and inexpensive to manufacture, it heralded the future of music, though it didn’t really take off until the ‘80s when, in conjunction with the Sony Walkman (the iPod of the ‘80s), cassettes began to outsell vinyl. Suddenly your own mix of music was portable and for the first time you were the DJ in the soundtrack to your life. By the late ‘80s, the public had embraced the format. It entered our consciousness. Even an old geezer like Cliff Richard could become the height of ‘80s cool because he was gliding along on roller skates, ‘wired for sound’ bopping along to his Walkman with a ‘head full of music.’

“I’ve been listening to this a lot,” she says.

DARREN CORDEUX

But, alas, it wasn’t to last. When CDs were unleashed onto the market in the mid ‘90s, with a propaganda campaign that would make the US military machine blush, cassettes never stood a chance. The introduction of the compact disc offered the mobility of cassettes with the promise of a perfect sound quality even greater than that of vinyl. In short, it exposed the flaws of cassette – namely that speed could vary dramatically between playback devices, it increased noise levels and deteriorated in quality over time. Everyone replaced their music collections with the newfangled CDs and record companies halted cassette production. But this is not the end of this story, because the format wars didn’t end. In fact, they never end. Whilst DJing culture has developed a fetish item out of vinyl and crate diggers scour entire continents in search of exotic rare groove, cassettes have been unable to elicit the same kind of devotion. The problem is that no one wants to DJ with tapes. They’re too fiddly to splice and the quality issues and deterioration make them unattractive formats to store music. Whilst they lasted longest in car stereos, even this was destined to end, replaced with compact discs or now Bluetooth. Even op shops can’t sell cassettes any more. The problem is that few people can play them. Even if they still own a cassette player, chances are that its heads are probably so dried and decayed that all you’ll hear is the rusty squeal of a format where the love affair has well and truly ended. With blank CDs so cheap and every garage band using GarageBand and able to manufacture their own music, cassettes seemed destined to the scrap heap. But then mp3s happened. An endless supply of free music up for grabs on the ‘net, all of which served to devalue

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music as a commodity. Music became simply files to be traded, though some people longed nostalgically for an artefact. Something to make the music special again. Simultaneously, the cassette became a signifier of cool. Something about its obsolescence appealing to designers and musicians alike, appearing as art on T-shirts, CD covers, purses, pencil cases... you name it. For musicians vinyl is too expensive. CDs are too ubiquitous, and mp3s are too ethereal. That leaves cassettes. Not only is there something subversive about using a doomed format, but there’s also a rich history of cassette culture, particular amongst the DIY punk culture of the ‘80s, to tap into. Of course there’s also our own nostalgia, of the mix tapes we created over the years. Then of course the sustainability factor, of rescuing our cassette players from the landfill. But ultimately there’s something else. It’s the distinctive qualities that cassette offers, the warm noisy tape hiss that often serves to flatten out some of the more difficult frequencies, making it more of an aesthetic decision. Then, of course, on cassette, music is never finished. As the tape deteriorates the noise floor rises and the music slips unstably into the background, evolving subtly with each listen. And with record companies desperately trying to distinguish themselves in a rapidly shrinking marketplace, all these factors become increasingly significant. Which may explain why a number of indie and experimental labels have recently begun issuing limited edition tape releases (often in conjunction with a free download). Niche labels like Touch have began issuing the odd cassette releases, whilst artists like Deerhunter, Animal Collective, Oneida and Bj Nilsen have all offered up limited edition cassette offerings. “We’re done with CDs like all smart people,” offers Brisbanebased improviser Joel Stern in discussing his latest project Sky Needle, a four-piece conceptual rock group that draws heavily on the punk/new wave of the mid ‘80s. “We dubbed the tracks down onto cassette and somehow it sounded better. And lots of my favourite releases of recent times are on cassette.” So like it or not, the cassette has returned from the dead. And in its second coming it’s less about playing and more about stroking.


BLUES AND ROOTS WITH DAN CONDON British blues legends come no more renowned than Eric Clapton. Many claim he’s overrated, but when you’re one of the most celebrated guitarists and songwriters in the entire realm of contemporary music that’s always bound to happen. Fact is, Clapton has been at the top of the pile for nigh on half a century now and has tried his hand at a huge variety of blues and rock styles – some with more success than others – and the iconic guitarist, who is well into his sixties, continues to tour and record frequently. The music of Eric Clapton is undoubtedly a massive influence on so many blues guitar players and has been for a hell of a long time. His playing style shook up rock’n’roll in a big way back in the early 1960s and amazingly its impact has not really dulled over the years. Clapton had his first taste of success with The Yardbirds in 1963; this was before the band was at the height of its powers, but their brand of Chicagoinfluenced blues, and particularly Clapton’s distinctive playing style, saw them quickly attract a very healthy following. He left that band in 1965 and when they had their first big hit, For Your Love, immediately following his departure, one would be forgiven for thinking he had just made a really stupid decision. But Clapton wasn’t too keen on the pop direction the band was taking, such was his passion for the blues, and accepted an invitation to play with the great John Mayall & The Bluesbreakers – though that tenure was very short indeed. Clapton formed Cream in 1966 and it was this band that saw him break through to mainstream stardom. The band sold millions of records and, though they

Faith, before Clapton formed Derek & The Dominos, both of whom only released one record. From 1970 Clapton has almost exclusively worked as a solo artist and has released 20 studio records so far. Beadle likes his 1994 covers record best: “I liked the sound he got from that 335 he used on From The Cradle.” Clapton also has a number of live records, none more popular than 1992’s Unplugged, a record that most adore, but some purists can’t stand. Beadle’s thoughts on the topic are simple.

RAY BEADLE were only together for a couple of years, remain one of the most influential acts in blues and hard rock today. I spoke with local gun Ray Beadle about Clapton last week and he says that Cream was a particularly important band for him. “I was about ten years old and my dad had a best of Cream album. We played it a lot. When you are that young, the things you listen to can really shape the sort of player you will become.” Indeed Clapton’s influence has endured throughout much of Beadle’s life. “He’s always been there as an influence. The biggest thing I think about when I think of Clapton is the whole ‘take your time’ approach to playing. He’s always been a tasty player; also the fact that he has had such a long career based on playing the blues.” The dissolution of Cream begat the formation of Blind

“Genius,” he says. “It was perfect timing.” Beadle is one of ten guitarists participating in Crossroads, a massive tribute to Clapton being held at the Enmore Theatre. Also on the bill are Kevin Bennett, Paul Berton, Mal Eastick, Rex Goh, Jak Housden, Dave Leslie, Kirk Lorange, Phil Manning and Peter Northcote and at the end of the night they’ll all come together for a monumental version of the Derek & The Dominos hit, Layla. As for Beadle’s personal approach, he’ll be looking beyond your usual Clapton fare. “I want to showcase the blues element and the influence that Freddy King had on Clapton. I will be playing my own style and enjoying being a part of this celebration of Eric Clapton.” Crossroads hits the Enmore Theatre Saturday 11 June. rootsdown@drummedia.com.au

CORNELL DUPREE

DUPREE’S LEGACY We pay tribute this week to Cornell Dupree, one of the most prolific rhythm and blues guitarists of the last 50 years, who passed away at his home in Fort Worth, Texas, on Saturday 8 May at the age of 69. He had been waiting for a lung transplant as a result of suffering from emphysema, the cause of his death. Dupree was known for both his solo work and contributions to other artists’ work, having played with diverse music stars from Aretha Franklin (he’s the man behind those sliding lines you hear at the start of Respect) and Miles Davis to Paul Simon, Lena Horne and Mariah Carey (the plucking at the start of Emotions is all his). He earned the name “Mr 2500” as a reference to the number of recordings he had participated in, sometimes as a leader but mostly as a first-call sideman. Dupree was first inspired to play the guitar when he heard Johnny “Guitar” Watson as a teenager and decided to teach himself to play, sitting in with older blues and R&B guitarists and moving to New York to join his first band, The Kingpins, when he was 18. He went on to become a member of Stuff, and all five of the band’s records went gold. By the mid-2000s he was performing with The Soul Survivors, an ensemble also featuring pianist Les McCann and saxophonist Ronnie Cuber. Dupree is survived by his wife, Erma Kindles, as well as three children and nine grandchildren.

JAZZ/WORLD WITH MICHAEL SMITH WEDNESDAY

Brisbane singer songwriter Bec Laughton, whose style is best described as a blue-eyed quirky soul pop and has played the Noosa Jazz and Jumpers & Jazz festivals, is in town showcasing released her debut album, At First Sight… , and heads into The Basement Circular Quay Wednesday 25 and the Manly Fig Friday 27.

Briana Cowlishaw (CD launch) – 505

THURSDAY Aaron Goldberg Trio (US) – Sound Lounge Alister Spence Trio – 505

Passionately committed not only to music but also human rights, her advocacy for which saw her made a Member of the Order of Australia, Melbourne-based singer/songwriter Kavisha Mazella comes to Sydney this week to launch her latest album, Love And Sorrow, produced by Chilean guitarist Nano Stern, Thursday in the Camelot Lounge, Marrickville, supported by Vikingo, and, returning from Brazil, The Hottentots. Friday she heads out to the UWS Hawkesbury Campus Uni Bar, Richmond, with Glenn Cardier, and presents a vocal workshop there Saturday. Saturday, Addison Road Community Centre Hall in Marrickville hosts the finale event of this year’s Greek Festival, Fiesta!, featuring Balcano with George Doukas, Kostas Polydoropoulos and Karlos Gourdos and a number of special guests, food, wine and loads of kefi. Saxophonist James Ryan takes a quartet into 505 Monday to present his tribute to the music of Coltrane. Fronted by singer Ali Hughes, Ali & The Thieves, featuring pianist and MD Daryl Wallis, bassist Michael Galeazzi (The Java Quartet) and drummer Toby Hall, are taking their personal musical exploration of the

Jonathan Hollowell – Colbourne Ave, Glebe

FRIDAY

KAVISHA MAZELLA

Aaron Goldberg Trio (US) – Sound Lounge

work of Leonard Cohen to the New York International Fringe Festival in August and to that end are putting on a fundraising performance of Leonard Cohen Koans at The Basement Circular Quay Tuesday 31. Late last year, the Jazzgroove Mothership Orchestra recorded an album of Kristin Berardi’s vocal material which, with the help of the Freedman Foundation, she’d had arranged for jazz orchestra. Tuesday 31, she and the Orchestra launch the result, Kristin Berardi Meets The Jazzgroove Mothership Orchestra, at 505.

TUESDAY The Rejavanation Band + Andy Fiddes’ Livewire – 505 Milko Foucault-Larche: tribute to Aznavour – Camelot Lounge James Valentine Quartet + Jackie Marshall – Golden Sheaf

How important is authenticity to your show in the sound, aesthetic and performance?

SATURDAY Dee Dee Bridgewater – Concert Hall, Sydney Opera House Quinsin Nachoff’s Forward Motion (Aus/Can) – Sound Lounge Bell Awards Showcase: The Subterraneans + Baz – The Basement Ilan Kidron – 505 Virna Sanzone + Lucy Hall– The Vanguard Paul Sun Trio – Larrikin’s Café, Walsh Bay blow@drummedia.com.au

The Atlantics are part of Australian rock music history, with a guitar-driven surf sound that remains timeless. The band will be promoting its latest album, Collectibles, with gigs at Vault 146 Friday and Coogee Diggers Saturday. The beachside suburb of Coogee holds a special place in the band’s heart as it’s there that their most famous song Bombora was written by guitarist Jim Skiathitis and drummer Peter Hood in a house Jim lived in with his parents in Oberon Street, way back in 1963. When guitarist Martin Cilia joined the band in 1999, unbeknownst to him, it turned out he lived just around the corner from the Bombora house when he wrote The Atlantics’ comeback album, Flight Of The Surf Guitar.

Billed as a “volcanic eruption of the musical and pugilistic arts”, Mick Daley, frontman for The Re-mains, goes one on one with fellow hillbilly crooner Den Hanrahan in the Sandringham Hotel from 8pm.

Olivia Pipitone is a Sydney-based singer and band leader who has just released a great-sounding album, Dirt Drenched Soul, highlighting her love of blues, jazz, soul and even a touch of country. Recorded live in an analogue studio, it features some fine local musicians including guitar maestro Aaron Flower, keyboard player Jerry Craib, bassist James Haselwood and drummer Cameron Reid. The album features excellent versions of Ray Charles’ Down In My Own Tears, Bob Dylan’s Simple Twist Of Fate and Nina Simone’s Buck.

Where’s the appeal for you in trad jazz and blues?

Chris Alexander Trio – Rydges Hotel Campbelltown

The 2RRR Country Music Presenters fundraiser gig scheduled for this Saturday has now been postponed until October. In the meantime, check out the station’s popular Country Roads Program heard every Sunday morning from 6am to 9am on 88.5FM for the latest country news and tunes.

WEDNESDAY

If you’re looking for a weekend escape, and a definite change of climate, why not pack the winter woolies and trek to the fabulous Blue Mountains and the Katoomba RSL this Saturday for a night with The Crooked Fiddle Band and their unique “chainsaw folk” sound? The band recently returned from the US where they recorded their first album with legendary engineer Steve Albini. Overgrown Tales will be available in June and the first single, Countess Bathory’s Finishing School For Girls, is currently available as a free download via the band’s website. The band will be supported by Steve & Aislinn Bevis in what should be a night to warm the cockles of the heart.

Before heading to the Adelaide Cabaret Festival, the 1920s and ‘30s-obsessed Tuba Skinny, whose sound embodies the New Orleans streets where they formed, is playing the Darling Harbour Jazz & Blues Festival on Sunday 12 and Monday 13 June. Ahead of their shows, we checked in with the band’s vocalist Erika Lewis.

It’s social music, simple and easy to feel and fun to play.

The widely travelled Chuck from Chuck’s Wagon finally “hitched his wagon” last Saturday when he married fiancé Jennifer Bartho at Burrawang in the Southern Highlands. Chuck has spent much of this year off the road writing songs for his upcoming album, though he did hit the saddle with the CMC Rocks The Hunter and Tomcat Miller tours.

There’s a standout version of Donny Hathaway’s I Love You More Than You’ll Ever Know and even a pumping truck driving workout on Six Days On The Road. Watch out for Pipitone and her band playing in the coming months.

GET THE SKINNY

Jess Pollard with The Doig Collective – 505

ROCKABILLY/PSYCHOBILLY/ALT.COUNTRY WITH PEDRO MANOY

CROOKED FIDDLE BAND

TUBA SKINNY

THURSDAY The Musos Club jam keeps on keeping on at the Carousel Inn at Rooty Hill.

FRIDAY The nomadic Terry Batu is at the Horsley Park Tavern and the Jive Bombers at the Windsor RSL.

SATURDAY Country trio The Amazing 3 launches a new EP at the Mars Hill Café in Church St. Parramatta along with Canadian comic Matt Gerber, and every ticket holder gets a free copy of the EP.

SUNDAY Wards Xpress plays the Tudor Hall Hotel in Redfern and The Outer Space Cowboys hit the stratosphere at the Sandringham Hotel, both gigs from 4pm. swampshack@ drummedia.com.au

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What we do is a very organic thing. We play what we feel and the aesthetic and performance aspects emerge from that. It is, however, very important for us to remain true to the roots of the music we are playing. We do not strive to accurately recreate what has already been done, but hope to do it justice while making it our own.

What kind of musical experience does playing in the streets offer? It provides a loose and unhindered arena for music making, room to make mistakes and try new things while interacting with new people. It makes music accessible, to anyone, seemingly spontaneously, which is often rewarding for both the musician and the listener.

COUNTRY WEDDING Two of the biggest names in modern American country music were wed on Saturday 14 May at the Don Strange Ranch in Texas. Miranda Lambert and Blake Shelton both said “I do” before 500 family members and friends, among them Reba McEntire, Martina McBride, Dierks Bentley, Charles Kelley of Lady Antebellum and Cee Lo Green, who judges alongside Shelton on TV talent show, The Voice. Shelton and Lambert, who have both seen countless hits, had been dating since 2006.

MCGRAW BITES BACK Country megastar Tim McGraw has been sued by his record label, Curb Records, for breach of contract. The label claims that McGraw presented the master recordings for his new album, Emotional Traffic, too closely to the completion of his last album, 2009’s Southern Voice, and so attorneys are alleging that the recordings are not “topical and new” as stipulated by the contract. According to Billboard, the contract also stated that McGraw could only record his albums “no earlier than 12 months and no later than 18 months” following the release of the previous record. McGraw has responded by stating Emotional Traffic will be the last of his records for the label, completing his contractual obligation, and has also publicly criticised Curb for the way it has released and repackaged his recordings.

HEART STOP ACHING US country singer Connie Smith is set to deliver her first album of new material in 15 years in August. Long Line Of Heartaches, through Sugar Hill Records. THE DRUM MEDIA 24 MAY 2011 • 61 •


frontrow@drumperth.com.au

THIS WEEK IN

ARTS

MARTIN FROST

TUESDAY 24

SATURDAY 28

Glittering Fröst — Swedish clarinettist Martin Fröst joins the Australian Chamber Orchestra for a repertoire of clarinet pieces by composers such as Mozart, Brahms, Ravel and more. City Recital Hall, 8pm. Repeats Wednesday 25, 7pm, and Saturday 28, 7pm. Stories Of Love And Hate — drawing on an infamous local incident, Stories Of Love And Hate interlinks personal stories about the fragile bonds that hold our society together. Created by Sydney’s gritty and distinctive Urban Theatre Projects with the communities in Bankstown and the Sutherland Shire, director Roslyn Oades set out to understand what happened on that summer’s day in Cronulla. Opening night, 7pm. Wharf 2, Sydney Theatre Company until 3 June.

Miss Burlesque NSW Heat — the finest dolls from the state compete for a place in the June final. Factory Theatre.

WEDNESDAY 25 The Man Without A Past — M is a man who has suffered amnesia after being beaten and robbed while sleeping on a park bench in the Finnish capital of Helsinki. He does not remember his name or know anything about his past. Instead of searching for his lost identity, he simply goes with the flow of life. Domain Theatre, Art Gallery of NSW, 2pm and 7:15pm. The Music Of Andrew Lloyd Webber — a greatest hits concert of the best-loved songs from such musicals as The Phantom of The Opera, Cats, Jesus Christ Superstar and Evita. Opening night. Lyric Theatre, Star City, until 29 May.

THURSDAY 26 Dungog Film Festival — Dungog’s own film festival, boasting a programme that includes The Wedding Party, Little Sparrows, Frank & Jerry and classics The Club and The Man From Snowy River. Opening night film (tonight): Oranges And Sunshine, starring Hugo Weaving and Emily Watson. Various venues, Dungog until Sunday 29.

ORANGES AND SUNSHINE • 62 • THE DRUM MEDIA 24 MAY 2011

MONDAY 30 The Adventures Of Alvin Sputnik — following a sold-out run at the 2011 Sydney Festival, The Adventures of Alvin Sputnik: Deep Sea Explorer returns to local stages. An awardwinning show that blends a unique mix of mime, puppetry, live and recorded music and animation. Opening night, 7pm. Darlinghurst Theatre until 11 June. Beached Az Live & Jon Lajoie — the popular animated series about a beached whale, Beached Az, makes its debut in a live show incarnation, for the delight of Australian audiences. The crew are joined by Canadian comedian Jon Lajoie, best known for his songs Show Me Your Genitals and Everyday Normal Guy. The Basement, 9pm.

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.” It comes with an 18+ warning too. Wharf 1, Sydney Theatre Company until 11 June. The Kiss — director Susanna Dowling brings together four plays 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. Parramatta Girls — a group of women, former inmates of the notorious Parramatta Girls Home, reunite four decades later to face the demons of their shared experiences. New Theatre until 11 June.

GIVEAWAYS What started out a a viral smash hit has evolved into a full-blown cultural sensation. Beached Az, the tale of a beached whale and his conversations with friends — all delivered with richly thuck New Zealand accents — has now become a stage show. Expect all your favourite jokes and some new ones as the creators take to the stage with props and all. Joining them is comedian Jon Lajoie, whose songs Everyday Normal Guy and Show Me Your Genitals have made him XXXXXX a YouTube hit. We’ve two double passes to their Basement show, happening Monday 30 May. For your chance to win head to the giveaways section of facebook.com/ drummedia. The next Miss Burlesque NSW heat is Saturday, the finest lasses in the state dolling up for a spot in the grand final in June. We’ve two double passes so head to facebook.com/drummedia.

LIVE

JON LAJOIE

REVIEW

SYDNEY PHILHARMONIA CHOIR: IT’S ALL ABOUT RHYTHM Concert Hall, Sydney Opera House, 15/05/11 A performance of the Sydney Philharmonia Choir’s It’s All About Rhythm season, it seemed a little bit odd that it wasn’t until the rousing

opening climaxes of Carl Orff’s Carmina Burana that the vocalists were really called into spectacular action. Initiating proceedings with George Gershwin’s Porgy And Bess — which didn’t employ the choir at all — it was a gentle ease into the Sunday afternoon, at times tense and at others forgettable with composer Brett Weymark keeping his orchestra tighter than he would the choir during the second piece, Leonard Bernstein’s West Side Story. Moments of tension and grace pulled the opening 23 minutes through, but the next piece

didn’t seem to fill the grandeur of the Opera House’s Concert Hall. It wasn’t nearly as magnetic despite soprano soloist Amelia Farrugia’s best efforts. She dominated, perhaps to the overall detriment, the piece yet reinforced her reputation as one of Australia’s best. Up to the point of Carmina Burana there was still little reason for the mass choir to be called upon, but when they were sparked into action by the always rousing O Fortuna, they delivered with great appetite

and fervour. The story behind the piece was a little bit lost during the lyric-heavy middle movements (a guest appearance by young male vocal group out of place for those unfamiliar) but the nature of the season lies within the music and not the storytelling. When involved in that, and by the second bookending and goosebump-inducing rendition of O Fortuna, the Sydney Philharmonia were exemplary. SCOTT FITZSIMONS

TINY DANCER FROM A SMALL-TOWN COUNTRY GIRL TO SOLOIST WITH THE AUSTRALIAN BALLET, AMY HARRIS HAS ENJOYED A STELLAR CAREER. SHE TELLS ALEKSIA BARRON THAT IN HER NEW ROLE, IN ORIGINAL WORK, ENCOMIUM, SHE PAYS TRIBUTE TO THE PERSON WHO MADE IT ALL POSSIBLE — HER MOTHER. The town of Ararat, in Victoria’s south-west, seems an unlikely breeding ground for one of Australia’s emerging ballet talents. However, Australian Ballet soloist Amy Harris was born and raised there, and instilled with such determination that she never considered dance out of reach as a career. “Mum took me [to ballet class] when I was about three and a half and I just found that love and that passion for it,” Harris recalls her early lessons at Rosegreens School of Dancing. While the tender age of three might seem a little early for choosing one’s passion in life, Harris doesn’t remember a time in her life when she didn’t want to be a dancer. In fact, by the age of ten, it was all but decided. “When I was about ten, eleven, my mum could see that it was something I was growing a strong passion for. We would travel down to Ballarat, an hour away from home, and I would go to ballet school there.” It’s an image of pure determination — mother and daughter, travelling by car for an hour each way, almost daily, in order to attend ballet class. In time, and with a lot of effort, it paid off. Harris ventured to Melbourne, drawn to the Australian Ballet School. “I auditioned there and at 15, I started my three-year course.” It was the start of a dream run. “At 18, I graduated and got the

job in the Australian Ballet.” Since then, Harris’s dream career has continued unabated. After six years in the company core, she received her first promotion to coryphée (a featured dancer, not yet a soloist, who often dances in small ensembles). “That was such a huge thing,” says Harris, citing it as a career highlight. Just a few months ago, she received her promotion to soloist with the Australian Ballet. She’s enjoyed some spectacular roles (Carabosse in Sleeping Beauty was a personal favourite), and is now employing her talents in a new work, Encomium, choreographed by Kevin Jackson for the company’s Bodytorque series. “It’s a bit of a strange word,” laughs Harris when asked about the show’s title. Encomium, as it happens, is a Latin word meaning ‘the praise of a person’. In this case, it’s Jackson’s mother. “It’s inspired by Kevin’s mum, and it’s kind of a tribute to her. That one word is definitely what our piece means.” The ballet tells the story of a young boy’s coming of age, as he pulls away from his mother (danced by Harris) and ventures out into the unknown, before eventually returning, as a man, to show her what he’s achieved and learned. It may seem like heady subject matter for three young dancers

to tackle, but Harris is quick to point out that ballet demands a lot from its students, as well as their parents. “I think all of us know what it’s like for our mums to let go. I mean, I left home when I was 15.” In fact, Harris is channelling much of her gratitude to her own mother into her Encomium performance. “From early on, it was clear to me that this was what I wanted

to do. I think it was obvious to myself and my mum, and that’s why we stuck with it and put in the time, travelling up and down the highway.” WHAT: Bodytorque.Muses WHERE & WHEN: Sydney Theatre Thursday 26 May to Sunday 29


frontrow@drumperth.com.au

GIRLS’ OWN

STORIES FOR KYLIE COOLWELL, TAKING A ROLE IN NEW THEATRE’S PARRAMATTA GIRLS PRODUCTION WAS A MATTER OF FAMILY, SHE TELLS DAVE DRAYTON.

Alana Valentine’s Parramatta Girls tells the story of four former inmates of the notorious home for ‘neglected’ or ‘uncontrollable’ girls during the ’50s and ’60s. Based on real testimonies the play paints a portrait of these women and their experiences through past and present. Playing the character of Marlene is Kylie Coolwell. “Parramatta Girls was on in 2007 and I remember hearing word about it from the community — that it was a really good play — and when [Valentine]

offered me the role of Marlene I was really interested in it,” Coolwell says. “It’s a wonderful role that I’m playing; Marlene’s actually based on a real life character, Marlene Riley, and it’s about her experiences of being taken and put into a home. Of course in my family, a lot of my aunties were put into homes and my mother was taken away when she was six months of age. She wasn’t put into a home, she was put in an adopted family, but she was removed from her people and her culture all her

TO BE

FRANK

Frank & Jerry is a new Australian black comedy written and directed by Nick McGee. It’s the story of an unlikely pairing, and some short, sharp and funny situations — the type of thing that Australians always seem to like, but don’t always seem to want to put on film. “It’s not a happy tale and it’s certainly not one for the kids,” Benedict Hardie — Frank — admits. “There’s quite a bit of blue language and quite a bit of laissez faire use of drugs, and yes,

the guns do come out in the climax, so all those things do come to pass... But what’s quite nice about the film is that in the middle of it these two characters Frank and Jerry have a weird ability to stay quite upbeat. Even though the situation is falling to shit around them, whether it’s through their inherent positivity or their drugaddled escapism, they always seem to be smiling and telling jokes.” The film explores what happens when a drugged-up Yankie film man (Jerry)

life and she didn’t find them until — I think she was in her teenage years when she found her mob. “Any opportunity that there is where I can portray someone which is based on real life and it’s something that affected... basically every single Aboriginal person in Australia has been affected by the policies of assimilation,” Coolwell reminds us. “It’s something close to my heart and I guess that when you’re acting out the role you’re feeling these things and they are real to

LIZ GIUFFRE TALKS TO ACTOR BENEDICT HARDIE ABOUT HIS ROLE IN FRANK & JERRY, WHICH PREMIERES AT DUNGOG FILM FESTIVAL THIS WEEKEND. and a homeless Aussie window washer (Frank) combine their powers. When this writer suggests it sounds like The Producers meets Tarantino, there’s agreement of sorts — but only of sorts. “In lots of ways it does ask you to suspend your disbelief and run with the idea that these people would even meet let alone go on and spend two hours of a film together. And like The Producers I think it is all in the name of comedy, but I think there’s also a more naturalistic undercurrent through it; it’s

you at that moment. I guess it’s kind of an act of feeling, or a way of healing. I’ve always found acting to be great like that, using things to mirror real life a lot.” The play clearly resonates with her, though after a little bit of research into her character, Coolwell discovered just how closely it hit home. “Marlene, the character, got forcibly taken on the eighth of December, which is my mother’s birthday, and she got sent to Parramatta Girls Home in 1960, which is the year my mother was born. These things were happening the same time as my mother so I guess it is a way of understanding my mother and my mother’s story because it’s the same. Even though it’s New South Wales the same thing happened in Queensland; they got taken to Cherbourg Mission or Purga Mission. My mother passed away at the age of 43. It’s a nice way to connect with her absolutely, and with my aunties. It’s kind of even more nerve-wracking — well, not nerve-wracking I guess, you just want to honour the story. It’s a story that is part of my history so I thought it was important for me as an individual, and as an actor it’s great because it’s a great role.” The dark matter of Valentine’s script is balanced with humour though, as Coolwell points out. “I know that us black fellas have used humour as a coping mechanism to deal with the horrors of what we’re experiencing ever since we’ve been colonised. I hate it when I read a play — especially if it’s something from a white writer about something Aboriginal — and they just make it so bloody depressing and dismal I just want to cut my wrists at the end. We wouldn’t be here today if it was that depressing. It’s through music and comedy that we survive.” WHAT: Parramatta Girls WHERE & WHEN: New Theatre until 11 June less over the top and more inspired by a lot of American films around the early ’90s, lots of very natural dialogue, very funny dialogue, done very fast. But, and I hate to disappoint your readers, it’s not a musical. I tried to put a few in but they kept cutting them out.” As an actor/writer/director himself, it would be easy to assume Hardie might have done his research for this film by taking a bucket and sponge to his nearest intersection, but, like all of his art, he instead just tried to observe people rather than their types or situation. “It’s easy to walk right past someone who’s homeless and not imagine them having a backstory, but actually there is one, and often it’s absolutely fascinating and a story that would be good to tell,” he explains. “I think it’s an actor’s duty to be open to all types of people and to engage with all types of people, not just specifically when you’re preparing for a role but also just as a way of getting around in the world. So I try and talk to my Big Issue salesman at least once a week and all those sorts of things, but doing that stuff just normally you find out who it is you know and you find that actually you never are too far away from interesting stories like that, people who have fallen on hard times, friends and family and things like that. You don’t go, ‘Hey, what’s it like being homeless?’, but you can just sit down and have a chat and see what makes them tick.” WHAT: Frank & Jerry WHERE & WHEN: Premiering at Dungog Film Festival Saturday 28 May

C U LT U R A L

CRINGE

JOEL EDGERTON

WITH JAMELLE WELLS Regional television bosses have been embarrassed into lifting their ban on the UK comedy Come Fly With Me. Channel Nine’s regional affiliates WIN and NBN Television decided that Little Britain stars David Walliams and Matt Lucas’s airport-based satire was inappropriate for regional audiences. But after city audiences pushed the programme to second on last Monday night’s ratings and the controversy went global on Twitter the regionals caved in. Fans took to a variety of media to condemn the ban as “antiquated” and “ridiculous censorship”. Set in a fictional British airport and modelled on a documentary series, Come Fly With Me has caused controversy in the UK. Walliams and Lucas have been accused of being racist in their portrayals of black, Asian and Middle Eastern characters. American fiction writer Philip Roth beat 12 other finalists to take home the Booker International Prize at a function at the Sydney Opera House. The prize is awarded every two years. Roth’s best known works include Portnoy’s Complaint, American Pastoral and The Human Stain. In a statement, Roth said he hopes the prize will bring his work to the attention of more readers around the world. Other finalists included Australian writer David Malouf. The Sydney Opera House second annual Graphic festival in August will include animation and music. Highlights include the first Australian appearance of seminal underground comic artist Robert Crumb in conversation with his friend and publisher Gary Groth

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of Fantagraphics. Also in the lineup is an exclusive screening of Shaun Tan’s Oscar-winning short, The Lost Thing, with the original score performed live. Australian actor Joel Edgerton has been confirmed for the role of Tom Buchanan in Baz Luhrmann’s 3D adaptation of The Great Gatsby. Edgerton will join Hollywood superstar Leonardo DiCaprio, who is playing the lead role of Jay Gatsby. Carey Mulligan is cast as Daisy Buchanan, the wife of Tom Buchanan — who is having an affair with Myrtle Wilson (Isla Fisher). Aussie Elizabeth Debicki has been cast as Jordan Baker, the love interest of Nick Carraway (Tobey Maguire), the movie’s narrator. Luhrmann has already started pre-production in Sydney, with Fox Studios his production base. The Wiggles recently entered the bidding race for the ridiculous hat worn by Princess Beatrice at the British royal wedding. The princess, the oldest daughter of Prince Andrew and a granddaughter of Queen Elizabeth II, put the hideous creation on online auction site eBay. Proceeds of the sale are split between UNICEF and British charity Children in Crisis. The Wiggles are UNICEF Australia ambassadors. The Australian Ballet has finished its 2010 financial year with a small operating surplus of $61,651, down from a $220,131 surplus the previous year. The company staged 23 works last year, up from 18 in 2009. A total of 268,282 people watched the company’s performances, with 58 percent of them subscribers and 42 percent single-ticket buyers. Apparently sponsorship fell slightly to $1.96 million in a tough corporate environment — still nothing to complain about!

REVIEW

OCEANS Oceans contains a lot of elements that would kill most other documentaries. It features a pervasive, vacuous narration from Pierce Brosnan, who constantly offers nuggets like “To understand the ocean, you have to experience it” and “Maybe instead of asking what exactly is the ocean, we should be asking who exactly are we?” among other groaners. Its eco-treastise late in the film feels too tacked-on and obligatory to register with any conviction. There’s some fascinating behind-the-scenes footage during the end credits, but you’ll have to suffer through a duet between Demi Lovato and one of the Jonas Brothers on the soundtrack. None of this really matters though, since the experience of the film — much like similar IMAX-destined

nature docos — involves simply letting one’s guard down and surrendering to the natural beauty on rich display. Director Pierre and his heroic film crew get in astonishingly close to their environmental subjects, and create an experience that absolutely requires a theatre viewing to do it justice. For all the faults, Oceans — much like its brethren, including Perrin’s own Winged Migration — is an essential big screen experience. So toke up, soak up and you’ll be tempted to agree with Brosnan’s stoner-undergrad voiceover observation: “The ocean isn’t just a giant mass of water: it’s a state of mind.” (OK, I made that one up.) WHERE & WHEN: Screening in cinemas now IAN BARR THE DRUM MEDIA 24 MAY 2011 • 63 •


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AT FIRST IT WAS A VIRAL SENSATION, THEN A POPULAR TV SERIES, AND NOW, ITS LOGICAL CONCLUSION: A LIVE SHOW. JOSH WHEATLEY TALKS TO BEACHED AZ CREATOR NICK BOSHIER ABOUT THE ROAD FROM YOUTUBE TO STAGE.

LIVE

AZ

MADE YOU

LOOK

WITH BETHANY SMALL

Absurdist small screen animated series Beached Az is making its way to the comedy stage. Revolving around a beached whale’s conversations with a variety of New Zealand-accented creatures, the hit cartoon has won legions of fans for its charming slice-of-life humour. The popular series has been screened on the ABC in minute-long instalments, with the show’s creative team now afforded the opportunity of a much longer comic set. Co-creater Nick Boshier explains, “I was originally asked by the World’s Funniest Island if they wanted us to do a show, and impulsively I just said yes. I say yes to anything that comes up, so I got myself cornered with this one.” The Cockatoo Island-based comedy festival folded before it really took off, but the concept of a live show lingered. “It’s been something we’ve been kicking around for a while, and

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honestly, we’re not quite sure how it’s all going to work out.” Boshier takes pleasure in talking about the live show and seems taken aback that it will be happening in the coming weeks. Asked how the animated series can be translated to the stage, he explains, “We’ve got a giant whale on stage, we spared no expense.” Boshier insists that the mix of puppetry and cardboard cutouts will work on stage, but he believes that live comedy shows such as Beached Az work best with a little imagination. “We watched the Mighty Boosh live tours on DVD and that’s the kind of thing we’re going for. It’s really pared back but it’s absolutely hilarious. I’m not comparing our show in any way to the greatness of theirs, but it’s the same kind of idea.” Along with co-creators Jarod Green and Anthony McFarlane, Boshier has

written entirely new material for the show and hints at the prospect of new characters. When asked if any of the comedians have a live performance background, he laughs. “No, no. And that’s a funny question because we have no experience at all. I mean, we did some things at uni, but this is something totally new to us.” However, the young comedy producer remains unfazed by the challenge and is looking forward to finally bringing his energies to the stage. “I think it’ll be a lot of fun. We’ve been working on it for a while now, and even though I’m not sure how everything is going to go...” He laughs. “No, it’ll be fine!”

we went people were talking about the show. They couldn’t get enough of it. They totally got it.” The comic writer then throws on an excited NZ voice, giving the show praise.

For a series that derives much of its humour from New Zealand mannerisms and eccentricities, Beached Az seems to have enamored itself with its targets of satire. Says Boshier, “I was in New Zealand not long ago, and wherever

WHAT: Beached Az & Jon Lajoie

Near the end of Pirates Of The Caribbean: Secret Of The Mermaid’s Womb, Johnny Depp’s Jack Sparrow observes that he doesn’t know who’s • 64 • THE DRUM MEDIA 24 MAY 2011

WHERE & WHEN: Lizotte’s Newcastle Thursday 26 May, The Hoey Moey Friday 27, Wollongong Uni Saturday 28, The Basement Monday 30

THEATRE

REVIEW

PIRATES OF THE CARIBBEAN: ON STRANGER TIDES

Starting life as a YouTube short in early 2008, the cartoon skit of a whale and a seagull went viral. Its success has spawned two television series, DVDs and T-shirts. Boshier talks proudly of the show’s success, but he and the team have several more projects in the pipeline. “We’re so lucky to be doing this kind of stuff, like the tour,” he admits. “It’ll be great fun. I promise!”

fighting who or why. In a spryer and more fun film — the first instalment in the series, for one — such a knowing moment would be a bone thrown to the audience lost in the thicket of exposition; clueing us in that the story is negligible, so just sit back and enjoy what else is on offer. Alas, in the case of Pirates Of The Carribean: Legend Of The Parrot Ghost — this time following Depp

& Co.’s overly convoluted quest for a Fountain of Youth — there’s little else to cling onto. The film plods and plods along, briskly but unaffecting. It plays a lot like an amusement park funhouse version of the series, which was based on an amusement park ride, only with the car set on double speed, so there’s nary a chance to actually process the succession of attractions. Even mermaid vampires are rendered dull. After a while, the film resembles a hungover recollection of itself: Depp’s shambling gait, silhouetted figures revealing themselves as famous actors in pirate garb, Penelope Cruz’s heaving cleavage and piercing music cues, all merging into a miasmic blur. Additionally, with its endless night scenes, Pirates Of The Carribean: Sequel Of The Sequelly Sequel has about as much business being shown in 3D as I do being elected leader of Siberia — it’s a friggin’ eyesore to look at. You’ll have more fun raising your glasses and playing a game of spot the difference. Occasionally something’ll hurtle towards the viewer — it might as well be the hand of a Hollywood mogul. WHERE & WHEN: Screening in cinemas now IAN BARR

AN IMPENDING RUPTURE OF THE BELLY Newtown Theatre A man’s home is his castle — but does that make the lawn his country? And just how far should one go to protect their suburban dream? Matt Pelfry’s An Impending Rupture Of The Belly asks all these questions in this larger-than-life suburban black comedy directed by Stephen Lloyd-Coombs. The stage is divided in three, showing the castle that protagonist Clay (Stephen James King) shares with his pregnant wife Terry (Libby Ahearn), whose performance grows stronger and more believable as the 90-minute show progresses, especially when discussing Clay’s brother, the drug-taking failed musician that is Ray, who is given a bit too much pizzazz by Daniel Jacobs. In the middle of the stage the versatile space depicts office spaces and bars that Clay inhabits with his bullying and hyperAmerican co-worker Eugene, who is played vividly by Jeremy Waters. The final third of the stage depicts a lawn, surrounded by ‘WARNING’, ‘CAUTION’ and ‘PRIVATE’ signs that set the paranoid tone for the

Have you been to the Kaldor Family Galleries yet, at the Art Gallery of New South Wales? If you haven’t, shaaaaame, this is the fourth day they’ve been officially open and there was a whole weekend of cool stuff going on there. And okay, I kind of get if you had to do Sydney Writers’ Festival stuff — that’s acceptable so long as you weren’t going to boring panels selfimportantly like the ones this stupid dude I used to know keeps tweeting about (I re-followed him because I find the rage invigorating). Oh and the MCA Zine Fair, that’s a pretty good thing to have gone to as well. See? Sydney. Things happening. Melbourne too: there’s been Art Melbourne, which I’m bummed I didn’t get down for but it would’ve been literally for two days and I am way too poor to travel on the regular; there’s been a pretty good sale at Sotheby’s and a pretty awful one at Deutscher&Hackett (the Indigenous art market still kinda sucks because: stuff to do with money and bubbles and what have you). But Sydney, you are doing well. Double the space for contemporary work at the AGNSW, major renovations happening at the MCA that Michael Stevenson has cleverly made use of as part of the navigation of his (otherwise quite dull, in my opinion) exhibition, and also lots of teeny tiny little shows with cool things happening at them at ARIs and commercial spaces. I don’t know, pay attention to MOP and Chalk Horse and

Conny Dietzchold and Sarah Cottier and Grantpirrie and James Dorahy and stuff. Well, those are the ones I have a crush on lately, anyway, but you might prefer the aMBUSH-Hardware-Oh Really style of thing, or Kudos and General Store and China Heights... anyway, the surface is there for the scratching. And frankly I am exhorting you to look at these places because it would be lovely to see some different people at these things, maybe having some conversations about things other than their Paris residencies and how “into earthworks” they’re getting. Gallery openings, come to think of it, should really be recommended for people who need help with job interviews. Or I could start yet another sideline consultancy based on that idea: How To Talk Yourself Up In Four Minutes Without Actually Lying Then Go Home To Your Room That You Live In At Your Parents’ House, with Bethany Small. Forgive me, ten openings in two days last week gave me that depression that apparently social media is giving everyone, where we all competitively display how awesome and hot we are and how amazing stuff just, like, happens to us, you know? In which we get destroyed by society and innovations in communications and all that. But you really do have to wonder, you know, when the AGNSW and the MCA are all pally-pally on Twitter, is that for real or is it frenemy action? It always comes back to the teenage girl playbook.

REVIEWS piece. Here the infuriating Doug, a burly jock played by Dave Jones, oversees the placement of dog shits that become ticking time bombs. James King and Waters steal the show; while it lags at times their tit-for-tat banter gives this small production the feeling of a tongue-in-cheek Hollywood blockbuster. Until 4 June DAVE DRAYTON

THE KISS Downstairs, Belvoir St Theatre Before a montage of embraces, lips locked in black and white projected on a wall, Rita Kalnejais sits on a non-descript chair. She idly fingers the low neckline of a white top, twirls strands of hair round her fingers with a seductive femininity. She is Aunt Collete, the voice of Guy de Maupassant’s The Kiss, informing an innocent niece of the power of the kiss and of affection. It is simple but pleasurable, a wonderful opener for director Susanna Dowling’s staging of four short stories with a shared title. From here we are thrown into

the oppressive heat of Darwin in monsoon season for Peter Goldsworthy’s short story, the standout of the four. Yalin Ozucelik and Steve Rodgers are brimming with boyish energy and rash teenage exuberance. On the search for a swim the drunken twosome soon find themselves in a water tower and wonderful production puts us there with them. Deep blue light, the sound of splashing water — both frantic and placid — and an ominous echo to their voices. Bodies hang in suspense, tired and trying while despair, like the monsoon rains, looms close. From this tight and coherent opening half things begin to unravel. Kate Chopin’s story giving us the first real taste of flirtation, of wanting the kiss, but it teases, falling clumsily into Chekov’s tale. Ozuceliks’ portrayal of Ryabovitch, a meek man amidst romantic revelation, is powerful, but sits oddly on a bold comedic adaption that tries to manage the numerous characters with a four-person cast but does not quite hit the mark. Until 12 June DAVE DRAYTON


S ! N AY PE D O RS U TH

“A DIVERSE, EXCITING PROGRAM” The Brag 2010

WATER WORKS

WONDERS

A movie about a struggling circus in America’s Great Depression may not seem the most pertinent or trendy, but Water For Elephants is an oldfashioned Hollywood romance with a darker, more contemporary subtext. It ain’t no throwback to the Marx Brothers’ At The Circus. Water For Elephants is adapted from Sara Gruen’s best-selling novel and directed by Francis Lawrence, whose previous work includes Constantine and I Am Legend. (He’s likewise overseen music videos, such as Beyoncé’s Run The World (Girls).) It centres on Jacob Jankowski (Robert Pattinson), who, close to finishing his veterinary studies at Cornell University, suddenly loses his parents in a road accident. Dazed on discovering the extent of their debts, he stows away on a circus train. The charismatic and intimidating ringmaster August Rosenbluth (Inglourious Basterds’ Christoph Waltz) gives him the job of keeping its menagerie. Jankowski must break-in an elephant (screen veteran Tai, whose trainers have this week been accused of past mistreatment) and he falls in love with Rosenbluth’s performer wife, Marlena (Reese Witherspoon). The tale, sublimating themes of animal, domestic and workplace abuse, is told in flashback by an elderly Jankowski (eightysomething Hal Holbrook). Pattinson is famed for his portrayal of Edward Cullen in The Twilight Saga but, a reluctant teen heartthrob, he’s determined to pursue credible and even risky endeavours. Apart from appearing in Remember Me (for which he served as an executive producer), the Brit has lately completed an adaptation of Guy de Maupassant’s Bel Ami, depicting an unscrupulous journalist, and has scored the lead in David Cronenberg’s Cosmopolis. Yet before that vampire franchise, he rendered Salvador Dalí in Little

Ashes. Pattinson, whom Lawrence has compared to James Dean, holds his own alongside Witherspoon and Waltz, both Oscar winners. The diminutive Witherspoon, perceived as the archetypal Southern ‘lady’, is witty yet unexpectedly tenacious in person. Pattinson is a mix of English public schoolboy charm and indie-kid insouciance. Says the mildmannered Lawrence, “Reese was the first person who I ever pitched for the role of Marlena — the first and only person who I actually ever pitched for the role. I knew that I wanted a very American actress to play the part of Marlena. She’s a fantastic actress — she’s smart and sexy and funny, but she’s also pretty tough underneath the smile and the jokes. The character’s a bit of a survivor — and I wanted to have some of that toughness inside. “And Rob, I knew that I wanted to cast him when I sat down with him, because I think that he himself is a lot like the character of Jacob Jankowski. There’s kind of a purity to his heart, and a warmth. Sometimes he pretends to be a little cynical, but he’s not. I knew that if we got some of that on screen, we’d be in good shape.” Pattinson has suggested that he’s inherently pessimistic — did channelling Jankowski change that? “Did I say that in an interview?,” he says with a laugh. “I don’t really see the worst in everything. I guess I’m quite a positive person. I never really know which parts of the character are you and which parts you’ve kind of created for the movie. But I had a nice time making [WFE]. It made me feel more positive about film-making afterwards, so maybe that was to do with the character.” Curiously, in his inaugural film, and prior to Harry Potter And The Goblet Of Fire, Pattinson played Witherspoon’s son. It was Mira

Nair’s Vanity Fair — but Pattinson’s scene ended up on the proverbial cutting-room floor. It’s ironic, too, that in Water For Elephants the newly remarried Witherspoon is a woman contemplating adultery. However, she empathised with Marlena’s desperation. “She’s in such a particular marriage that’s so voluble and abusive... and particularly being a woman in the 1930s with no education, no job opportunities, no real options in life, I think the idea of getting out of a marriage is terrifying but also sort of thrilling — and then a cute guy comes to town, what are you gonna do?” she says. “Really, you dangle a steak in front of a pitbull... you know what I’m sayin’?” Water For Elephants is, Witherspoon maintains, about “second chances”. Gruen researched exhaustively but, like some historical novels, it’s almost too obviously formulated. Lawrence’s visceral — and sumptuous — movie is more realistic. (Jacqueline West’s costume designs for Witherspoon were modelled on those of ’30s cinematic starlets like Jean Harlow.) The director abandoned the maudlin facets of the book dealing with Jankowski’s decline and sharpened Waltz’ character. “There’s a character named Uncle Al, who was actually the [circus] owner/operator in the book, and we combined him with August to make up August the ringmaster and the owner/operator,” he explains. “That did a bunch for us in terms of his character — because he was schizophrenic in the book. We gave him a bit of logic and took the schizophrenia away to sort of add some layers and a little more humanity to his role.”

Dana Stephensen & Brett Simon • Photography—Paul Empson

CYCLONE TALKS TO WATER FOR ELEPHANTS DIRECTOR FRANCIS LAWRENCE AND ACTRESS REESE WITHERSPOON.

FIVE NEW BALLETS FROM THE CHOREOGRAPHIC STARS OF TOMORROW AND THE DANCE STARS OF TODAY SYDNEY THEATRE AT WALSH BAY 26 – 29 MAY

BOOK NOW Tickets $36 – $65* sydneytheatre.org.au or 02 9250 1999 *Transaction fee of $7 – $8 may apply

MORE INFO australianballet.com.au

WHAT: Water For Elephants WHERE & WHEN: Screening in cinemas now THE DRUM MEDIA 24 MAY 2011 • 65 •


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THE JOIE OF

COMEDY Have you ever watched L’auberge du chien noir? Of course not. Why would you watch a French-Canadian sitcom living in Australia. You have, however, probably come across actor Jon Lajoie’s work elsewhere, as he has accumulated millions of YouTube hits with a series of parody songs and infomercials. The success of his YouTube presence has been converted into a stage show, which recently took him to Iceland for a surprisingly good tour.’ “You know what, I was kinda worried about it,” he admits. “I was really worried that they wouldn’t get subtle

things in my show where I’m not just screaming out ‘penis’ and ‘vagina’. “They got all of it man! They got tiny little absurdist kinda jokes; when I played around with language they’d get it and of course they’d get the boner jokes. So it was really surprising and great, and they have a really dark sense of humour.” Just that quote alone should give a pretty clear indication of his humour. His creations, such as the WTF Collective — a piss-take rap group which features Lajoie playing 12 rappers including MC Shit My Pants Frequently, MC Gets Sidetracked Easily, MC Lethal Weapons 1,2, & 3 and MC

IN A WORLD WHERE YOUTUBE FAME CAN BE FLEETING, JON LAJOIE HAS FOUND SUCCESS, DAVE DRAYTON ASKS HIM,.. ER... ‘SHOW ME YOUR GENITALS.’

Lethal Weapon 4 — were born from a love of hip hop and rap that started in Lajoie’s Montreal basement. “I enjoy some really good hip hop. For example the new Beastie Boys album is really awesome. I did a bit of rapping — never publically — I recorded in my basement on my cassette and make a little beat on a Casio keyboard.” After some prompting he delivers on those earlier verses, which already revealed his penchant for weed and normality, “‘It doesn’t matter if you’re white, black, yellow or brown, it’s the green that makes the whole world go round. It ain’t all about the money, it ain’t all

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about the fame,’ Man, that is some deep shit! “When I was in my late teens and early 20s I was in a band and that musical training comes from being in a band for four years. We were very unsuccessful, but worked our arses off; rehearsing three nights a week, doing shows constantly in front of no one. I kind of taught myself how to sing that way and to play guitar and to write songs and by the end when I was fed up with the whole thing I quit the band. That eventually led to me going, ‘What do I enjoy doing?’ And basically the only thing I could come up with was

comedy, so I gave that a shot. I used all that musical knowledge to sing about my genitals and getting high, basically. “The reason I went to musical comedy was really a technical one. I was making these videos with a really shitty camera that had a shitty mic on it and the audio was always bad, I couldn’t get good audio. I just knew through messing around with the audio software that if I imported audio I could just think up images and it would just kind of have a more professional feel, ’cause you wouldn’t hear the terrible hiss and bad sound of my camera. So I was like, ‘I’ll record a song and then think up images,’ and I recorded High As Fuck and went into some field near my house and just shot some images, so the musical comedy thing actually comes out of a weird technicality that I was trying to overcome and when people responded to High As Fuck I was like, ‘Oh shit, musical comedy, alright, I’ll take this,’” Lajoie explains his unexpected early success. Though, as he points out, if you’re writing songs about smoking weed and genitals for YouTube it’s hard to miss the mark, “That internet audience, half of the people are high and half of the people are just masturbating… and most of them are probably high and are doing both.” While you can’t masturbate during his stage show (unless you purchase one of the ‘public masturbator trenchcoats’ he has made an advertisement for), there’s still the opportunity for a laugh. “If they’ve seen the clips and enjoy my sensibilities then they’ll definitely enjoy the show. I’m not necessarily getting up on stage and performing my videos. There’s a lot of stand-up; I do a few little bits and pieces, I do a

course on creating successful online videos and of course do the songs that people expect me to do and the songs that people wanna hear. It’s not just the songs reproduced on stage though, I’d be bored and I think the audience would be as well. “Everyday Normal Guy comes in at one point, and the MC Vagina character comes in at one point. You know, I mean, I’m always kind of in character ’cause I’m very insecure and a very sad person so I have to be in character regardless. I’m always kind of playing a character on stage.” This raises an interesting point. We’ve seen Jon Lajoie the misogynistic rapper, Jon Lajoie who is ‘high as fuck’, Jon Lajoie who ‘has hookers for lunch every day’. So who, exactly, is the real Jon Lajoie? Could he please stand up? “You know what, he’s very uninteresting. When people meet me they expect wackiness but I really channel that into my comedy and my videos and when I’m acting, I channel everything that’s interesting about me into those things. So I’m just generally uninteresting I guess,” he concludes dismissively with a chuckle. If nothing else you can head to the show and see if the merch stand is stocking any of the great products Lajoie spruiks online. You know; paedophile beards, rapist glasses, serial killer vans and “not giving a fuck”. WHAT: Beached Az & Jon Lajoie WHERE & WHEN: Lizotte’s Newcastle Thursday 26 May, The Hoey Moey Friday 27, Wollongong Uni Saturday 28, The Basement Monday 30


live@drummedia.com.au TRIAL KENNEDY @ THE ANNANDALE HOTEL PIC: LINDA HELLER-SALVADOR

NATIONAL

TRIAL KENNEDY

NUMBERS RADIO THE IVYS

Annandale Hotel 21/05/11

Last time Trial Kennedy played in Sydney, two months ago at Spectrum, young Sydney band The Ivys supported. They were back again for this show at the Annandale and seemed even more confident with their live show. Once again their early songs relied a little too heavily on the jittery rhythms of 2004/2005 indie rock, but when they shrugged off their Interpol-esque influences and wandered into a more expansive and unexpected territory, they really showed so much more potential. The booming drums and squealing guitars were worthy of capturing the crowd’s attention. Brisbane three-piece Numbers Radio hasn’t narrowed down its influences to one particular genre. There was Shihad-style classical hard rock, At The Drive In-esque post-hardcore and stoner rock a la Tumbleweed all floating around in the band’s frenetic sounds. Drummer Mark Henman gave the band a lot of power out the back and there were plenty of dirty riffs giving the songs life, but the band never seemed to quite reach the potential they suggested. Trial Kennedy has long grown out of its influences and settled comfortably into a sound of its own. The band’s new album, Living Undesigned, came out a week ago and the set mixed old and new. Though the crowd seemed stand offish at times, several older songs like Colour Day Tours and Neighbours sparked them into action. Hopefully the new songs don’t take long to settle into the set, because there were some here that are among this band’s best tracks, such as set opener Sally, single Best Of Tomorrow and the very danceable Exology, with the latter packed with plenty of sparkle and fizz, really making use of touring member Haydn Buxton on keys. It’s been a turbulent 18 months for the band, but when Trial Kennedy took to the stage they looked and sounded as fresh as they ever have. The enthusiasm the band has for playing live is refreshing and there was plenty of interaction between the four. This band has become a consistently solid rock show. Danielle O’Donohue

COLIN HAY: May 24 The Basement Circular Quay JACKSON MCLAREN: May 25 The Vanguard, May 26 Brass Monkey BEC LAUGHTON: May 25 The Basement Circular Quay, May 27 Manly Fig PEGZ: May 25 ANU Bar, May 26 Harp Hotel, May 27 Cambridge Hotel, May 28 Annandale Hotel AMY MEREDITH: May 25 Wollongong Uni, May 26 Level One, May 27 The Metro, Jun 10 ANU Refectory THE HEARTBREAK CLUB: May 25 Great Northern Hotel Newcastle, May 26 Blush Nightclub, May 27 Lansdowne Hotel THE GROWL: May 25 Beach Road Hotel, May 26 Lansdowne Hotel, May 27 The Gaelic, May 28 Oxford Art Factory ELECTRIC EMPIRE*: May 26 Beach Road Hotel THE AMITY AFFLICTION: May 26 & 27 UNSW Roundhouse DAVE GRANEY & THE LURID YELLOW MIST: May 26 Lizotte’s Dee Why, May 27 Lizotte’s Kincumber, May 28 Lizotte’s Newcastle THE YEARLINGS: May 26 Lizotte’s Kincumber, May 27 Clarendon Guesthouse, May 29 The Vanguard, Jun 1 The Front 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 ELECTRIC ZOO feat. GARCON GARCON, DJ SVETA, DIVINE KNIGHTS*: May 28 The

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BLISS N ESO

FEATURE TOUR

ARIA award winners Bliss N Eso have been on the up and up lately, especially with the release of their fourth album, Running On Air, last year – their first platinum-selling record. The hip hoppers are currently on its biggest national tour yet, seeing two stops at the Hordern Pavilion this week for shows that promise to be brimming with explosive energy. Friday and Saturday, they’re joined by locals Horrorshow and Big B, visiting from the USA.

Red Rattler 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 NEW DUB CITY SOUND*: Jun 2 Beach Road Hotel GHOUL, COLLARBONES: Jun 3 GoodGod BACHELOR GIRL: Jun 3 The Basement Circular Quay THE AVALANCHES (DJ SET): Jun 3 Opera House Studio HOSS*: Jun 3 Sandringham Hotel TUNED IN feat. KOOLISM, BRIGGS, TUKA*: Jun 3 Oxford Art Factory 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 Lansdowne Hotel 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 GHOSTWOOD*: Jun 4 Northern Star, Jun 30 The Harp THE DELTA RIGGS: Jun 5 Waves, Jun 9 Old Manly Boatshed, Jun 10 Lansdowne Hotel KYLIE MINOGUE: Jun 7, 8 & 11 Sydney Entertainment Centre THE GAPP PROJECT: Jun 8 The Basement Circular Quay SIETTA*: Jun 8 The Vanguard TELEPROMPTER: Jun 9 GoodGod, Jun 10 Great Northern Newcastle AIRBOURNE: Jun 9 Bar On The Hill, Jun 10 Wollongong Uni, Jun 11 The Metro OSCAR + MARTIN*: Jun 10 GoodGod LITTLE RED: Jun 10 The Metro [ME]: Jun 10 Tone THE ART: Jun 10 Annandale Hotel RADIO STAR*: Jun 10 World Bar SONS OF RICO: Jun 10 Spectrum, Jun 11 Great Northern Newcastle THE MONITERS*: Jun 10 Great Northern Newcastle, Jun 11 Lansdowne Hotel DREAM KIT: Jun 11 Marrickville Bowling Club ARREBATO ENSEMBLE: Jun 11 The Studio SARAH MCLEOD*: Jun 11 The Vanguard, Jun 12 Brass Monkey, Jun 16 & 17 Clarendon Guesthouse, Jun 30 Lizotte’s Dee Why, Jul 1 Lizotte’s Kincumber, Jul 7 Lizotte’s Newcastle, Jul 8 Vault 146, Jul 9 Waves, Jul 16 Coogee Diggers ILLY: Jun 12 Waves KARNIVOOL: Jun 15 ANU Bar, Jun 16 Waves, Jun 17 Penrith Panthers, Jun 18 UNSW Roundhouse, Jun 19 Newcastle Panthers GEORGIA FAIR, DANIEL LEE

KENDALL*: Jun 15 Otis Bar, Jun 16 Notes, Jun 17 Brass Monkey, Jun 18 The Loft, Jul 6 Front Gallery TEX PERKINS & THE DARK HORSES: Jun 16 Factory Theatre NINE SONS OF DAN*: Jun 16 Spectrum, Jun 18 The Patch, Jun 22 Cambridge Hotel THE POTBELLEEZ*: Jun 16 Oxford Art Factory, Jun 17 Waves, Jun 18 King Street Hotel, Jul 1 Southern Cross Club, Aug 11 The Cube, Aug 12 Mounties, Aug 13 Penrith Panthers STORM IN A TEA CUP feat. HUSKY, TINPAN ORANGE, HARRY JAMES ANGUS: Jun 17 Factory Theatre COERCE: Jun 17 Hermanns Bar ITCH-E & SCRATCH-E*: Jun 17 King St Hotel, Jun 18 Chinese Laundry 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, Jun 23 The Factory 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 JACK LADDER & THE DREAMLANDERS*: Jun 18 Kings Cross Hotel 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 DRUM MEDIA 24 MAY 2011 • 67 •


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GYPSY & THE CAT

WIM

Metro Theatre 20/05/11 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 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 SNEAKY SOUND SYSTEM*: Jul 2 The Metro PHATCHANCE & COPTIC SOLDIER: Jul 2 Oxford Art Factory JAMES BLUNDELL*: Jul 6 Brass Monkey, Jul 7 The Basement Circular Quay, Jul 8 Milton Theatre

INTERNATIONAL PROPAGANDHI: May 24 ANU Bar, May 25 Newcastle Uni, May 26 The Metro, May 27 Wollongong Uni KURTIS BLOW: May 26 Tone FREDDIE WHITE: May 26 Notes, Jun 10 Vault 146, Jun 25 Clarendon Guesthouse 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 NU:TONE, MC LOWQUI: May 28 Chinese Laundry 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 • 68 • THE DRUM MEDIA 24 MAY 2011

THE GRATES

DRUM PRESENTS

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, Aug 16 The Metro BLUE KING BROWN: Jun 4 The Metro COME TOGETHER: Jun 11 Big Top Luna Park THE MIDDLE EAST: Jun 17 The Metro, Jun 19 Cambridge Hotel, Jun 23 The Factory 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 THE HIVES: Jul 28 Hordern Pavilion MONA: Jul 28 Annandale Hotel FOSTER THE PEOPLE: Jul 29 The Metro THE VACCINES: Aug 2 The Metro KELE: Aug 3 The Metro FUNK N GROOVES: Sep 10 Pokolbin SEBADOH: Sep 21 The Metro

JOAN AS POLICE WOMAN*: Jun 2 Street Theatre, Jun 3 Lizotte’s Newcastle, Jun 9 The Factory 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 FRICTION: Jun 4 Oxford Art Factory JESPER DAHLBACK: Jun 4 Chinese Laundry 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 KISSES*: Jun 10 The Gaelic, Jun 11 Trinity Bar THE PROXY*: Jun 10 Onefiveone, Jun 12 Trinity Bar, Jun 12 Fake Club GUY J: Jun 11 Chinese Laundry KID SUBLIME: Jun 11 Marrickville Bowling Club

STEVE IGNORANT: Jun 11 Salmagundi Studios RON CARTER TRIO: Jun 12 The Basement Circular Quay ONYX*: Jun 12 The Gaelic AGNELLI & NELSON: Jun 12 The Metro 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 JIMMY WEBB*: Jun 22 The Basement Circular Quay, Jul 6 Street Theatre, Jul 7 Sutherland Entertainment Centre 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 & 29 The Metro MILEY CYRUS: Jun 26 & 27 Acer Arena THE BLACK ANGELS: Jul 1 The Metro MICAH P HINSON*: Jul 1 Brass Monkey, Jul 2 The Gaelic, Jul 3 Clarendon Guesthouse

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 SING ALONG*: Jul 16 Annandale Hotel SLAUGHTERFEST IV*: Jul 30 Sandringham 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

Sporting sleeves of glow sticks and a glittery headband, it was impossible not to be drawn to WIM’s lead singer Martin Solomon – and that was before he even opened his mouth. What ensued was a delicious fusion of folk, gypsy and psychedelic rock led by the melancholic, Buckley-esque vocals of Solomon. His voice was captivating; warm and rich, it wandered from soul wrenching lows to soaring falsetto highs and with beautiful harmonies in support, their music held quite an ethereal and cinematic air. They were excellent at building tension, bowing the guitar to create lilting peddle notes overlayed with driving keys, pulsing bass and an array of rhythm and percussion. Their closer Anytime was a particularly good example of this, building from a soft, pondering ballad to an epic climax with layers of thundering drums. By this time The Metro was near full and while the start of the song was slightly lost on the buzzing crowd, the end had captured everyone’s attention, complete with swinging hips and flying arms.

Sadly after five songs it became clear the boring beat was a stayer. Having said this, their harmonies were tight and they put on a good show, obviously doing something right as the crowd showered them with screaming and writhing adoration. They encored with the track everyone had been waiting for all night – Jona Vark – and you would have been hard pressed to find a body not dancing along to it in that blissful, summerparty state that they conjure up so well. Alex Hardy

It was to an almighty roar that Gypsy & The Cat took to the stage and launched straight into The Piper’s Song, an instant crowd pleaser complete with mass singalong. This established the tone for the whole set, with their polished pop melodies easily satisfying most of the enthusiastic crowd with catchy hooks, singalong choruses and that infectiously happy, teen-dream vibe. What did start to grate was their insistent use of the same basic, ‘80s-style rock beat for every song. The fact that the duo had expanded to a four-piece for the show may have been a contributing factor, however it seemed desperately obvious that some simple rhythm and tempo variations were needed.

MIKE NOGA

DAISY M TULLEY

Notes 18/05/11

As the philosophers of ZZ Top observed: ‘Every girl crazy ‘bout a sharp-dressed man’. Mike Noga may not quite be living that creed, but knows, appreciates and congratulates his purchase of his new well-cut jacket. Conversely, he takes a swipe at the unnamed member of his combo who has broken the unwritten ‘no blue jeans’ rule. Standards people, standards. Then again, that band of himself, Gus Agars and Pat Bourke could wear hessian sacks and still sound better than fine. Somewhat more bohemian in her wardrobe was Daisy M Tulley. Like the headliner she is perhaps better known for her membership of another combo – if unaware, in her other life she’s the violining dervish of Bridezilla. Here, she was a little more reflective, but confident in her quieter songs of youthful experience. This year’s model Mike Noga is a bit different. Fronting his five-piece Gentlemen Of Fortune, he had a band that could build up to a goodly racket. Here, in acousticguitar led three-piece – and built around the damn good The Balladeer Hunter album – it’s more Dylan than Drones. Noga was a relaxed host, even if the plates being cleared from the diners still made this a little too polite for ‘rock’. Chatty and wry, the band was having some fun. A few songs stood out as centrepieces. Piss On A Butterfly’s thought process is a winner, even as he built in references to his heroes – Prince and Lennon certainly present, plus Dylan, of course. But that $20 (”or 50, or maybe I’ll just buy you a drink…”) he offers should you spot all the influencers may well remained unclaimed, as there’s a lot of himself in there too. Nick Lowe’s 14 Days was a well-picked cover – the camelbreaking straw of it sitting well here. The band deserted for the mortal melancholy of I Will Have Nothing. It’s the one that’s almost too human. And how could you not like – and perhaps identify with – a tune that rejoiced in the title All My Friends Are Alcoholics? The man’s an honest entertainment with a band that works. Quality. Ross Clelland

GYPSY & THE CAT @ METRO THEATRE. PIC: LINDA HELLER-SALVADOR

stubbornly pitched in folk lachrymose mode), Davis couldn’t hide the fact she possesses some disarming melodies. It took a while for her to get emboldened enough to roll out the tunes with edge, yet she is still on the cusp of providing quite a vivid experience. Between them, offsider Leroy Lee and Davis utilised a myriad of instruments, but man that banjo needs to grow balls if they want to make reasonable use of the thing. It was folk music with an Australian and indie inner city lilt. Watch this space. Lissie, on the other hand, knows not what diffidence means. She just ripped into her show, attacking the melody-thick tunes with glorious abandon and a sharp nose for fun. It doesn’t hurt she has a cracking band at her disposal, with guitarist Eric Sullivan reeling off a series of blistering salvos. The live performance took tunes off her recordings to a different, more visceral level. The unique shapes thrown by the male harmony vocals provided constant enjoyment. Whether working with the come-hither rock’n’roll burr and high plains party yelp of Lissie, or riding high on the muscular riffing, they helped define and differentiate the show. The tightness of the band provided a focused, integrated context that allowed Lissie space for her thrilling singing, but didn’t feel like they were merely a vehicle for the star. Tunes from various stages of her career so far crept in, with Cuckoo, Bully, In Sleep and Everywhere I Go amongst them. Lissie clearly has an ear for a cute pop hook and then weaves it into her original blend of pop, folk and rock that has a faintly southern tang about it. This is not complicated music, but it’s fun-fat and full of interest all the way through. The woman has a reputation for her affability and humility. Both were evident tonight. Even when the tunes threatened to become anthemic, her natural modesty pulled them back into line, delivering grit, sweat and power. The only jarring notes were a couple of covers – Maxine Nightingale’s Right Back Where We Started From in particular – that seemed out of sync with the musical path she is forging (the Hank Williams one notwithstanding). Craig N Pearce

MAD BASTARDS TRIO

EVIL J & SAINT CECILIA MICHAEL DORMAN

LISSIE

EMMA DAVIS

Notes 20/05/11

Oxford Art Factory 17/05/11 Emma Davis is a young woman with the capacity, but not currently the inclination, to emerge from her mild, sometimes painfully shy and self-flagellating cocoon. Despite her seeming best efforts (her voice stayed

Michael Dorman did an excellent job of warming up the crowd with his soulful, blues infused playing and self effacing small talk. Looking very comfortable on stage, Dorman’s casual manner matched his musical style – easy but not boring. Dorman used a variety of playing techniques, pedals and effects, managing to keep things interesting by subtlety changing his style of playing with

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live@drummedia.com.au each song, thus cleverly showcasing that he is no one trick pony. He left the crowd wanting more, which is pretty good going for an acoustic opening act.

forthcoming album and a highly questionable, yet wellreceived, cover of Limp Bizkit’s Break Stuff completed their set.

By contrast, Evil J & Saint Cecilia’s act seemed kind of two dimensional. The drum machine employed for the first couple of songs sounded rather amateurish, although this may have been intentional. The guitar based duo, however, had such amazing harmonies one could easily assume the girls were sisters, but if not sisters by blood, musically these two are certainly joined at the hip. Their songs ranged from psychedelic folk to country pop, but they sounded best while playing the country ballad that emphasised their vocals and harmonies. The crowd seemed to enjoy this one too.

The tour’s concept was showcasing a range of styles and from that perspective, on paper American pop/punkers The Wonder Years were a welcome addition. Reality was a little less kind – while energetic, their sickly sweet melodies were too inoffensive to resonate and the crowd noticeably thinned for them. Frontman Dan Campbell’s cringe-inducing banter didn’t help matters. A late addition, much to the delight of the numerous pit ninjas, fellow Americans Miss May I were also in the breakdown-ridden metalcore mould. Enthusiastic and clearly enjoying themselves, if also largely generic, they utilised the tried-and-true (although somewhat hackneyed by now) “wall of death” and elicited by far the most movement, as well as singalongs, thus far.

The Mad Bastards Trio is a collaboration of the home grown talents of two Australian acts who come from different sides of the country both geographically and culturally. Alex Lloyd is a boy from the city and the Pigram Brothers are Broome’s most well known indigenous musical exports. They have come together to produce a soundtrack for Australian film Mad Bastards and are touring on the back of this. The show was largely a sit down affair and featured Lloyd on acoustic guitar and the Pigram brothers on mandolin and guitar. It was a beautiful set with some standout songs, particularly Slow Train and Nothing Really Matters, but it was Lloyd’s stunning rendition of Hallelujah that drew rapturous applause from the audience. Francesca Palazzolo

PARKWAY DRIVE

MISS MAY I THE WONDER YEARS CONFESSION ELITE ELEMENT

WIN Entertainment Centre 22/05/11

Even with guitarist Luke Kilpatrick resigned to a wheelchair due to an alleged recent ankle injury, Parkway Drive still brought their trademark energy and exuberance. Opening with a crunching Boneyards and incorporating many of the stronger offerings from gold-selling latest disc Deep Blue (Sleepwalker, Karma, Deliver Me), the quintet was typically crowd-pleasing. It’s Hard To Speak Without A Tongue was accompanied by band members riding skateboards, frontman Winston McCall packing a grin wider than the Grand Canyon and an unidentified individual dressed in a shark suit crowdsurfing with the aid of a bodyboard. Romance Is Dead’s refrain of, “So cry me a fucking river, bitch!” remains as immature as ever, but was still afforded one of the loudest and most violent reactions of anything in their arsenal. The crowd didn’t require much prompting to do the band’s bidding, but to their credit they worked hard to earn the rapturous response and the encore of Unrest and Carrion ended proceedings in a wave of countless stage invaders and giant Parkway Drive beach balls. Another triumph for Byron Bay’s finest. Brendan Crabb

Opening the reshuffled Mix N’ Mash tour line-up, South Coast crew Elite Element played by far their biggest show yet and a sizeable crowd was on hand for their Underoath-esque metalcore. Both band and crowd enjoyed the warm-up, especially those with a penchant for moshing. The pit intensity kicked up several notches for Melbourne’s Confession. While their brand of hardcore was rather tedious, bodies flailed about everywhere and outspoken frontman Michael Crafter led his charges through their paces. Material from their

DAVE GRANEY & THE LURID YELLOW MIST

Notes 19/05/11

It’s a brave man who’ll open his show with a song that references various combos and songs from his own history. To then remove his jacket to reveal the souvenir ringer t-shirt from his unexpected King Of Pop victory back in the mid-‘90s only reinforced the thought. But ladies and gents, this is Dave Graney, so you kind of understand. And We Don’t Belong To Anybody, as that starting song said. This go-round of his latest aggregation, Dave Graney & The Lurid Yellow Mist, has him revisiting his own 20-year back catalogue. Thus, it was all guns blazing from the off. Rock N Roll Is Where I Hide, Feelin’ Kinda Sporty, Night Of The Wolverine – the latter so popular that one of the diners down front kept yelling for it all night. “Er, we’ve already played that one,” the man informed her. A few times. It’s also a band that, as Graney so succinctly puts it, ‘cooks’. Among them, the mostly unflappable

THE BAMBOOS

THE PSYDE PROJECTS PAPER PLANE PROJECT

to Sydney. Bands don’t mark these milestones as often as they should, so it was a great chance for newcomers to check out why The Bamboos are so highly rated and for the fans to celebrate a band still at the peak of their powers. Paper Plane Project opened with an impressive set that slinkily bounced its way through hip hop, Latin, electro and soul styles. They sounded futuristic and funky in a relaxed way, even when they were digging back into sounds that were popularised years earlier. At times they threatened to settle too comfortably into cafe beats, but managed to keep the sound tight enough and the grooves supple enough to deal out a very cool set. The Psyde Projects were another kettle of fish. They ditched the understated cool angle and rocked a solid set of party tunes that kept bringing to mind those magic years in the ‘80s where hip hop sounded fresh and uncomplicated. Mr Moonshine was solid on all manner of instruments while MCs ILResponce and D’Fro spat rapid fire rhymes that ranged from the disposable comic lines to some world class lyrical dexterity. The Bamboos then took the evening to another level that combined supreme musicianship, eminently danceable rhythms and a semi-detached cool that could have come across as aloof and cocky, but instead was humbly affable. For two hours the band segued seamlessly between tracks as if they were DJing their own songs. The instrumental numbers they opened with set them up as a young Melbournian take on James Brown’s The Famous Flames, before singer Kylie Auldist joined them and showed why she is so highly regarded with her infectious stage presence and a voice ranging from sweet serenade to bluesy holler. Being their birthday, they dug into all parts of their discography including covers of Kings Of Leon’s King Of The Rodeo and the funk classic Tighten Up. It isn’t often you see a band play with such precision and skill for a sustained period and though their set felt 20 minutes too long, they still had the dancefloor moving right to the end. The Bamboos showed they don’t intend easing up on the funk anytime soon. Chris Familton

Manning Bar 20/05/11

JOHN GRANT

Melbourne’s The Bamboos have been laying down the funk for a decade now and to celebrate they had a hometown birthday blow-out before bringing the party

Clare Moore. The king’s consort for 30 years, but it’s sometime overlooked that she’s actually a hell of a good drummer. He’s lucky to have her. We also were regaled with a reading from Graney’s new book, 1001 Australian Nights (“also available at the table by the door…”). We learned that – among other things – Sydney is “the gold tooth of the Pacific” and an all-fruit diet is “good for your internal economy”. This is a volume with all the answers. An interval was taken. The second half was more of the hits and near misses – Birds ‘N’ Goats, The Sheriff Of Hell. There was even a wardrobe change, with Graney channelling Lou Reed’s leather-panted gay biker look of the early ‘70s. Homage? Piss take? Don’t care. Occasional Elvis karate moves. Whoops and hollers with added asides: “I’m buying!” and, more puzzlingly, “What did I step in!?” And the final glories were a howling I’m Gonna Release Your Soul, before bassist Stu Thomas took the lead for run at Prince’s Sign O’ The Times that bubbled with real style. The end – You’re Just Too Hip Baby. If you didn’t know already. Ross Clelland

DAISY M TULLEY The Vanguard 20/05/11

The evening’s support act, Daisy M Tulley, is a lovely presence in search of a point of difference. It was bedroom folk and unless she ups the ante that’s where it will stay. The voice has an attractive tone but it stays medium, level, predictable – as do the tunes and as does the instrumental articulation. It’s like looking at a rocket on a launch pad – when do we take off? John Grant is a hirsute Sinatra for modern times. Hearing his gorgeous, languorous voice is like having syrup poured on your soul. His performance was essentially an intimate showcase for his 2010 album Queen Of Denmark. It’s not often that musical shows are so specifically album-centred. In time, these songs may evolve into other entities, at least in their live rendition, so it was a real treat to hear this complementary collection rendered collectively through a singular vision. This is a vision that is more than a little David Lynchian. As superficially (and sometimes intrinsically) romantic as the music sounds, it often seethes with discontent. This is discontent and disgust centred on John Grant’s self as much as anyone else. As much as self-pity is wallowed in, however, there is also a wry tongue stuck firmly in the cheek. Grant is the first to recognise the gallows humour in his inclination to go down the drama queen path. Piano and synthesiser were the primary sonic foils to The Voice, with Chris Pemberton and Grant swapping instruments at will. The lunar, guttural screeches and other leftfield effects of the synthesiser cut through the mood and added further dynamics to the songs’ spiralling beauty and power.

DAVE GRANEY & THE LURID YELLOW MIST @ NOTES. PIC: JOSH GROOM

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The gravitas and authority inherent in the songs and Grant’s singing is really quite incredible. The voice is more consuming live than on the album. And even though the album was recorded using Midlake as ostensibly a ‘backing band’, the simplicity of the live show delivered, if anything, greater impact. Certainly, the self-deprecating humour came through loud and clear. All together, this made the music more human and deeply affecting than ever. So personal. So intimate. So believable. The melodic hooks seemed sharper and the songs’ blood, bone and gristle delivered greater insight into the pain that caused them and the resilience that allowed this pain to be faced and dealt with. Craig N Pearce

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CITY LIGHTS FADE What’s the title of your new EP? The title is Strikes Back, which in part is a reference to our love of movies, and also it feels like it’s a rebirth of this band since our last release back in 2009.

How many releases do you have now? This is currently our second independent release. Both produced by Chris Maguire.

How long did it take to write/record? The first song that was tracked way back in February 2010 was Doctor Doctor. The amount of time we all spent perfecting each song before locking it off as done was long and tedious. Just when you think a song is done either another melody is thought of, or another guitar part/drum part etc. An example of this is a song called Chasing – we spent the better part of six weeks on preproduction alone for this one song, then ten minutes before we were about to track vocals we changed the melody for the chorus, which also had to be re-written. We are notorious for doing massive overhauls on songs in the studio.

Was anything in particular inspiring you during the making? One thing that is inspirational that really had an effect on the overall outcome of this CD was made up of four factors. In no order they were the other guys in the band, our producer Chris Maguire, bringing out something original and not a recycled sound that compares you to other bands in our genre and just life in general.

What’s your favourite song on it? Turn Up The Stereo, mainly because we have a good friend of ours, Brett Islaub (The Mission In Motion), doing some guest vocals on it during the bridge.

Will you do anything differently next time? A lot of people will say time frame between releases, but there were certain factors involved that were out of our control that made up the reasons for taking a year to write and record this EP, but in saying that if you rush something there is always the “oh I wish I could have done something differently in this part” when you finish recording. With this there are none of those moments because everything we wanted to do on the record we did.

Will you be launching it? Friday – Oxford Art Factory

For more info see: facebook.com/citylightsfade twitter.com/citylightsfade myspace.com/citylightsfade

FLY IN Falcon down to Falcona Fridays this week for a hot mess of a lineup: Joyride, Hansom, Hobo, Starjumps and F.R.I.E.N.D DJ will all be taking the stage at Kit & Kaboodle from 8pm.

HERE COMES THE PARADE Jazz comes to Camelot Lounge on Sunday with The Cope Street Parade, bringing a swag of tunes and influences to the venue.

LESS THAN STRENGTH Newcastle Leagues will be holding an all ages concert this Friday, where all proceeds will head towards Less Than Strength, a non-profit organisation that helps to raise awareness about suicide and depression. With over eight bands including Torpedo Vegas, The Cavalcade and The Stellar Affect playing from 6pm, it’ll be a great night to come out and support.

NO CATS JUST FIDDLES The Crooked Fiddle Band is flitting up to Katoomba RSL this Saturday for an 8pm show this week. The selfconfessed “chainsaw folk vigilantes” will be supported by Steve & Aislinn Bevis. THE DRUM MEDIA 24 MAY 2011 • 69 •


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GROWING UP HE MIGHT HAVE BEEN WRITING PROLIFICALLY SINCE HIS EARLY TEENS, BUT MELBOURNE-BASED SINGER/ SONGWRITER JACKSON MCLAREN ADMITS HE’S STILL REALLY ONLY BEGINNING TO LEARN HIS CRAFT. HE CHATS TO MICHAEL SMITH.

B

THE OWLS

Sugarcane

What’s the song about? Sugarcane is simply a song about addiction.

Is this track from a forthcoming/existing release? This song is being released as the first of four singles that we will be releasing through the year.

How long did it take to write/record? The whole song came to us very quickly. We all had a few ideas floating around and they all came together really well. We recorded live as we wanted to capture the essence of the song and got it all down pretty fast. Postproduction, however, took a little longer as we wanted to give the song a bit more depth. We wanted to put the time in emphasising finer details, to make sure that even after listening a few times, the listener could take away something new each time.

efore he settled into the studio to record his second EP, Mirrors And Strings, Jackson Mclaren decided to take himself off to Tasmania for a month, taking only a backpack, his guitar and a laptop. “I thought I’d go exploring for a while and grow up a bit,” he laughs, “and learn to get on by myself without having to rely on other people. I actually chose to go to Tasmania because I don’t actually know anybody that lives there.” Mclaren, who was born and raised in Warrnambool in coastal Victoria and released his self-titled debut EP, produced by Josh Pyke, in 2009, is one of those songwriters who writes all the time. So the Tasmanian adventure wasn’t necessarily about revitalising the muse or anything, though one of the songs on the new EP, the

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Do you play it differently live?

Mclaren’s managed to open for some pretty impressive acts, among them American singer/songwriters Jay Brennan and Howie Day, as well as The Frames’ Glen Hansard’s duo project The Swell Season. “I’ve just been incredibly fortunate and I’ve been able to pick out little bits and pieces – musically and just how they present themselves on stage – and put my own spin on them.”

ARCHITECTURE IN SYDNEY Already having sold out the Melbourne leg of their tour, Architecture In Helsinki is now heading to notable architecture in Sydney – the Opera House this Sunday as part of Vivid LIVE. The show starts at 7pm and tickets are available from the Opera House website.

HEARTBREAK CLUB

Chin Up

What’s the song about? So many guys rely on a partner to keep them grounded and for support, but take it for granted. The song is the moment of realisation that you’re one of those jerks. The aim of the song was to take a satirical jab at male narcissism, but evoke a sense of confession and sentimentalism in a way.

DRAWING MIDNIGHT

We try not to play the song any differently live from how it was recorded. I think because we recorded the song in a live setting it was very easy for us to replicate Sugarcane in our live shows. Our band values, with great emphasis, capturing every song we record in our live performance.

Is this track from a forthcoming/existing release?

FREEBIRDS

Will you be launching it?

From our current album, Our Horse Is Dead.

Friday – Oxford Art Factory Gallery Bar

How long did it take to write/record?

The Earlybirds take the 6pm slot at The Wall tonight. Stop by – entry’s free.

For more info see:

Many of the songs we have ferment in my head for about a year or so before I bring it to the band to arrange. We arranged it in a day and started touring it for a few months and it was getting an excellent reaction from crowds. The album took a month to record, but Chin Up had some extra effort in production which meant it took proportionally longer to record than some other tracks.

theowlsonline.com

ENDLESS PARTYING Melbourne folk-pop troubadour Jimmy Hawk parties like it’s the end of the world all the time. Jimmy Hawk & The Endless Party are launching their single, Meet Me At The Party, this Friday at The Gaelic. He’s also got Dangerous, The Dead Leaves, The Growl and RÜFÜS supporting. The Growl is also on tour, playing the Beach Road Hotel on Wednesday, the Lansdowne on Thursday and Oxford Art Factory on Saturday.

Was anything in particular inspiring you during the making? Just the desire to write a song that half-subverted and half-embraced songwriting conventions.

What’s your favourite part of the song? “You shake me much harder than a British nanny could.”

Do you play it differently live? So many of our songs are grittier live. The album has high production aspirations, but we strip things back a little bit and play to the vibe at shows. Not fundamental changes, but a focus on the core elements live.

Will you be launching it? Friday – Lansdowne Hotel

For more info see:

SPURS FOR JESUS

JESUS AT THE ROSE Spurs For Jesus takes the tunes from latest album, Dark Side Of The Saloon, to the Rose of Australia on Friday night, kicking off at 9pm.

• 70 • THE DRUM MEDIA 24 MAY 2011

heartbreakclub.bandcamp.com

WHO Jackson Mclaren WHAT Mirrors And Strings (Independent) WHEN & WHERE Wednesday, The Vanguard; Thursday, Brass Monkey

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Quarterpipe Records is holding a showcase this Saturday with four of their artists slated to take the stage to show us what they’re made of. Professor Malakai, Stephanie Bruno, DJ Alfie and Stefan Jamal start from 8pm at the Down Under Bar and Bistro and it’s only ten bucks to get in!

I guess we used our last single, (Go Let It Go), as a starting point. We wanted to replicate that similar energy and flow it through into this song. I guess the inspiration for this song came from the four of us trying to capture the intensity that we put in our live shows. We wanted to translate that intensity in Sugarcane. Our favourite part of the song is in the second half as it is fun to play live and always gets a good response from the crowd.

For Mirrors And Strings, Mclaren teamed up with Washington’s producer John Castle along with the band he’s been playing with the past eight months, The Triple Threat. “I met the drummer [Alex Irvine] when I was doing my last year of school and I had been working with him for about a year, and then he was friends with violinist Myles [Anderson], so we got him on board and then got a bass player [Jake Sherry]. So the people playing on the record are the people I’ll be on the road with, which I think is really important, in terms of morale and camaraderie and all that sort of stuff.”

FOUR FOR QUARTERPIPE

Was anything in particular inspiring you during the making?

What’s your favourite part of the song?

self-explanatory Pouring Down, did come out during his time there. “I’ve got shitloads of songs,” he admits, “but there’s got to be lots of them that are pretty crap as well. I usually start with all the words first, mainly because I’m pretty terrible at playing music [laughs].”

THE STUDY The word “studying” no longer means a combination of “students” and “dying” – The Study at The Gaelic every Wednesday brings a lot more fun to the word. This week, they have Elizabeth Rose, Jugu and Mike Brislee performing from 7pm. Entry is free.

ELIZABETH ROSE

Chelsea Gibson is back with a sultry five-track EP, Drawing Midnight, and is launching it in the El Rocco Room this Friday. Supporting her will be indie-folk act Arbori and Canadian singer/songwriter Matt Gerber.

SANDO SATURDAY Lots to check out at the Sando on Saturday, with White Male Dumbinance taking the lead and Ill Brigade, Vigilante, Eye Gouge and Rat Bag also providing live sets. Entry is $10.

SAXY EDDIE Australian saxophonist Edouard Bronson takes his tootin’ tunes to the Camelot Lounge on Saturday off the back of his first solo album release, Romance. Also playing on the night is On The Stoop.

STORMING IN

TONIGHT ALIVE

BACK TO SCHOOL The young whippersnappers in Tonight Alivc, recently home from a whirlwind tour of the US supporting the likes of Sum 41 and Forever The Sickest Kids, are now doing the support duties for Amy Meredith on their Higher Education tour. That stops at Wollongong Uni on Wednesday, Level One Thursday and a sold-out Metro Friday.

Stormcellar is back this weekend with a couple of shows. They’ll hit up the Matraville Hotel on Friday 8pm as well as the Baldrock Hotel on Saturday 8.30pm, playing songs from across their catalogue at both shows.

LOVE, SORROW AND FOLK Folk singer Kavisha Mazzella has a couple of gigs lined up this week in support of her new album, Love And Sorrow. She’ll be starting with the Camelot Lounge on Thursday with Vikingo Jerez with Victor Valdez and Carl Cleves & Parissa Bouas. On Friday, she plays the Yarramundi Music Club with special guest Glenn Cardier. Both shows start at 7.30pm.

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FEICKS DEVICE

TURN IT ON Feicks Device returns to the Excelsior Glebe on Saturday night, bringing with them The Fires and The Belle Havens for a night of debaucherous fun.


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ONE BIG HAPPY FAMILY

TAKING PART IN THE RECENT SXSW MUSIC CONFERENCE IN TEXAS, BOY & BEAR BASS PLAYER JAKE TARASENKO KEPT DRUM A TOUR DIARY. BET YOU DIDN’T EXPECT TO READ ABOUT DOUBLE-KICK DEVASTATION AND LATE NIGHT HOT-TUB ACTION. 15/03/11 I don’t quite know how it happens. I’ve always maintained that I’m not the travelling type. Somehow though, when a new trip creeps its way across the calendar, I feel something. Certainly not excitement, but anticipation I suppose. Not even the type of anticipation one would expect to experience in front of a firing squad; it’s a positive sort of anticipation. Unfortunately, after a certain obscene amount of time spent in transit (Indeed, this is the second “fifteenth of the third” I’ve experienced in less than forty-eight hours), I am more disappointed in myself and my anticipation than anything else. Nonetheless, perhaps some divine intelligence has seen fit to repay our tribulations by bestowing a magnificent boon upon us. Our wonderful hosts for the next six days, the Gaults and their extended familial tree, have so far provided for us no less than five-star accommodation in their “compound”, Mexican food, Mexican beer and cookies the likes of which I fear I will never experience again (thank you, aunt Jessie). I can positively feel my jetlag receding. 16/03/11 Strange, how a city the size of Adelaide can transform from sleepy to, well, sleepless. Granted, our show today had finished by four in the afternoon, but walking in the vicinity of Austin’s Sixth Street well beyond the midnight hour is a unique experience. People from literally every walk of life crowd the streets which were, that morning, clean and lonely. What’s more, for every ten metres walked, one is exposed to at least three different sources – and indeed genres – of music. From an “industry” point of view too, SXSW is a strange occurrence; old friends are met on every corner in a profoundly relaxed environment, despite the multitude of events going on a stone’s throw from one another. Perhaps that same unquantifiable quality that lends laze to Southern drawl has also descended upon all of us? After today, I might believe it. 17/03/11 Something is definitely afoot. Today’s schedule was full of backto-back press with us left to negotiate Austin’s SXSW gridlock in between. After all that, today’s show was to be performed on the stroke of midnight. I say something’s afoot because I can’t seem to imagine how today could have flowed any more smoothly. We arrived at all of our press engagements on time and the show was one of the best I’ve ever played. We’re surrounded by such a great team over here, so I think the majority of the credit goes to them – the drivers and the managers, the tour manager and the host. Also, I didn’t pay for a single beer today, which may have added to the overall candour. 18/03/11 I’m actually writing “today’s” entry from “tomorrow”. I suppose I could itemise today’s events one by one, but I feel like although they were not unenjoyable, they were quite similar to yesterday. So rather than that, I’ll hint at the reason I didn’t record “today” yesterday. Upon arriving back at the “compound” I proceeded to wash away the mine’s worth of salt that the Texan sun had sucked from my skin. Whilst towelling myself off, I heard raised and jovial voices emanating through the floor from below. As I entered the kitchen, I was supplied with what was described as the “family drink” – a rum and coke. One thing led to another and before I knew it, some of us had consumed two martini glasses of home-made mango rum, while others were lured into certain states by tequila shots dressed with salt and lime. Needless to say, the night was long and by the time I had extricated myself from the hot-tub, it was three in the morning. Hence, I am writing to you from “tomorrow”. 19/03/11 In hindsight, last night wasn’t the best choice of nights for what happened last night; today consisted of two shows performed more or less back to back. Aussie barbecue, the first, was preceded by what was probably the fastest soundcheck performed by anyone in the history of soundchecks. The next, a band acoustic set for Chess Club had us scrambling in an entirely different manner. We went on stage more or less unrehearsed, lacking equipment, in full sunlight, competing with the hardcore band next door. I believe we did okay, though it was hard to make that judgement above so much doublekick devastation. 20/03/11 I forgot to mention more hot-tub action last night. This action managed once more to affect the following day, but perhaps I should be grateful for that lesson – don’t stay up all night drinking in a hot tub if you’ve somewhere to be the following morning. Admittedly, the place we had to be was a casual breakfast next door, but it was still difficult. The plan for today was fairly relaxed, but still involved some effort on our part. Officially, SXSW ended yesterday for us, but we had one final show to play for Mark, our host and his extended family at the party he organises each year. In fact, the show was one of the most relaxed and well played I had ever played. Surrounded by people who loved us once or twice removed and who didn’t care all that much, to whom I didn’t have anything to prove, seemed a fitting finale to such a hectic week. WHO Boy & Bear WHEN & WHERE Tuesday 31 May, Newcastle University; Wednesday 1 June, Wollongong University; Thursday 2 and Friday 3, Metro Theatre

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THE DRUM MEDIA 24 MAY 2011 • 71 •


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PARTNERS IN CHIME

A

lt. country Adelaidians The Yearlings recently released their fifth album, Sweet Runaway, and are teaming up with the nature-dwelling folk duo Laneway, who just released new single, The Turbine, for the Far East Tour. The tour sees the two couples stopping in at Lizotte’s Kincumber on Thursday, Clarendon Guesthouse on Friday and The Vanguard on Sunday. Drum spoke to Chris Parkinson and Robyn Chalklen of The Yearlings and Laneway’s Paul Hannan. What are the pros and cons of playing music with your significant other? Paul: The pros are that it’s great to play together and the cons are that sometimes it’s not always great. Chris: I guess with the world getting smaller and smaller with all the interconnections, it’s a great thing to be making music with your partner ‘cause you can share it all, from booking gigs, designing posters, writing songs… You kind of become your own little record company and that’s all a pretty challenging and timeconsuming thing to do. There’s also a certain amount of trust involved so that can work well with your partner. The cons are that you can get a wee bit obsessed by it all; you need to plan a holiday.

Two couples on the road together – what are your grand double date plans? P: We’ll probably start with a few drinks under a bridge somewhere, and then we could take a ride on a rollercoaster near the sea, then hopefully we can all take a boat ride down the harbour, followed by some champagne with Alan Jones and P Diddy. After all that excitement we’ll have a quiet dinner at a Chinese restaurant and then it’s into bed by eight o’clock sharp. Robyn: Well we have 15 gigs booked for this tour covering a whole lot of miles, so I reckon that’s enough double dates for any two couples. When writing your music, does one half of the couple takes the reins? P: One of us takes the reins and the other one takes the stirrups. And then we swap and start again. At least that’s what we are trying to do, I imagine. C: We write separately and then work together once the song has form; that’s when we will start editing and getting harmonies together. It’s a magical time at that stage and you have to have the tape machine rolling to get those fresh initial ideas down, they seem

RUIN YOU Punk five-piece RuinGloria has just returned from recording in the States and now they’re playing SFX at the St James Hotel this Saturday night. Beware if your name’s Gloria!

IT’S THE YEAR Alt-country/roots acts The Yearlings (with drummer BJ Barker) are heading around for a bunch of gigs this week, starting with Lizotte’s Kincumber on Thursday, the Clarendon Guesthouse on Friday and The Vanguard this Sunday for a show with Brisbane psych-pop support Laneway.

PAPER PLANE PROJECT

THROW THESE Thursday at Tone, Sydney/Perth duo Paper Plane Project steps in to support American rapper Kurtis Blow.

FINNTASTIC Jim Finn’s Musos Club Jam Nights are on as per usual this week, at the Bald Faced Stag on Wednesday at 8pm and at the Carousel Hotel on Thursday at 8pm. He then plays with The Flamin’ Beauties on Friday at the Broadway Hotel and Saturday at Jack Duggan’s Irish Pub. All shows are free.

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METAL WALL Metallers best get down to The Wall on Saturday from 8pm, where Putrefaction, On The 8th Day, Remains The Day, Hell Itself and Engage The Fall will be pumping out tunes. Entry is $15.

to be very free ideas and kind of become the basis for arrangements and sound. Then when you play live it’s kind of the opposite, you have to know the song so well that you can be free enough to not think about arrangement so you can get “inside” the song and sound. What offstage personality trait of your partner’s comes through the most in your tunes? P: Her personality seeps into all of Laneway’s songs. Mostly though, I find her exuberance gives our insufferable songs some life. C: The clippity clop of horse hooves. R: The dreamy Gemini: no one solo is ever the same, always changing it up.

XPRESS TRAIN The Wards Xpress train is pulling into the Tudor Hall Hotel this Sunday at 4pm, with special guest, Bondi Cigars bass player Al Britton to help them out.

WAYS FOR BANDS Bondi’s WAYS Youth Service is hosting an under 18s gig this Saturday for fresh-faced bands who are breaking into the circuit with their first shows. From 7pm, April Falls, Dystopic, The Frogs, Your Way Sucks, Oscar and Friends and The Lucid Jeffereys will be playing in Bondi Pavilion’s High Tide Room.

LUCY AT THE WALL Pianist and songstress Lucy Desoto brings her tunes to The Wall on Sunday, winding down the week from 7pm.

Driving Home

What’s the song about? The track is not actually anything to do with ‘driving’ but was written as a reflection driving home after meeting some interesting people that inspired me creatively, yet I felt excluded and wanted to be involved.

Is this track from a forthcoming/existing release? It will be from our second album, which will be released towards the end of 2011.

How long did it take to write/record? We spent time perfecting the sound for this single and performing it live over a few months influenced the final decisions on how we wanted it to sound on the recording. We then spent about a month and a half recording and mixing the track.

Was anything in particular inspiring you during the making?

WINTERSTATION

The experience of making music with other likeminded and talented musicians and then performing 100 percent to your ability on the road and in the studio is truly inspiring.

Get into a folk-punk hoedown this Friday at the Town Hall Hotel to warm up, with Steph Miller & The Winterstation, Remo St, Handsome Young Strangers and Rex Havoc & Browny all in the house to heat things up. Free entry!

What’s your favourite part of the song? There are a number of enjoyable sections to this track but if there is one to mention, it’s definitely the strong grooves of the brass lines.

LONG LIVE DIO

Do you play it differently live?

Black Sabbath and Ronnie James Dio get a tribute at The Wall on Friday, with Bad Voodoo and Cursing Stone stepping up to the challenge. It kicks off at 8pm and entry is $10.

nia. The was held in Califor 83 l iva st Fe US 83, the four-day enders, That on 28 May 19 e Clash, U2, David Bowie, The Pret zy Osbourne. Over DID YOU KNOW… Th – bill evie Nicks and Oz St , st ie Pr s da Ju ts, Men At Work, Van Halen, Stray Ca . were in attendance 750,000 music fans

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.

A FRENCH BUTLER CALLED SMITH

Yes. We do perform an extended version for live shows.

Will you be launching it?

ADDISON ROAD

Thursday – Transit Bar Friday – The Patch

THE ROAD IS LONG

Saturday –Macquarie Hotel

Addison Road’s set on Saturday at the Lansdowne is complemented by a FRIEND DJ set, Freida’s Boss and Okapi Guitars from 8pm.

For more info see:

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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Sunday – Grand Junction Hotel afrenchbutlercalledsmith.com

e

ECSTASY RESEARCH STUDY

THE DRUM MEDIA 24 MAY 2011 • 73 •


SYDNEY ROLLER DERBY LEAGUE TASTE TEST

APOLLONIA THUNDERPUSSY #1512

VIRNA SANZONE

SCATTERFLY

SCATTERFLY ON THE WALL Sydney band Scatterfly is excited to be hitting up The Wall Thursday to film for their debut video clip. Other bands playing on the night are Our Last Enemy, Whiskey Smile, I Endeavour and Alpha Degenerate.

TEAM: TEAM UNICORN What’s the soundtrack to your championship win? Down With The Kings – Run DMC What’s the soundtrack to a heartbreaking loss? Enfilade – At The Drive-In What song’s in your head when you have to pick yourself up after a big hit? That Girl Possessed – Alexisonfire What’s your favourite skate-out song? A/B Machines – Sleigh Bells What injuries have you sustained? Black eye, bruise the size of Africa on my upper left thigh and a mysterious bite mark on the forearm – I’ve been lucky. Next bout: Saturday 4 June, Sydney Olympic Park Sports Centre vs. The Beauty School Knockouts.

SCORCHER OF A DAY Scorcher Fest Sydney at the Annandale this Sunday will have a bunch of cool bands and artists playing, including Ana Nguyen, Century, Cornstalk, Crossing Red Lines and more. Tickets are $30 on the door.

BLACK HEART When she’s not touring with indie band Guineafowl, female vocalist Imogen Harper is in a solo project of her own, having just released an EP called Charcoal Heart. She’ll be performing at The Vanguard this Thursday.

HOOT HOOT Newcastle rock outfit The Owls have hatched their newest egg, the single, Sugarcane, and will be showing off their offspring at Oxford Art Factory’s Gallery Bar this Friday at 8pm. They’ll be joined by Future Prehistorics.

HIGH REFLECTIONS At the High Reflections Finale at The Red Rattler this Wednesday and Thursday, there’s an eclectic and experimental lineup ready to go from 8pm on both nights. Wednesday sees Emily Morandini, Defektro, Jon Hunter + nonemusic, Joel Stern & Pia van Gelder and Knitted Abyss performing, while Thursday sees Black Math, Machine Death, Cleptocleptics, Scissor Lock, Sean Baxter, Kusum Normoyle, Peter Blamey and Thembi Soddell. Both nights are $10.

Young vocalist and composer Briana Cowlishaw is celebrating the release of her album, When Fiction Comes To Life, with a show at 505 this Wednesday. She’ll have special guests there and tickets are available at the door or through Moshtix.

XPOZE ME ALL TYPES OF -PIRES It’s metal and hardcore night at Caringbah Bizzo’s this Saturday with Empires & Vampires saying goodbye with a farewell show and supports from Lockdown, Azlock and The Ocean The Sky.

VIOLENT SOHO

KOSCIUZSKO Rock foursome Jebediah is climbing mountains all across Australia on their Kosciuzsko album tour this month. With Violent Soho and Young Revelry, they’ll be pulling into the ANU Bar this Thursday, the Factory on Friday and Cambridge Hotel on Saturday. • 74 • THE DRUM MEDIA 24 MAY 2011

BECOME AT LEWISHAM Local hard rock quartet Become The Catalyst takes its tunes to the Lewisham Hotel on Friday, with Broken Riot doing the warm-up thing. Entry from 8pm will set you back $10.

into The Gaelic this Thursday with The Truth Is and Ex Curia.

FICTION OR FACT

THE OCEAN THE SKY

BECOME THE CATALYST

MAP IT OUT Sydney foursome Bones Atlas is sharing the stage with Spangled Mistress this Wednesday, when they play at The Brass Monkey. Doors are open at 7.30pm.

SEE MORE OF MARK Hunters & Collectors frontman long gone solo, Mark Seymour is armed with an acoustic and playing at The Brass Monkey this Friday from 7pm with Declan Kelly – this is a sold-out show. He also plays The Basement Circular Quay on Thursday with Abby Dobson.

GANDHI AND YOKO Canadian rockers Propagandhi are charging into The Metro, propaganda and all, this Thursday with Stolen Youth and Yoko Oh No. The show will start at 8pm and tickets are about $40.

HEATING UP Colin Hay is going completely solo this week at The Basement Circular Quay as he plays songs from his new album, Gathering Mercury. The show will start at 7.30pm.

DESTROY

SAIL AWAY Jazz songstress Virna Sanzone will be sailing through her melodies at The Vanguard this Saturday at 8.30pm, where she’ll perform with a band consisting of Stu Hunter, Phil Stack and Hamish Stuart. Singer/songwriter Lucy Hall will be supporting her.

Cross Hotel this Thursday as well as the Otis Bar on Friday. They always start their shows with different fanfares, so get down to hear what they come up with this time.

LOADING IN Rock’n’roll in the form of Front End Loader is comin’ to a bunch of dates near you! The band is playing the Mona Vale Hotel on Thursday, the Annandale on Friday, the Junkyard on Saturday and the Great Northern on Sunday. They’ll be joined by Arcane and Drunken Sailors.

BECOME AT LEWISHAM Local hard rock quartet Become The Catalyst takes its tunes to the Lewisham Hotel on Friday, with Broken Riot doing the warm-up thing. Entry from 8pm will set you back $10.

STEP OUT There’s a free party happening at Tone on Friday. It’s called Stepp’n Out and you’ll catch Raffi Darkchild and more if you swing by.

singleFOCUS

Hardcore heroes The Amity Affliction are headlining the sold-out Destroy Music this week, where another show has just been added. They play Thursday and Friday at the Roundhouse with fellow throwdown lovers I Killed The Prom Queen, Deez Nuts and Of Mice And Men.

DANCE AWAY

Rockers XpoZed will be performing at CC’s this Friday. They go on at 9pm.

Liz Martin launched her album, Dance A Little, Live A Little, earlier this year and brings those tunes to Camelot Lounge on Friday, supported by Jacqueline Amidy and Jess Ciampa.

EAST COAST CARNAGE

BE PROPER

What’s the song about?

Every Thursday in May has seen the Proper Music Social take over the Union Hotel, and this week is no different. The free show, starting 7.30pm, will this week feature the talents of surf blues rockers The Glimmer and folk rock band Manger, as well as Michel Michel.

Is this track from a forthcoming/existing release?

Adelaide hardcore boys Abandon All Hope are setting off on their path of destruction this week on their East Coast Carnage tour. They’ll be wreaking havoc at the Blacktown Masonic Hall this Sunday at 3pm with supports Trainwreck, Endless Heights and more.

AUTHOR TALK

THAT’S SO INDIE

Rock’n’roll legend Dave Graney will be hosting an author talk and public reading following the release of his memoir, 1001 Australian Nights. He’ll be at Manly Library for this one-off event at 6.30pm on Wednesday. Bookings should be made prior.

Indie Warhol leads the pack at the Lansdowne on Thursday night, with The Earlybirds, The Growl, Thieves and DJ Nic Yorke following suit.

GUNS VS DEATHRAYS Sydneysiders Chicks Who Love Guns and Brisbane duo DZ Deathrays are hitting up the new Star City music venue, Rock Lily, this Friday for a free gig.

French/Armenian singer/songwriter Charles Aznavour turns 87 this month and to celebrate, Australian/ Mauritian entertainer Milko Foucault-Larche takes Aznavour’s tunes to the stage at Camelot Lounge tonight. Entry is $15 and the music should start around 8pm.

SOUND OF WINTER

HIT WITH THE STICK

As the seasons turns over into winter, how could Sound Of Seasons not come out to play? They’ll be venturing

Experimental indie popsters megastick fanfare are bringing their lush instrumentation to the Kings

HAPPY BIRTHDAY CHARLES

ns in the US the top five positio er ev e tim t rs fi e 90, for th That on 26 May 19 art were held by female artists , Wilson DID YOU KNOW… singles ch O’Connor was at #3 ad ne Si , #2 at s art wa #1 with Vogue, He – Madonna was at . n was at #5 and Janet Jackso Phillips was at #4 twitter.com/drummedia

CALLING ALL CARS

Reptile

It’s about doing the waltz with a lizard and/or snake. You choose… In fact, any reptile at all.

It is the first single from our second album, due out mid year.

How long did it take to write/record? We initially demo’d this song about ten months ago, so it was quite a quick process to record in the studio. We did drums in Sing Sing (Melbourne) and the rest in Studios In The City (Melbourne). Once the song was tracked, we sent it to London, where it was mixed by Chris Sheldon (Foo Fighters).

Was anything in particular inspiring you during the making? Nothing specific, I guess just watching lizards mating in slow motion really got to us as a band.

What’s your favourite part of the song? I really like the call/response vocals in the verse, and also the bridge of the song. Both those parts are a bit different for us. So it’s fresh and fun to play.

Do you play it differently live? Not intentionally.

Will you be launching it? Friday – Spectrum

For more info see: callingallcars.net


N I S T R E P X E N O I T A C THE EDU

N O I T A M I N A D GAMES, 3 & VISUAL FX

Mid-Year Intake Enrolling Now

MAY OPEN DAY-28TH M 10AM to 3P

AIE SYDNEY andstand Level 2, Wentworth Park Gr 2007 Wattle Street, Ultimo NSW Phone: (02) 8514 8800 Email: sydney@aie.edu.au

www.aie.edu.au

INMENT TA R TE EN E V TI C A R TE THE ACADEMY OF IN THE DRUM MEDIA 24 MAY 2011 • 75 •


[V] MUSIC VIDEO CHARTS Run The World (Girls)

BEYONCE

Party Rock Anthem LMFAO FT. LAUREN BENNET & GOONROCK

Rolling In The Deep

ADELE

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

We Run The Night DJ HAVANA BROWN Judas LADY GAGA California King Bed RIHANNA Sweat SNOOP DOGG VS DAVID GUETTA From The Music THE POTBELLEEZ Don’t Stop The Party THE BLACK EYED PEAS

FBI’S FAVOURITE NEW AUSSIE TRACKS Arrangement In Blue And Silver MOUNTAIN STATIC One Of The Animals PAPA VS PRETTY Bittersweet INGA LILJESTROM SCATTERMUSIC East Coast Anthem SOUNDSYSTEM FT. SEROCEE Light All My Lights SEEKER LOVER KEEPER Busy Old Fool FORMER LOVE PIRATES The Overflow MISS LITTLE MRS BISHOP Where The River Flows Half Of It YESYOU

ON THE DRUM STEREO United In Isolation PAPA VS PRETTY Rome DANGER MOUSE & DANIELE LUPPI Total SEBASTIAN Controlling Your Allegiance THE JAPANESE POPSTARS Constant Future PARTS & LABOR In Light GIVERS There Is A Way DANANANANAYKROYD Young The Giant YOUNG THE GIANT LA Noire Remixed VARIOUS Hardcore Will Never Die, But You Will MOGWAI

ABBY DOBSON

ABBY SINGS Singer/songwriter Abby Dobson has a bunch of accolades, including being voted second in the International Songwriting Competition by Robert Smith, Tom Waits and more. She’ll be playing an intimate show at The Brass Monkey on Saturday at 7 with Edoardo Santoni, as well as a show at Lizotte’s Kincumber on Sunday.

SATURDAY ANTICS There are two gigs happening at the Lewisham Hotel on Saturday – from 2pm you can catch L.G.T. and Dragon Fly for $10, and then from 8pm Abduction takes over – entry is $15 or half that if you’re a member.

THURSDAY FUN Thursday at the Macquarie Hotel, Sirens Big Band takes the stage from 8.30pm and from midnight, you’ll hear the Latin funk of Samba Mundi. Entry is, of course, free.

BASEMENT JAZZ The Basement Circular Quay plays host to The Subterraneans and Baz on Saturday as they showcase the best of the Australian Jazz Bell Awards.

I CAN SEE The Blindfolds bring some originals and covers to The Gaelic on Sunday, warming the stage up from 6pm for headliners Los Skeletones Blues. Mainline also plays in support. Entry is free.

STONEFIELD

PARTY HATS Fooooor sue’s a jolly good felllla! It’s sosueme’s fourth birthday this Saturday and Oxford Art Factory is holding a helluva bash. With indie kids Guineafowl headlining and supported by Parades, Stonefield (pictured), Redcoats, Pluto Jonze, Zia from the Dandy Warhols, The Vines DJs and sosueme DJs, it’ll be a night to remember. It kicks off 8pm and tickets are $20.

SNAKES AT THE SPECTRUM Calling All Cars like their reptiles. So much so that they’ve named their upcoming single after them. The band is slithering by Spectrum next Friday along with Strangers and The Cairos.

PLENTY MORE FISH Newcastle powerpop band Heartbreak Club will be leaving girls at the altar (or maybe just the bar) at a bunch of shows this week, playing Wednesday at the Great Northern Hotel, Thursday at the Blush Nightclub and Friday at the Lansdowne Hotel, that final date with The Optionals, Smith St Band and Crouching 80s Hidden Acronym.

COCKATOOS OF TOKYO Perth boys Birds Of Tokyo are playing a special show on Cockatoo Island this Friday from 6pm as part of this year’s Debit Mastercard Music Series. Tickets are $40 but can only be bought with a Debit Mastercard.

FRIDAY AT MAC Doug Williams plays the Macquarie Hotel stage Friday at 8.30pm, followed by The Leisure Bandits’ soul and reggae from midnight. Entry is free.

BURIED IN VERONA

HAUNTING THE BAR Swedish Grammy-winning metalheads The Haunted are keen to blow the roof off Manning Bar this Friday at 8pm, where they’ll be supported by local hardcore kids Buried In Verona, Recoil and Dawn Heist. • 76 • THE DRUM MEDIA 24 MAY 2011

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MISSION IMPOSSIBLE Pop/punk kids The Mission In Motion are moving in the general direction (and into) Oxford Art Factory this Friday with City Riots, City Lights Fade and Ghost Of York, as well as Blush Nightclub this Saturday.

PLAY THAT FUNKY MUSIC Dereb The Ambassador continues his residency at the Macquarie Hotel on Wednesday, bringing his funky Ethiopian tunes to the venue. As is normal for the venue, entry is free.


THE DRUM MEDIA 24 MAY 2011 • 77 •


live@drummedia.com.au SYDNEY ROLLER DERBY LEAGUE TASTE TEST

HUSKY THE HELLHOUND #22

INNERWESTLIFE

LOS HUEVOS

TRANZPHAT

NO BUGS Innerwestlife is launching a fundraising CD for the kids in the Kegworth Public School Music Program this Friday at the Petersham Bowling Club. Featuring the school’s 2010 year 6 students, they’ve even got an arrangement of AC/DC’s There Ain’t No Bugs On Me. The night will start at 7pm.

SO BOHEMIAN

ROCK SHOW Valve’s rock show this Thursday will see Cable, Broken Riot, Tranzphat and Rocket To Nowhere taking the stage for a night of rock mayhem.

They’re dandy and they’re fun. The Dandy Warhols return to Australia for a bunch of gigs this week. The tour pulls into the Enmore Theatre this Sunday at 7.30pm with Brisbanites Los Huevos as supports.

cond

BLISSFULLY BIG Bliss N Eso are on their biggest national tour yet which will see them with stopping by the Hordern Pavilion for two explosive live shows. They play on Friday and Saturday with Sydney’s Horrorshow and USA’s Big B.

STRING OF SHOWS Singer/songwriter Jackson Mclaren is only 20 but already has an army of credentials to his name. He’s now heading around on a four-date EP launch tour for his new effort, Mirrors And Strings, which takes him into The Vanguard on Wednesday and The Brass Monkey on Thursday.

BEFORE TIME Friday night at the Excelsior Glebe, catch a triple bill featuring The Prehistorics, The Volts and The Marines.

FLORA Sydney hip hop trio Botanics is performing at the Grand Junction Hotel this Friday as part of a national tour.

THURSDAY THREE Thursday’s lineup at the Excelsior Glebe features three slots – from 7.30pm catch Fi Treloar, Snez takes the reins at 8.30pm and Kirsty Bolton’s 9.30pm set finishes the night.

ESKIMO TEST Household name Aussie rockers Eskimo Joe are playing seven small shows around the country to test out new material, stopping at The Gaelic this Saturday with Myles Mayo and Felicity Groom.

el scored their se , Simon & Garfunk . 68 19 ay M 25 on That Bookends DID YOU KNOW… US #1 album with

BONJOUR Gold Coast-based but playing music of the world, A French Butler Called Smith is playing a bunch of shows this week, starting Thursday at Transit Bar and then progressing to The Patch on Friday, the Macquarie Hotel on Saturday and Grand Junction Hotel on Sunday.

What’s the soundtrack to your championship win?

It’s a night of pop panic at World Bar tonight, with DJs like Cris Angel and Bombings spinning tracks all night and karaoke available for you to have your 15 minutes.

Hound Dog – Elvis Presley

Sydney quintet Boats Of Berlin brings the music to the stage at The Brass Monkey on Sunday.

TOTALLY AMAZING

Dog Days Are Over – Florence And The Machine

THE MAY MAZE

Country folk and blues band The Amazing 3 is launching its debut self-titled EP this weekend, playing at the Mars Hill Café in Parramatta on Saturday. The evening kicks off at 8pm, and every ticket holder receives a free copy of the EP.

SUNDAY SESSION

The April Maze is lost in May, but are sure to find their way to the Great Northern Hotel this Saturday from 8pm and the Rhythm Hut this Sunday from 7pm.

PRETTY COLOURS

BRING YOUR MUM

Kaleidoskope headlines at Valve on Sunday from 2pm, with Three Wise Monkeys, Statis and The Good God Damned joining in the fun.

Friday’s World Bar/MUM lineup is as massive as usual, featuring The Shooters Party, Fushia, The Archerbolds, Thieves, Fox and Brackets all throwing in live sets, as well as a number of DJs providing tunes to get down to. It kicks off 8pm and entry is $10 before 10pm or $15 after.

COPY THAT Cut Copy is featured on Vivid LIVE, playing the Sydney Opera House this Sunday.

GOT THE BLUES The Sydney Blues Society brings the best of the genre to the Botany View Hotel on Sunday. It kicks off at 7pm and entry is free.

TEAR DOWN THE WALL

THANK YOU MA’AM

Directed by Shepard Fairey and Nick Harmer

The WHAM! icon series at World Bar continues Saturday, with Goodwill playing all night and, in the other three rooms, the likes of Klaus Hill, Trent Rackus, James

http://bit.ly/k12E51

GRRL POWER

It’s all sorts of firsts for Bec Laughton, as she sets off on her first national tour this month in support of her EP, At First Sight. She stops at The Basement Circular Quay on Wednesday and the Manly Fig on Friday with her ten-piece band.

What song’s in your head when you have to pick yourself up after a big hit? Who Let The Dogs Out – Baha Men What’s your favourite skate-out song? Get Off – Dandy Warhols What injuries have you sustained? None yet. Next bout: Saturday 4 June, Sydney Olympic Park Sports Centre vs. Team Unicorn.

DEATH CAB FOR CUTIE – HOME IS A FIRE

It’s girl power at its best in the semi-finals of Chicks With Picks with Calling Mayday. They’re playing the Sando this Thursday for a $7 entry fee.

LONG LIVE THE KING

What’s the soundtrack to a heartbreaking loss?

ESSENTIAL VIEWING

This video was directed by artist Shepard Fairey and the band’s bassist Nick Harmer himself, so it’s a great visual representation of the marriage between urban art and music. The video features an artist as he wheatpastes and stencils lyrics from the song around the city – sometimes in odd little places. The filming has a raw, homemade feel to it and the focus plays around a lot so it’s interesting to watch too.

Bon Scott gets a tribute or two at Waves on Saturday with the Long Live Bon Scott show starring the talents of Angry Anderson, Mark Gable, Dave Gleeson and John Swan from 8pm. Entry is $40 + booking on the door.

NUMBER ONE

TEAM: BEAUTY SCHOOL KNOCKOUTS

HANG THE DJ

Wednesday at World Bar it’s hip hop and dubstep on the mind, with T-BO, Pablo Calamari, Romulus and Remus & Wolf representing the former and Glovecats vs Blog Wars, Autoclaws vs Pop The Hatch vs Creeptown and Yayogi vs Special K representing the latter.

BEC LAUGHTON

Taylor, Ben Morris, Husky and more causing trouble. 8pm is door time and it’ll cost you $15 to get in before 10pm or $20 after.

Sounds like you need a Coopers Dark.

Visit coopers.com.au for all details. • 78 • THE DRUM MEDIA 24 MAY 2011

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kwp!CPR11181

Like TUMBLEWEED and MY DISCO?


“...the most bruised & tender vocals this side of Martha Wainwright” UK MUSIC SEARCH

“...wondrous & moving.” THE GUARDIAN

FACTORY THEATRE

*NOTE* CHANGE THURSDAY 09 JUNE OF VENUE BOOK NOW AT TICKETEK.COM.AU | 132 848 LIVE AT LIZOTTE’S - NEWCASTLE - FRI 03 COMMUNITY THEATRE - BYRON BAY - SUN 05 P R E S E N T E D B Y TICKETS ON SALE NOW AT USUAL OUTLETS New album THE DEEP FIELD out now joanaspolicewoman.com | gaynorcrawford.com

THE DRUM MEDIA 24 MAY 2011 • 79 •


live@drummedia.com.au

ALAN BOYD

IRISH CREAM

PEGZ

GIG OF THE WEEK

MC and hip hop artist Pegz is on a massive 16-date tour this month, stopping by a quarter of those dates this week alone. On Wednesday he plays ANU Bar, Thursday Harp Hotel, Friday Cambridge Hotel and the Annandale’s the last of the lot on Saturday. He’ll be joined by Dialectrix, Dutch, MC Eloquor and DJ 2buck.

METAL MADNESS It’s a roaring night of metal at Valve on Friday from 7pm, with Avarin, Tentris, Teratornis and more all tearing up the stage.

THE SUN ALSO SETS Wednesday at Valve sees a night presented by Setting Sun Records that features up and coming groups, this week The Unravelling, Empty and Contrakids. Doors open at 8.30pm.

THURSDAY WORLD Urby & Mush step onto the World Bar stage on Thursday. Entry is $5 after 10pm, and free if you’ve got a student card handy.

SO MUCH JOIE Known for his YouTube antics, Jon Lajoie steps into

• 80 • THE DRUM MEDIA 24 MAY 2011

Hailed as Ireland’s finest and smoothest musical interpreter, Freddie White is in Australia for the first time and performing at Notes this Thursday. He’ll be supported by fellow Irishman Alan Boyle, who now calls Australia home.

MISTY DAYS

real time to play Lizotte’s Newcastle Thursday and Wollongong Unibar Saturday, with Beached Az bringing the support to the stage.

Dave Graney & The Lurid Yellow Mist comes to Lizotte’s Dee Why on Thursday and Lizotte’s Newcastle on Saturday, to launch both an album and a book.

DANCE OFF

LIVE AND LOCAL

British DJ Chris Liberator brings the ruckus to Valve on Saturday from 8pm, with support from 6 Head Slug, Vic Zee, Mookie, Andrew Wowk, Linken & Vertigo, Bec Paton and Protagon as well as two soundsystems.

Local goodness is the word at Lizotte’s Kincumber on Wednesday night, featuring the talents of Rebecca Henry, Jaime Pearson, David Craig and Bonic.

JUNK IN YOUR TRUNK Local hard rockers I-JUNK take their thumpin’ tunes to Penrith Panthers on Saturday, warming up the stage for Kissteria, the Australian KISS tribute show. They’ll take the stage at 9pm.

JONT’S JAUNT Singer/songwriter Jont joins up with Declan Kelly to take to the stage at Lizotte’s Dee Why on Friday.

SURF N TURF Surf instrumental pioneers The Atlantics are returning to the stage at Vault 146 this Friday and Coogee Diggers this Saturday with their latest record, Collectibles. Tickets are $20 on the door.

UP NORTH The Idea Of North takes the show on the road this week, stopping in at Lizotte’s Newcastle on Friday and Lizotte’s Kincumber on Saturday.

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NICK NORTON

GET GAWKY The Inner City Crepes have a residency at the Sando and are playing with Nick Norton and Gawk this week on their regular Wednesday. The show kicks off at 8pm for $5.

HIGHER GROUND The Flood takes to the stage at Lizotte’s Dee Why on Saturday, bringing The Pardoners along for the ride.

UP THE PUNX Disco Punx takes over World Bar on Sunday from 6pm. Entry is free.

AFRICAN EVENING The sounds of Africa come to Newcastle tonight when The Sowers Group take to the Lizotte’s venue up north.

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!


Thursday, 2 June at 6.30pm Tony will talk about his new book Rock’n’Roll Photography is the New Trainspotting and his experiences on the road with music legends over the last 30 years.

2ND JUNE KINOKUNIYA

MEET ICONIC MUSIC PHOTOGRAPHER TONY MOTT

www.rockpoolpublishing.com.au Event is free to aƩend, but please register your interest on 9262-7996

Level 2, The Galeries, 500 George Street (opposite QVB)

THE DRUM MEDIA 24 MAY 2011 • 81 •


gigs@drummedia.com.au

24 - 31 MAY 2011

TUE 24

Brass Monkey

AAMAZING ENTERTAINMENT KARAOKE: Penrith Htl

BRIANNA COWLISHAW: 505, 280 Cleveland St Surry Hills

CODY BUTLER: Railway Friendly Bar

COL MILLINGTON, AUDI: Batemans Bay Soldiers Club

COLIN HAY: The Basement DAVE WHITE EXPERIENCE: Coogee Bay Htl, Beach Bar DOM TURNER, MARTIN CILLA, BRAD CARR, FESS PARKER: Brass Monkey EVELYN BURY: Commercial Club, Albury GLITTERING FROTST: Sydney Recital Hall JAZZGROOVE feat…, THE REJAVANATION BAND, ANDY FIDDES LIVEWIRE: 505, 280 Cleveland St Surry Hills JOHN HARKINS: Jazsushi Surry Hills John Hill: Dee Why RSL KARAOKE, CRIS ANGEL, BOMBINGS, + HEAPS MORE!: World Bar Kings X MUSHU, STEPHEN CONWAY: Beach Rd Htl Bondi MYME, GEE WIZZ, + HEAPS MORE!: Valve Bar and Venue, Tempe OPEN MIC: The Great Northern Hotel, Newcastle

DUBSTEP, GLOVECATS VS BLOG WARS, AUTOCLAWS VS POP THE HATCH VS CREEPTOWN, YAYOGI VS SPECIAL K HIP HOP, + HEAPS MORE!: World Bar Kings X ELIZABETH ROSE, JUGU, MIKE BRISLEE: The Gaelic GEORGE NIKOLOPOULOS, IRENE VACONDIOS, NICK LAZAROU: Notes, Newtown

ANNA SALLEH’S BOSSA BOOTS: Cru54 Bar & Kitchen BLUE TONGUE LIZARDS: Artichoke Café Manly BONES ATLAS, SPANGLED MISTRESS:

BOTANICS: Grand Junction Htl Maitland CALLING ALL CARS, Strangers, THE CAIROS: Spectrum

THE TEA PARTY: The Great Northern Hotel, Newcastle THE UNRAVELLING, KEYSTONE, CONTRAKIDS, EMPTY: Valve Bar and Venue, Tempe

DAVE GRANEY & THE LURID YELLOW MIST, CLARE MOORE: Lizottes, Dee Why DEE DONOVAN, GREG HOOPER, + SPECIAL GUESTS: Penrith RSL, Showroom

MUSOS CLUB JAM NIGHT: Carousel Inn Rooty Hill

Lizottes, Kincumber

NATIVOS SOUL: Artichoke Café Manly

TIM JONES, PHOEBE EVE, PETER ELIOT, WAYLAND MONTGOMERY, DaNIEL HOPKINS, + GUESTS: Narrabeen Sands

NOLIVER FIG: Down Under Bistro, Woolloomooloo PETER HEAD: Harbourview Htl

INNER CITY CREEPS, NICK NORTON, GAWK: Sandringham Htl

ELECTRIC EMPIRE, DJ HUWSTON, BENTLEY: Beach Rd Htl Bondi

JACKSON MCLAREN, SPOOKYLAND, HEY BIG AKI: The Vanguard

VIOLENT SOHO, JAMIE ROBBIE REYNE, THE GROWL: Beach Rd Htl Bondi

ELEVATE: Scruffy Murphys

PROPAGANDHI, STOLEN YOUTH, YOKO OH NO: Metro Theatre

LIVE AND LOCAL: Lizottes, Kincumber

MUSOS CLUB JAM NIGHT: Bald Faced Stag NICK & LIESL: Railway Friendly Bar OPEN MIC: Down Under Bistro, Woolloomooloo OUTLIER: Scruffy Murphys PETER HEAD: Harbourview Htl PROPAGANDHI: Bar on the Hill Newcastle Uni ROBERT SUSZ, THE CONTINENTAL BLUES PARTY: The Rose Hotel STATE OF ORIGIN: Lizottes, Newcastle T TOFA & BAND, BEC LAUGHTON BAND: The Basement TAMARA STEWART: Royal Cricketers Arms Htl

CHRIS ALEXANDER TRIO: Rydges Htl Campbeltown

BIRDS OF TOKYO: FRIDAY 27, COCKATOO ISLAND

DI SOLOMON: Pioneer Tavern

MEN WITH DAY JOBS, DANIELA, CAMERON & MATIAS, SANITYS COLLISION, DAN CRESTANI, MATTY JAY, BRENDAN RAYMOND, ANDREW DENNISTON: Mars Hill Café

ANITA LENZO, MARK WILKES, RUSSELL NEAL, + GUESTS: Kogarah Hotel

BOOTY CALL: Kro Bar, East Leagues Club, Bondi Junction

VELVET ROAD, ROONEY WEST, ROSS BRUZZESE, DaNIEL HOPKINS, + GUESTS: Taren Point Htl

GLITTERING FROST: Sydney Recital Hall

THE SOWERS GROUP: Lizottes, Newcastle

AMY MEREDITH, TONIGHT LIVE: UniBar, Wollongong

BLISS N ESO, HORRORSHOW, BIG B: Hordern Pavilion

DEVA PERMANA TRIO: Jazsushi Surry Hills

MARK LUCAS: Petersham Bowling Club

WED 25

BLISS BOMB: Colonial Hotel, Werrington

DEREB THE AMBASSADOR: Macquarie Htl Surry Hills

THE EARLY BIRDS: Bald Faced Stag

TORCH SONG COUNTRY SOUL BAND, PUGSLEY BUZZARD, BEAUTIFULLY MAD: MANLY VILLAGE CHURCH

BLAMING VEGAS: Kingswood Sports Club

DAVE WHITE EXPERIENCE: 3 Wise Monkeys

PETER HEAD: Harbourview Htl

TIM JONES, KEN MCLEAN, TAOS, + GUESTS: Coach & Horses Hotel, Randwick

BLACK DIAMOND HEART CLUB: THE RANCH, EASTWOOD

DAN SPILLANE: Coogee Bay Htl, Beach Bar

MAL’S OPEN MIC NIGHT: Royal Htl Bondi

THIRD WATCH: Scruffy Murphys

BIRDS OF TOKYO: Cockatoo Island

BRAD JOHNS: Dee Why RSL

THU 26

FREDDIE WHITE: Notes, Newtown FREDDIE WHITE: Vault 146, Windsor

A FRENCH BUTLER CALLED SMITH, DUB DUB GOOSE: Transit Bar ACT

FRONT END LOADER, ARCANE, THE DRUNKEN SAILORS: Mona Vale Hotel

AAMAZING ENTERTAINMENT KARAOKE: Penrith Htl

GHOSTS ON BROADWAY, UNCORRECTED, SOAPBOX SUMMER: Spectrum

ADAM RENNIE: Rag & Famish Nth Syd AMY MEREDITH, TONIGHT LIVE: Kent Htl Hamilton ANDY MAMMERS: Greengate Htl ANNA SALLEH’S BOSSA BOOTS: Cru54 Bar & Kitchen

GLENN WHITEHALL: Edinburgh Castle Htl IGNITION: 3 Wise Monkeys IMOGEN HARPER, GUINEAFOWL: The Vanguard

BILLY & I: Dee Why Hotel

INDIE WARHOLS, THE EARLY BIRDS, THE GROWL, KIKI: Landsdowne Hotel

BRAD JOHNS: Dee Why RSL

JAMES PARRINO: Malborough Hotel

REDUNDANTT, ANNA FORBES, CAROLYN WOODORTH, + GUESTS: Lone Pine Tavern Rooty Hill RICHIE WILLIAMS: Railway Friendly Bar RICKY LYNCH: Five Islands Brewery, Wollongong SEVENTEEN SYLLABLES, URBY, MUSH: World Bar Kings X SOUL FOOD: Berkelouw Wine Bar, Leichardt STONE & THE SKY: Kurrajong Htl Erskineville TED SLY’S BAND: Jazsushi Surry Hills THE AMITY AFFLICTION, I KILLED THE PROM QUEEN, DEEZ NUTS, OF MICE AND MEN: Roundhouse Kensington

BREWSTER BROS: Clarendon Guest House

JONN LAJOIE, BEACHED AZ: Lizottes, Newcastle

BRIAN KING: Campbelltown Catholic Club - Caf‚ Samba

KAVISHA MAZZELLA: Camelot

THE GENTLEMEN CALLERS: Petersham Bowling Club

KIRSTY BOLTON, SNEZ, FIONA TRELOAR: Excelsior Glebe

THE JAZZ FACTORY: The Great Northern Hotel, Newcastle

CABLE, BROKEN RIOT, TRANZPHAT, ROCKET TO NOWHERE: Valve Bar and Venue, Tempe CAMBO: Observer Htl CHALKIE WHITE: Windang Bowling Club CRAIG THOMMO: Gymea Bay Hotel

MARK SEYMOUR, ABBY DOBSON: The Basement MARTY from RECKLESS: Northies Cronulla HtlSport Bar MEGASTICK FANFARE, PARKING LOT EXPERIMENTS, SEALION: Kings Cross Htl

THE TRUTH IS, SOUND OF SEASONS, EX CURIA: The Gaelic THE VINES: St Stephens Church, Newtown THE YEARLINGS, LANEWAY:

TIKI TAANE: Penrith Panthers

TIMES LIKE THESE: Coogee Bay Htl, Beach Bar TOM & DAVE SHOW: Maloney’s Hotel TRIVIA: Riverwood Inn

FRI 27

2 OF HEARTS: Harbord Beach Htl

8 BALL AITKEN: Seaview Tavern, Woolgoolga A FRENCH BUTLER CALLED SMITH: Cabbage Tree Hotel

CITY RIOTS, THE MISSION IN MOTION: Oxford Art Factory, Live Art Space CRAIG THOMMO: Paddy Maguires Haymarket CREEDENCE & BEYOND: St Marys Leagues DANIEL LISSING DUO, SAM & JAMIE BAND: Crows Nest Htl DAVE GRANEY & THE LURID YELLOW MIST, CLARE MOORE: Lizottes, Kincumber DAVID AGIUS: PJ Gallaghers Drummoyne DIRTY DEEDS - AC/ DC SHOW: Penrith Htl DJ TONE: Oatley Hotel

CLUB RIVERS HAPPY HIPPIES: Commercial Htl Parramatta HEARTBREAK CLUB, CROUCHING 80’S HIDDEN ACRONYM, THE OPTIONALS, SMITH STREET BAND: Lansdowne Htl HEATH BURDELL: Macquarie Htl, Liverpool Heatwave: Mudgee Soldiers Club HELLO CLEVELAND: Quakers Inn HIP NOT HOP: Hillside Htl Castle Hill HUDIBRASTIC FUNK: Railway Friendly Bar HUE WILLIAMS, FENDER BENDERS: Smithfield RSL HUNGRY KIDS OF HUNGARY, THE CHEMIST, ANDY BULL: Great Northern Byron Bay INTIMATE LOUNGE MUSIC: Fairfield RSL, Supper Club JACKSON FIREBIRD, DOC HOLLIDAY, TAKES THE SHOTGUN, MEOW KAPOW: The Vanguard JASON LEE: The Pub JAYNE DENHAM: Springwood Sports Club JEBEDIAH, VIOLENT SOHO, YOUNG REVELRY: The Factory Theatre JENNY BIDDLE, LUKE ESCOMBE, KEVIN HAILEY, BEC LAUGHTON BAND: Manly Fig JESS POLLARD QUINTET: 505, 280 Cleveland St Surry Hills

AARON GOLDBERG TRIO: The Sound Lounge Seymour Centre

DORA D DUO: Northies Cronulla Htl

JIVE BOMBERS, GRIZZLY ADAMS: Windsor RSL

EBONY & IVORY: Crown Htl City

JJ DUO: Courthouse Htl

ABBY DOBSON: Lizottes, Dee Why

EMMA HAMILTON: Greengate Htl

JOSH MCIVOR: Brewhouse Pub St Marys

ALICE TERRY, THE SCARLETS, NICK LATTA, JOHNNY4LUCY: The Basement

FALCONA FRIDAYS, JOYRIDE, HANSOM, HOBO, STARJUMPS, F.R.I.E.N.D.S DJ: Kit & kaboodle, Kings Cross

JULIA MORRIS, JACKIE LOEB: Mounties Club Mt Pritchard

ALL STAR DUO: Parramatta Leagues ALMOST FAMOUS: 3 Wise Monkeys AM 2 PM: St George Leagues AMY MEREDITH, TONIGHT LIVE: Metro Theatre ANDY MAMMERS: Castle Hill RSL ARMCHAIR TRAVELLERS: Penrith RSL, Castle Lounge

FLAMIN’ BEAUTIES: BROADWAY HOTEL, PARKES

KEEP THE FAITH - BON JOVI SHOW: Towradgi Beach Htl KEN HILL DUO: Dubbo RSL

FREEFALL DUO: Jazsushi Surry Hills

Killers Show: Scruffy Murphys

FRONT END LOADER, HYTEST, SMALL TOWN INCDENT: Annandale Htl

KP: Ettamogah Htl

GET THE PARTY STARTED-THE PINK SHOW: Taren Point Bowling Club

AVARIN, TENTRIS, TERATORNIS, + SPECIAL GUESTS: Valve Bar and Venue, Tempe

GHOUL: Tone, Sydney

BACK TO THE 80’S: Bayview Tavern

GTS:

GRAEME MILLS: Diggers at The Entrance

LATE SHIFT: Wentworthville Leagues LAWRENCE BAKER: Novotel - Brewery Bar, Olympic Park LEON GORT: Chatswood RSL LISA HUNT, VICKY TURNER, J PARRINO, OUTLIER: Dee Why RSL LUKE DIXON: Parramatta RSL

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

• 82 • THE DRUM MEDIA 24 MAY 2011

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cooperstv.com.au

kwp!CPR11118

We’ve brewed a TV channel.


PLAYING AT LIZOTTES (KINCUMBER), THE CLARENDON (KATOOMBA) & THE VANGUARD (SYDNEY).

THE DRUM MEDIA 24 MAY 2011 • 83 •


gigs@drummedia.com.au

24 - 31 MAY 2011 MACSON DUO: Hornsby RSL MANDI JARRY TRIO: Kirribilli Htl Mark Harrigon: The Greens MARK SEYMOUR: Brass Monkey MARTIN MULHOLLAND: Northies Cronulla HtlSport Bar MATT COLLYER & THE COMPANY: Port Macquarie Hotel Matt Jones Trio: Jewells Tavern, Jewells, Central Coast MATT PRICE: Grand Htl Rockdale MEGASTICK FANFARE, PARKING LOT EXPERIMENTS, SEALION: Otis Bar, Wollongong MUDDY FEET: Jannali Inn NEXT BEST THING: Dundas Sports Club NICKY KURTA: Town Hall Htl Balmain NIGHT OWL: Down Under Bistro, Woolloomooloo NO BRAKES: Blacktown RSL OPEN FIRE: Mingara Rec Club PHIL SPILLER: Artichoke Café Manly RAPTURE: Customs House Sydney REASONS 2B CHEERFUL: Moorebank Sports Club ROB HENRY, GEOFF RANA: Observer Htl ROUND MOUNTAIN GIRLS: Beach Hotel, Byron Bay ROYAL CHANT: Hotel Gearin, Katoomba RUFUS, JIMMY HAWK & THE ENDLESS PARTY, THE GROWL, DEAD LEAVES, DANGEROUS DAMES: The Gaelic SAM & JAMIE BAND: Woolloomooloo Bay Htl SARAH PATON: O’Malleys Kings X SHOALHAVEN SINGERS: Shoalhaven Entertainment Centre SPIRITUALIZED: Sydney Opera House SPURS FOR JESUS: Rose of Australia STEPH MILLER & THE WINTER STATION, REMO ST, HANDSOME YOUNG STRANGERS, REX HAVOC, BROWNY: Town Hall Htl, Newtown STORMCELLAR: Matraville Htl TERRY BATU: Horsley Park Tavern THE ALICE COOPER SHOW: Bull & Bush THE AMITY AFFLICTION, I KILLED THE PROM QUEEN, DEEZ NUTS, OF MICE AND MEN: Roundhouse Kensington THE ATLANTICS: Vault 146, Windsor • 84 • THE DRUM MEDIA 24 MAY 2011

THE AUSTRALIAN PINK SHOW: Asquith Leagues

CLARE JEAN, GRAYSON: Kincumber Htl

THE BAR AT BUENA VISTA: State Theatre

PAUL DAMES: Campbelltown Catholic Club

CRAIG THOMMO: The Belvedere Htl

PETE HUNT: Waverley Bowling Club

CUT COPY, ARCHITECTURE IN HELSINKI: Sydney Opera House

PETER NORTHCOTE, ANDRE KAMAN: Bridge Htl Rozelle

DAI PRITCHARD: Beaches Htl Thirroul

RECKLESS: Gymea Bay Hotel

THE GOYLES: Warilla Bowling Club

DANIEL THOMPSON: The Bay Sports Club

THE HAUNTED, BURIED IN VERONA, RECOIL, DAWN HEIST: Manning Bar Syd Uni

DAVE WHITE DUO: Northies Cronulla Htl

RUSSELL NEAL, + GUESTS: CLUB TOTEM, BALGOWLAH

DAVID AGIUS DUO, NICKY KURTA: Ettamogah Htl

SHANE MACKENZIE: Cohibar

DISCO PUNX: World Bar Kings X

SHIRAZ DUO: The Entrance Sails Stage

DOLLSHAY: Mean Fiddler Htl

SIMPLY BUSHED: Bombaderry Htl

THE ELTON JACK SHOW: Royal Motor Yacht Club THE FAMILY CLAM, MAXINE KAUTER BAND: The Great Northern Hotel, Newcastle

THE IDEA OF NORTH: Lizottes, Newcastle THE MARISTIANS: Rag & Famish Nth Syd THE POD BROTHERS: Richmond Club THE PREHISTORICS, THE VOLTS, THE MARINES: Excelsior Glebe THE ROCK MONSTERS: Vineyard Htl THE SHOOTERS PARTY, FUSHIA, THE ARCHERBOLDS, THIEVES, FOX, BRACKETS, + DJ’s: World Bar Kings X THE YEARLINGS, LANEWAY: The Clarendon Hotel TIFFANI WOOD: Dapto Leagues TIME MACHINE: Penrith Gaels TOM & DAVE SHOW: Mean Fiddler Htl TOM T DUO: Albion Htl TONGUE AND GROOVE: Marlborough Htl TRAVELLING WILLABEES: Freeway Htl TRILOGY: Coogee Bay Htl, Beach Bar UNFORGIVEN- THE METALLICA SHOW: Engadine Tavern WILDCATZ: Maroubra RSL

SAT 28

THE AMITY AFFLICTION: THURSDAY 26, FRIDAY 27, UNSW ROUNDHOUSE BENJAMIN BENOLID: Down Under Bistro, Woolloomooloo BIG WAY OUT: R.G.McGees, Richmond

THE SHIVON DUO: Revesby Workers

PAUL SUN, MATT LAMB, DIDI MUDIGDO: Organic Food Markets, Leichhardt

TOM T DUO: Parramatta Leagues

PEGZ, DIALECTRIX: Annandale Htl

TWO MINDS TRIO: Mercantile Htl

PETER HEAD: Harbourview Htl

U2 TRIBUTE: Kro Bar, East Leagues Club, Bondi Junction

CHART BUSTERS: Tracks, Epping Htl CHICK ROCK: Oatley Hotel

HAPPY HIPPIES: Kellys on King Newtown

CHRIS LIBERATOR: Valve Bar and Venue, Tempe

HAT TRICK, NATALIE CONWAY: Northies Cronulla Htl

CO-PILOT DUO: Brewhouse Pub Marayong

HEAT WAVE: Penrith Gaels

RATTLE & HUM-U2 SHOW: Macarthur Tavern Campbelltown

HEATH BURDELL: Clovelly Htl

REPLIKA: Picton Htl

HELLO CLEVELAND: Mean Fiddler Htl

ROCK SHACK: Beachcomber Htl Toukley

COUGAR: Engadine Tavern DANIEL LAWRENCE: Sir Joseph Banks Hotel DAVE GRANEY & THE LURID YELLOW MIST, CLARE MOORE: Lizottes, Newcastle DAVID AGIUS: Castle Hill RSL DES GIBSON: Lansvale Htl DIRTY LOVE: Bay Hotel ECLYPSE: Courthouse Htl

ARMCHAIR TRAVELLERS DUO: Richmond Club

BAT OUT OF HELL MEATLOAF SHOW: Mean Fiddler Htl, Woolshed

LARRIKINS CAFÉ & LOUNGE

GUINEAFOWL, PARADES, STONEFIELD, REDCOATS, PLUTO JONZ, + HEAPS MORE!: Oxford Art Factory, Live Art Space

BLAZE OF GLORYBON JOVI SHOW: Chester Hill RSL

2 DAYS HITS: Coogee Bay Htl 2 DAYS HITS: Coogee Bay Htl, Beach Bar 2 OF HEARTS: Brighton RSL 8 BALL AITKEN, ROWLAND: Sawtell RSL A FRENCH BUTLER CALLED SMITH: Macquarie Htl Surry Hills AAMAZING ENTERTAINMENT KARAOKE: Penrith Htl ABANDON ALL HOPE, TRAINWRECK, ENDLESS HEIGHTS: Flynns Beach Surf Club ABBY DOBSON, EDOARDO SANTONI: Brass Monkey ADDISON ROAD, FREIDA’S BOSS, OKAPI GUITARS: Landsdowne Hotel ANDY MAMMERS BAND: Maloney’s Hotel

BAND OF FREQUENCIES, DEAD BEAT BAND, BOBBY ALU: Buddha Bar, Byron Bay

GOODWILL, KLAUS HILL, TRENT RACKUS, JAMES TAYLOR, + HEAPS MORE!: World Bar Kings X

HIGH MAINTENANCE: Carousel Inn Rooty Hill Hip Sister: The Entrance Sails Stage IGNITION: Scruffy Murphys IIAN KIDRON: 505, 280 Cleveland St Surry Hills JACKSON FIREBIRD, HOMELESS YELLOW, APRIL MAZE: The Great Northern Hotel, Newcastle

ELEVATION-U2 SHOW: East Leagues

JJ DUO: St George Motor Boat Club

EMPIRES & VAMPIRES, LOCKDOWN, AZLOCK, THE OCEAN, THE SKY: Caringbah Bizzos

KEITH ARMITAGE: Northies Cronulla HtlSport Bar

END OF AUGUST: Mingara Rec Club ENDLESS SUMMER BEACH PARTY: Burwood RSL EXPRESS: Gymea Bay Hotel FELICKS DEVICE, THE FIRES, THE BELLE HAVENS: Excelsior Glebe FINN: Jack Duggins, Bathurst

KAFE KOOL: Fairfield RSL, Supper Club

LATE SHIFT: 3 Wise Monkeys LAUREN DAWES, ADRIAN PETLEVANNY, GREG BRYNE: Dee Why RSL Laurie McKern, BADJANE, RENEE JONAS, RENAE KEARNEY, CIARA HAYES: Belrose Bowling Club MANDI JARRY DUO: Ettamogah Htl MARK DA COSTA: Marlborough Htl

FRONT END LOADER: Junkyard Htl, Maitland

MATT JONES: PJ Gallaghers Drummoyne

FUNKTION: Bull & Bush

MICHAEL PETER: The Belvedere Htl

FUNPUPPET: Peachtree Htl Penrith

MIKE MATHIESON, CHRIS ALEXANDER: Dooley’s, Lidcombe

GALAPAGOS DUCK: Penrith RSL, Castle Lounge GEOFF RANA, CARL FIDLER: Observer Htl GLITTERING FROST: Sydney Recital Hall

NICKY KURTA: Novotel Rooty Hill ONE HIT WONDERS: Mounties Club Mt Pritchard PAUL SUN, MATT LAMB, CAMERON ANDREWS:

PINK SHOW, KATY PERRY SHOW: Helensburgh Workers

ROGER STANKOVIC, ZIKO HART, NEVILLE K, CAROLYN WOODORTH, + GUESTS: TERRY HILLS TAVERN RON HENRY DUO: Harbord Beach Htl SCOTT DONALDSON: Kirribilli Htl SFX FEAT…, RUIN GLORIA: St James Htl Sydney

TRILOGY: Paddy Maguires Haymarket

WE ARE THE CHAMPIONS- QUEEN TRIBUTE: Blacktown RSL WE’RE BACK: Riverwood Inn WILDCATZ: Penrith RSL

SUN 29

5 LANDS EXPERIENCE: The Rhythm Hut, Central Coast A FRENCH BUTLER CALLED SMITH: Grand Junction Htl Maitland A FRENCH BUTLER CALLED SMITH: Junkyard Htl, Maitland ABBY DOBSON: Lizottes, Kincumber

SINGLED OUT: Wentworthville Leagues

ACE KARAOKE: Brighton RSL

STEPPIN’ OUT: Kingswood Sports Club

ALISTER SPENCE TRIO: 505, 280 Cleveland St Surry Hills

STORMCELLAR: Bald Rock Htl Rozelle TALL POP SYNDROME: Crows Nest Htl TERRY BATU: Vault 146, Windsor THE AMAZING 3: Mars Hill Café THE BAR AT BUENA VISTA: State Theatre THE CROOKED FIDDLE BAND: Katoomba RSL THE DELTA RIGGS, HOWLER: Tatts Hotel, Lismore THE FLOOD, THE PARDONERS: Lizottes, Dee Why THE GOYLES: Windang Bowling Club THE HARPERS: Panania Htl THE IDEA OF NORTH: Lizottes, Kincumber THE POD BROTHERS: Orient Htl THE ROAD CREW: Collingwood Htl

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ANDY MAMMERS DUO: Cronulla RSL ANTHONY HUGHES, DJ TONE: Oatley Hotel ANTOINE: O’Malleys Kings X ANTONIO REMIDIOS TRIO: Kro Bar, East Leagues Club, Bondi Junction BARDIA, ROSE FROM RUINS, PAST IS PRACTICE, GHOSTS ON BROADWAY, WE BUILT ATLANTIS, CITY FALLS: Lucky Oz Tavern, St Marys BLUES SUNDAYS: Artichoke Café Manly BOB GELDOF, JON STEVENS, DANIELLE SPENCER: Lyric Theatre, Star City BRAD JOHNS: Harbord Beach Htl BRETT THOMAS: Sawtell RSL BREWSTER BROS: Brass Monkey CASH ONLY: Marrickville Bowling Club

DON HOPKINS: Dee Why RSL ELEVATION-U2 SHOW: Orient Htl EVAN LOHNING: Jazsushi Surry Hills FATT LIP: Riverstone Sportsman Htl FERAL SWING KATZ: Penrith RSL, Castle Lounge FRONT END LOADER, SOUL SHAKEDOWN DJS: The Great Northern Hotel, Newcastle FUNKSTAR: 3 Wise Monkeys GILBERT WHYTE: Fubah on Copa, Copacabana GLENN WHITEHALL: Peachtree Htl Penrith GORDON: Campbelltown Catholic Club - Caf‚ Samba GOSSLING, RYAN MEEKING, + SPECIAL GUESTS: Good God Small Club GREG BRYNE: Northies Cronulla HtlSport Bar HARBOUR MASTERS: Ravesi’s on Bondi JACK EVANS, THE SPYDERS: Pyrmont Bridge Hotel JONNY ROCK: Woolloomooloo Bay Htl JONT: Lizottes, Dee Why JUPITER MENACE, THE LATONAS, THE EARLYBIRDS, TEKNOFEAR, + HEAPS MORE!: Annandale Htl KALEIDOSKOPE, THREE WISE MONKEYS, STATIS, THE GOOD GOD DAMNED: Valve Bar and Venue, Tempe KING OF COUNTRY: Penrith RSL, Showroom

SYDNEY BLUES SOCIETY: Botany View Htl TERRY BATU: Wisemans Ferry Inn THE BAR AT BUENA VISTA: Glasshouse Theatre, Port Macquarie THE DANDY WARHOLS, LOS HUEVOS: Enmore Theatre THE DELTA RIGGS, HOWLER: Great Northern Byron Bay THE DREY ROLLAN BAND: Cafe Lounge, Surry Hills THE FLOOD, THE PARDONERS: Lizottes, Newcastle THE GENTLEMAN CALLERS: Petersham Bowling Club THE HOOCHERS: Railway Friendly Bar THE YEARLINGS, LANEWAY: The Vanguard UNI VS UNI, BAND VS BAND: Landsdowne Hotel WARDS XPRESS: Tudor Hall Hotel ZOLTAN: Richmond Club

MON 30 ALISON PENNEY: Dee Why RSL BERNIE: Observer Htl GOSSLING, RYAN MEEKING: Beach Rd Htl Bondi JAMES RYAN: 505, 280 Cleveland St Surry Hills

KIRK BURGESS: Coogee Bay Htl, Beach Bar

LINDA WOOD, NAOMI CRAIN, RUSSELL NEAL, + GUESTS: Orange Grove Htl

KLASSIC BLAK: Belmont 16ft Sailing Club

LOUIS FULLER: Railway Friendly Bar

LJ: Collaroy Beach Hotel

MANDI JARRY: Opera Bar

MATT COLLYER & THE COMPANY: Figtree Htl Wollongong MATT PRICE: Woolwich Peir Hotel NEILL BOURKE, ROB HENRY, MATT JONES: Observer Htl

MASSIMO PRESTI, CHRIS BROOKES, CAROLYN CRYSDALE, + GUESTS: Kellys on King Newtown WU LYF: Sydney Opera House


THE DRUM MEDIA 24 MAY 2011 • 85 •


BROUGHT TO YOU BY

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

WORKING WITH SCHREIFELS Pennsylvanian punk band Title Fight released their debut album, Shed, a couple of weeks ago and Drum took the opportunity to ask the band’s drummer, Ben Russin, what it was like to record with hardcore producer, guitarist Walter Schreifels (Gorilla Biscuits, Rival Schools, Quicksand), at Studio 4 in Conshohocken, in their home state. “We’ve never worked with a producer before, and we’ve also never been in the studio for more than four days, so this process was a pretty big learning experience for us. Walter taught us that vibe is most important when recording, and that the human element is also a necessity for a natural, honest record. We initially tracked every song live, and if the song just felt good when we played, we kept it. It didn’t matter if there were slight mistakes or nuances, because we clicked together when we played it as a band and that was what mattered. It was an honour to get to work with Walter, someone we all look up to, and are really happy that his influence on Shed helped us create a record we are really proud of.” Engineer on the session was Will Yip, and the album is out on SideOneDummy Records, distributed here through Shock.

OMEGA TO GARAGE BAND The Lexicon Omega, a hand-sized Desktop Recording Studio with Cubase LE 4 and Lexicon Pantheon Reverb Plug-In, is now able to be used in conjunction with your iPad to simultaneously record up to four tracks to the GarageBand application from Apple. The Lexicon Omega streams 24-bit audio at a 44.1KHz sample rate to an iPad over USB, utilising the Apple Camera connection kit to provide high quality audio for recording and playback. Part of the American Harman group of companies, which also manufactures JBL, Lexicon products are distributed in Australia by Jands.

SOUND BYTES Arctic Monkeys took themselves off to Los Angeles to record their fourth album, Suck It And See, with fellow Briton producer James Ford, who’s done all their albums as well as Klaxons’ Myths Of The Near Future, and The Last Shadow Puppets album, at Sound City Studios, with James Brown (obviously not that one!) engineering and Craig Silvey mixing the album. Orlando, Florida four-piece There For Tomorrow recorded their second album, The Verge, due beginning of July, with producer Michael Elvis Baskette (Incubus, Chevelle, Alter Bridge). Due out in July, the new George Thorogood & The Destroyers album, 2120 South Michigan Avenue, named after the original address of the legendary Chess Records, was produced by Tom Hambridge, who produced Buddy Guy’s Living Proof album, which won the 2010 Grammy winner for Best Contemporary Blues Album. Adelaide four-piece Dangerous! recorded their debut album, Teenage Rampage, in Los Angeles with producer Ulrich Wild (Deftones, Pantera). It was mixed by Marc McClusky (Weezer). Sydney five-piece Boy & Bear spent April locked away in a studio in Nashville with producer Joe Chiccarelli (The Strokes, White Stripes, The Shins) recording their as yet untitled next album. Now signed to Cotillion, distributed by Warner, Custom Kings co-singer, co-songwriter and multiinstrumentalist Jarrad Brown began recording what became the debut album, GoodTimes, for his side project Eagle & The Worm a couple of summers ago on hard-drives and four-track machines before finally cutting it over four days in a room in North Fitzroy, Melbourne, with Steven Schram (The Cat Empire, Little Red, Little Birdy) at the mixing desk. They say patience is a virtue – Melbourne musician Marcus Teague, formerly of Deloris, recorded, produced and mixed his debut album, which he’s releasing as Single Twin, though he’s called it Marcus Teague, over six years in his home using only GarageBand and a Rode NT-1000 microphone. Sydney band 46 Clicks went into Main Street Studios in Wollongong recently to record their debut EP, produced by Ian Hulme (The Choirboys). Also checking into Main Street recently was Over-Reactor, working with producer Adam Jordan over a 14-hour session during which they wrote and recorded a song in collaboration with a variety of Wollongong musicians, the track being released on the OverReactor and Main Street Studios Facebook pages. Simon Holmes has been producing a few more tracks for Aerial Maps at Damien Gerard Sound Studios in Balmain, with Russell Pilling engineering. • 86 • THE DRUM MEDIA 24 MAY 2011

HOME OF THE BRAVE

UK SPACE ROCK PROTAGONISTS SPIRITUALIZED ARE PERFORMING THEIR OPUS, LADIES AND GENTLEMEN WE ARE FLOATING IN SPACE, IN ITS ENTIRETY AT THE SYDNEY OPERA HOUSE AS PART OF THIS YEAR’S VIVID LIVE CELEBRATIONS. JASON PIERCE TAKES STEVE BELL THROUGH THE LOGISTICS BEHIND THIS EPIC FEAT.

P

laying one of the albums from your back catalogue on stage in its entirety – usually your most critically-lauded effort, or an early masterpiece that helped put you on the map – has become somewhat de rigeur these days, in the age of All Tomorrow’s Parties and Don’t Look Back shindigs where such occurrences are commonplace. Few bands, however, have the gall to attempt something as ambitious as recreating Spiritualized’s epic 1997 album, Ladies And Gentlemen We Are Floating In Space, an album renowned for its grandeur and sheer seismic intensity. Since the idea was first floated a couple of years back while here in Australia for ATP, they’ve played it in London’s Royal Festival Hall and New York’s Radio City Music Hall, but bringing the piece to Australia to perform at the Opera House seems on the surface to be the most logistically confronting. Drum was lucky enough to catch a performance of the opus at the Matt Groening-curated ATP in Minehead, UK last year, and the exhilarating exhibition included massive robed choirs, string ensembles, horn sections – all in all, when taking the stunning music into account as well as the sheer visual breadth of the occasion, it was one of the most breathtaking spectacles imaginable. They even spent most of the day soundchecking the piece on the main stage, or so it seemed… “That was actually the rehearsal,” chuckles Jason Pierce – aka J. Spaceman – who not only fronts the band but is

it before, or whether my expectations were wrong; I used to think you pulled it all together in the mix – like that’s the bit of magic – but I suddenly started to realise that the recordings kind of sound like that, they’re not that different from the mix, you just push all the faders up and there’s your track.”

responsible for crafting their cosmic compositions. “I’d like to say that was the soundcheck, but it really, really was the rehearsal. We’re coming to Australia with six people, and we’re picking up the choir, horns, strings, everything there. It’s not about learning this thing by rote – it’s not like you can say, ‘Okay, these are the parts – learn them for a few months’ – it’s about giving people a vocabulary and a kind of little indication of where they can go with it and letting them know that it’s free. The music’s loosely hung on these songs, and the show’s loosely hung on these songs, but the playing is kind of chasing down the energy in it and kind of working with these very simple mantras and very simple musical motifs, and I think that’s what makes them kind of glorious: they’re flying and they’re not held down. There’s not anywhere for them to go, ‘Okay I’m comfortable now, I know where this is.’” The notoriously hedonistic Pierce doesn’t remember as much about the actual recording of Ladies And Gentlemen… as he does about the general mood of craziness surrounding the project, which even involved a musical version of method acting. “We were probably in the studio for a month or so. Maybe two months, I dunno. We spent an awfully long time mixing it, and it’s kind of weird now… I just did an installation at Coachella where we did a mix of [lead title track] Ladies And Gentlemen… and it took me about 40 seconds to mix the track – it took me about three weeks the first time around! I always wondered why that was, whether it was just because I hadn’t done

ET GUITARS – TOMAHAWK FX7

Raymond Barnfield

This guitar is a very smooth, comfortable way to attack the heavier style of music. The neck’s ‘C shape’ profiling makes it incredibly comfortable and easy to glide around even when standing, which is a great insurance that you will be shredding away to raise the dead in absolutely no time at all.

Considering this guitar is under $1000 I wouldn’t be surprised if they start popping up with a lot of popular musicians even if it’s for pure studio usage, keeping in mind that $1000 is fairly cheap considering most people would sell their souls to have one. At the end of the day this guitar will never look out of place and most importantly it will never sound out of place… You can be certain that the Tomahawk FX7 will leave more of an

Spiritualized performs Ladies And Gentlemen We Are Floating In Space on Friday and Saturday at the Opera Theatre, Sydney Opera House.

One of the most interesting parts of the Ernie Ball Gigbag is the MP3 port located on the Marshall amp, allowing you not only to listen to your favourite songs from your iPod, but also play along with them. A device well suited to honing your craft, should you purchase the Ernie Ball Gigbag you will not be disappointed. One word of advice people – try to avoid setting up next to the crazy busker with the broken-down guitar, because once you start shredding, they start screaming. Safe travels, boys and girls.

The savageness inside of us all comes alive with the combination of a Sapelle mahogany body, three-piece maple neck, high-output Alnico pickups and an ebony fretboard fitted with 24 Dunlop ‘6105’ frets that make this guitar more of a chainsaw loaded with dynamite rather than your traditional axe.

As with everything else that involves this guitar, the clean tones are unflawed and perfectly rounded. There isn’t any other brand that could rival the FX7, especially in terms of the craftsmanship involved let alone the matching price tag.

“Like Walk On The Wild Side wouldn’t have been a great song if it had been a waltz, or a sea shanty – I think the fact that it sat on that beautiful bass line and had those girls singing that makes it the great song that it is. I think more that it’s the environment that (I Can’t Get No) Satisfaction was in the first time and the friction that was in that recording that makes it a great song, and if it was done by The Dave Clark Five then it wouldn’t have been a great song – it’s the environment and the sonic around it that gives it that life. And that’s what you do when you make music – when you make a record you kind of push and pull that sound just to make it fit.”

will be one of the frontrunners in creating new and innovative music technology.

“Hide your kids, hide your wives and hide your husbands”… that is unless you want them decapitated faster than you can say “Check this out!” ET Guitars’ Tomahawk FX7 is as a simplified, bloodthirsty brutal weapon of mass destruction.

If you thought for one second that this guitar was a one trick pony, you couldn’t have been more wrong. While the FX7 has what appears to be a master volume knob, it is actually a push/pull styled knob that also allows you to ‘coil-tap’, or in simpler terms, use your humbuckers as single-coil pickups, allowing for six completely different, switchable tones via the three-way toggle switch – it should be noted that it’s beyond interesting to play a guitar that is capable of death metal and disco at the same time.

Pierce famously started Ladies And Gentlemen… by singing the songs into a Dictaphone, and though you’d assume it would have been exciting fleshing these skeletal sketches into the fully blown masterpiece they became, the creator isn’t so sure. “Yeah kind of, but they find their own shape, you know? We released some of the demos recently, and when we were digging through them I was surprised to find that some of the demos ended up as the actual backbone of the tracks. They didn’t get any further than that, but I don’t think it’s like I have a musical vision that you then set about trying to copy – I put ideas down and then pull them around, and then throw them around and change little bits and put them somewhere else, and that’s how songs find their own shape. People tend to think that it’s all in the song – people constantly say, ‘That’s a great song!’ and think it’s all about the song, like it’s the song that’s king – but I’m more convinced these days that it’s the shape that the song originally sits in that makes it great, if that makes sense.

Supplied by CMC Music; available at cmcmusic. com.au.

TOMAHAWK FX7 impact on you and your fans than a Thermobaric weapon going off right in your face! Ryan Mortimer Supplied by ET Guitars; available from ETGuitars. com

ERNIE BALL GIGBAG AMP Ladies and gentlemen, let us introduce you to the fine art of extreme busking and what a wonderful art it is. If you are unfamiliar with the Ernie Ball Gigbag then it is about time you get familiar. The whole unit itself is quite amazing – strapped to the front of a fully functioning guitar case is none other than a Marshall amp. The Gigbag is perfect for the musician on the go, quick, effective and very easy to use, perhaps one day becoming a staple part of the tour bus. The Marshall is a two-channel amp and you have two options to run it, batteries or an AC adaptor. Located on top of the Marshall are three different knobs; volume, tone and OD gain, all of which will serve you very well switching between channels. The sounds you can pull from this amp are amazing. Marshall has always been and always

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ERNIE BALL GIGBAG AMP


YOUR AD IN THIS SPACE CALL JAMES AT DRUM MEDIA ON 9331 7077 THE DRUM MEDIA 24 MAY 2011 • 87 •


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EMPLOYMENT

BASS

ADMINISTRATION

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

7 HRS IN THE STUDIO JUST $300

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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

Schecter Blackjack ATX C-1 Floyd Rose. SD ‘Blackout’ actives, original FR, 24 fret Ebony, set-thru neck, matte black w/ yellow binding, never gigged. Includes hardcase. $2200 RRP. $1400 o.n.o. Call/text 0430522360 iFlogID: 13492

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

ENTERTAINMENT

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

Fully Loaded TAMA SWINGSTAR blue. 10”, 12”, 14”, 16” toms. STAGG cymbals 14” hats, 14” and 16” crashes, 10” splash. 20” PAISTE ride. Great condition - no serious giging. $850 incl extras! Noel 0415945667 iFlogID: 13461

TAMA Drums Shirt signed by John Tempesta (White Zombie, Rob Zombie, The Cult, Testament, Exodus, Helmet), Black, XL, New. $30 Ph0449713338 iFlogID: 13457

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

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

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

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

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

SALES & MARKETING 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 iFlogID: 13289

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

FOR SALE

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

AMPS

iFlogID: 13330

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.

BUCK 65 Situation 2 x Vinyl LP . Sleeve and Record are Brand New. $25 Ph0449713338

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

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

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

Peavey Windsor series 400watt 4/12 slant cab. supreme XL speakers.HUGE bottom end grunt.AS NEW cond.$500.. iFlogID: 13023

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

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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 iFlogID: 13340

CYPRESS HILL 2004 Australian Tour Shirt. Brand New, Black, Medium. Til Death Do Us Part image on front and tour dates on back. $20 Ph.0449713338 iFlogID: 13445

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

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

NINE INCH NAILS Closer 12” Vinyl: further away (part one of a two record set), 1994. SEALED!!! VERY RARE! $90 ono Ph:0449713338 iFlogID: 13344

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

PETE ROCK NY’s Finest 2 X Vinyl LP. Sleeves and Records are brand new. $25 Ph0449713338 iFlogID: 13332

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

SUICIDAL TENDENCIES #13 Basketball Jersey signed by Mike Muir - blue, Medium, As New. $45 Ph0449713338 iFlogID: 13455

THE TEA PARTY Long Sleeve 2004/05 Tour Shirt, Black, XL, As New. Serpent/ Tree of LIfe front w/Seven Circles image/tour info on back & sleeve print. $60 ono Ph0449713338

MUSIC SERVICES

LEGAL / ACCOUNTING

RECORDING STUDIOS

BAND MERCHANDISE

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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

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 /DVD DUPLICATION

Short Run Specialist. Audio/Video Editing, Mastering, Format Transfers. Artwork Layout/Printing. SoundEdit Services, Berowra NSW PH: 8002 4029, MOB: 0418 232 797 go to: www.soundedit.com.au for Specials iFlogID: 13489

TOOL Concert Poster - Big Day Out, Auckland MT Smart Stadium 21Jan2011. Adam Jones Artwork - Ltd Edition of 100. Mint Condition. 60 x 45cm on Heavy Card. $70 Ph0449713338. iFlogID: 13479

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TOOL Concert Poster - Brisbane Entertainment Centre 24Jan2011. Adam Jones Artwork - Ltd # Edition of 50. Mint Condition. 60 x 45cm on Heavy Card. $90 Ph0449713338. iFlogID: 13471

TOOL Concert Poster - Melbourne Myer Music Bowl 02Feb2011. Adam Jones Artwork - Ltd Edition # of 100. Mint Condition. 60 x 45cm on Heavy Card. $90 Ph0449713338. iFlogID: 13477

TORI AMOS Dew Drop Inn 1996 Tour Shirt, White, XL, Excellent Condition. 3 Boys for Pele images on front and Caught a Light Sneeze image on back. $30 Ph0449713338 iFlogID: 13451

TORI AMOS Original Sinsuality Tour Shirt, White, Medium, Excellent condition/worn only 3 times. Tori/apple front image w/tour dates & snake on back. $35 Ph0449713338

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MASTERING

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 iFlogID: 13415

HIRE SERVICES CHEAP PA HIRE @ BIG MUSIC

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PA / AUDIO / ENGINEERING P.A - LIGHTS - STAGING 30 YEARS EXPERIENCE, QUALITY GEAR - PROFESSIONAL OPERATORS and GREAT PRICES. 02 94563124 - jacksongigs@gmail. com iFlogID: 13442

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. iFlogID: 13264

PT SUPPORT/LESSONS FOR MUSO’S! 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

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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 5 STRING BANJO TUITION. Up-Picking and 3 Finger Picking. tel. John 0431953178

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A GREAT WAY TO LEARN GUITAR From blue to new - all styles of guitar from Chris Turner(Buffalo,Tattoo etc) Rhythm,lead, Basic skills & Songs. Recording avail www.big-rock.com. au 9552 6663 Lilyfield guitardoctor@ bigpond.com iFlogID: 11369

AUDIO TRAINING @ BIG MUSIC

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

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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!

TECHNICAL SUPPORT @ BIG MUSIC

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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.

Superb relaxed studio environment 20 mins from CBD. Multi instrumentalist producer/engineer available to record and mix your music. Extensive experience in all genre music and television production. Previous experience with major international platinum selling artists. Many credits in all aspects of music craft. Collaboration and remixing a speciality.PHONE NOW on 0412621330.

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

Engineer / Producer available for Tracking, Mixing, Arrangements and Consultancy. Ideal for song writers crafting their sound, artists, bands wanting that edge. Best rates, 15 years experience as engineer and musician. Dean 0433957654

STUDIO SPECTRUM AND AUDIO MASTERING PRODUCER

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TOOL Concert Poster - Big Day Out, Gold Coast Parlands 23Jan2011. Adam Jones Artwork - Ltd Edition. Mint Condition. 60 x 45cm on Heavy Card. $90 Ph0449713338.

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

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

THE BUTLER MASTERING...

Let Big Music cater a PA package for your event. We have top quality gear from QSC, DBX, Yamaha, Allen & Heath (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: 12922

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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DUPLICATION/ MASTERING

BASS & GUITAR TUITION IN SURRY HILLS

MUSIC VIDEOS $300

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

DRUM TUITION LUCIUS BORICH 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 iFlogID: 12635

FINGERSTYLE GUITAR, open tunings, slide, flat picking, improvisation, country, blues, folk, celtic styles. All styles from Doc Watson and Nick Drake to Blind Willie Johnson and Eric Clapton. Beginners are welcome. tel. 0431953178 iFlogID: 13521

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

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 iFlogID: 13365

MUSICIANS AVAILABLE 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

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

iFlogID: 13152

PIANO: BLUES, ROOTS & POPULAR

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

GUITARIST

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

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 iFlogID: 13080

GUITARIST AVAILABLE 10 yrs exp.Available for gigs, recordings etc. Armed with PRS, Gibson, Fender. If you need help filling a song in the studio, or require a guitar on stage I’m your man. Good per hour/per job rates. James 0420448779

iFlogID: 12377

SLIDE GUITAR TUITION: All styles from Duane Allman and Ben Harper to Blind Willie Johnson and Son House. tel. John 0431953178

iFlogID: 13507

iFlogID: 13527

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 SEEKING BAND Dedicated Soul/Funk/Rock Female Singer seeking to join or form a band, covers or originals. Contact Julie on 0419606657 or email jchantery@ gmail.com iFlogID: 13517

VOCAL TUITION for students having problems with pitch, placement and breathing. tel. John 0431953178

MUSICIANS WANTED

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

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

BASS PLAYER

iFlogID: 13525

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 iFlogID: 12936

iFlogID: 13215

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 iFlogID: 12934

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

iFlogID: 13385


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 iFlogID: 13422

BASS PLAYER WANTED!!!! Sydney based rock/progressive rock band auditioning for kick ass bass player. Successfull applicant will require own transport, good gear & a will to work there ass off. Please email Ryan at gasentertainment@hotmail.com with details of experience & influences.

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 iFlogID: 13055

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 iFlogID: 13211

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. iFlogID: 13308

iFlogID: 13500

BASS PLAYER WANTED Think British Beat, Bad Manners, Madness, The Specials. If you’re 30+yrs, want to have some fun play, a few shows & rehearse Sunday arvo’s Northern Beaches area please call Mark 0432 350 215 (after 5pm) iFlogID: 13465

BASS PLAYER-VAN MORRISON SHOW Bass player required to start up Van Morrison show must be a keen dedicated fan,experienced,reliable have own transport. Phone Matt 0433091888 iFlogID: 13379

BASS WANTED LWR NTH SHORE 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. iFlogID: 13122

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

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 iFlogID: 13164

SYDNEY PUNK BAND NEEDS BASS We are a Sydney based punk band with (Alexandria) rehearsal room, recordings, and gigs to go! Influenced mainly by 90’s punk, melodic hardcore. Also like venturing into ska/jazz/rock whatever the fuck we like! Need someone reliable and less stoned for at least 1 rehearsal/wk, and 1-2 gig’s/month. That’s the aim anyway. Come party! iFlogID: 13438

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 iFlogID: 13213

DRUMMER

iFlogID: 13402

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

DRUMMER WANTED

Classic Hard Rock Cover Band (Maiden, AC/DC, Sabbath, Ozzy, Lizzy, Whitesnake etc.) Good players, ready to gig, mature players welcome.....lets rock!! 0427040255 email eddiebrown3@hotmail.com. iFlogID: 13555

DRUMMER WANTED Drummer wanted for Sydney band, we rehearse regularly in inner Sydney and are waiting to gig and record. Think BRMC, Sonic Youth, Swervedriver, Les Savy Fav. Check out: www.myspace.com/ genevasoundstheband iFlogID: 13459

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: 13162

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

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

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

iFlogID: 13392

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.

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

iFlogID: 13177

MATURE BASS PLAYER

DRUMMER NEEDED

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.

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: 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: 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

iFlogID: 13189

Drummer wanted

iFlogID: 13546

Drummer wanted for Sydney band. influences include Nirvana, the Beatles, Queen, Beach Boys, Pink Floyd, Slayer, The Hard-Ons. Call Nathan. 0431 317 613 iFlogID: 13400

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

iFlogID: 13160

iFlogID: 13432

Blatherskite are looking for their drummer, he was lost next week and we hope to find him by yesterday. Art/Rock/Metal style. Must be willing to get Diesel Punk on us. We have played at Soundwave 2011, Kudos from international music industry, airplay on JJJ. You must have own transport, own drum kit, the ability to learn complex drum lines with the opportunity to write. We will learn the 9 tracks from the album, go through album’s worth of new material, hook up interstate touring, plans for the international circuit and have good times. blatherskite.com.au facebook.com/BlatherskiteAu blatherskite.saves@gmail.com Tim 0412 233 628 iFlogID: 13440

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

iFlogID: 13483

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.

Think British Beat, Bad Manners, Madness, The Specials. If you’re 30+yrs, want to have some fun play, a few shows & rehearse Sunday arvo’s Northern Beaches area please call Mark 0432 350 215 (after 5pm) iFlogID: 13467

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

iFlogID: 13143

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

CAN YOU SING?!!

KEYBOARD PLAYER WANTED

Think British Beat, Bad Manners, Madness, The Specials. If you’re 30+yrs, want to have some fun play, a few shows & rehearse Sunday arvo’s Northern Beaches area please call Mark 0432 350 215 (after 5pm) iFlogID: 13469

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

DYNAMIC

KEYBOARD/ FUN LEAD SYNTH SINGER PLAYER WANTED WANTED iFlogID: 13242

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 band memebers wanted..male vocal ist,drummer,guitarist,sax,wanted for new band to play all genres of music.. iFlogID: 13559

DRUMS/GUITAR/SYNTH WANTED Need members to start band, aggressive dance/rock sound. think Crystal Castles x the Stooges x The Scare x MSTRKRFT. Or something. Wollongong/Sydney. Any age, any gear. Male or female (please pick one). Call/txt 0403508102. iFlogID: 13512

Singer and guitarist seek bass, drums and keyboards for new prog band infl Cog, Rush, Tool, Porcupine Tree, rehearse in the city ph michael 0425907720 iFlogID: 13436

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.

GET NOTED... GET GIGS!!

iFlogID: 13306

MALE & FEMALE SINGERS REQUIRED 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 iFlogID: 13209

Get Noted specifically helpS aspiring musicians and other participants of the Creative Industries in Australia “to be seen” by booking agents or venue managers, with a major objective of getting you more gigs. We build professional entertainer / musician websites, register your domain name, set up mobile email communications, produce professional EPK’s (Electronic Press Kits), help record and edit audio and video, arrange and manage photo shoots, design & print posters and business cards, arrange entertainer / musician insurance packages including ‘no fault’ equipment insurance, provide access to live performance opportunities, set-up your business & accounts structure and even register your business with the ATO and the Office of Fair Trading. We do everything you need to GET NOTED...AND GET MORE GIGS! Call Paul on 0417 218 524 or email him at paul@getnoted. com.au

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

iFlogID: 13387

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: 13396

iFlogID: 12986

KEYBOARD

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: 13126

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!

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

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

KUNVUK NEEDS A GUITARIST DRUMMER WANTED iFlogID: 13434

Progressive/Black Metal band looking for 2nd guitarist. High level of technicality a must. Full live set ready to go. Influences include Opeth, Emperor, Borknagar, etc. Contact James on 0424163546

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: 13350

Unhinged metal band KUNVUK are seeking drummer. Must have own equipment and transport. Must be hard working and professional. Download our debut album at www.kunvuk. com. Interested parties contact David: 0417695573.

LEAD GUITARIST WANTED for “The No Such Things” 60’s punk/garage/ psych (Love, Kinks, Seeds, Standells etc.) Central Coast area Ph Rob 0423014819 NOEL GALLAGHER required for SYDNEY based OASIS cover band. Must have good gear, transport and band experience. Lead ability not essential. Good vocals. Call karl 0415 877 918

iFlogID: 13141

FEMALE DRUMMER WANTED

FEMALE BASS PLAYER WANTED

PROG/METAL/ROCK DRUMMER WANTED

Think British Beat, Bad Manners, Madness, The Specials. If you’re 30+yrs, want to have some fun play, a few shows & rehearse Sunday arvo’s Northern Beaches area please call Mark 0432 350 215 (after 5pm) iFlogID: 13475

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

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

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

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: 13145

VOCALIST-VAN MORRISON SHOW 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

iFlogID: 13498

GIG AND BAND PHOTOGRAPHY Gig photography, tour photography, band publicity & portrait shots. Reasonable rates & friendly service. Robert 0438 02 72 21 iFlogID: 13011

TUITION

ABSOLUTE BEGINNERS FOR GUITAR

4 week course gets you playing fast! Chords Rhythm Songs Theory. Individual tuition in the inner west.Call David 96603877 iFlogID: 13503

iFlogID: 13404

Working Sydney covers band seeks versatile female singer for functions, pub gigs and shows. Styles from rock to dance to retro. Agency backing and gigs waiting. Call 0407049783 iFlogID: 13567

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

SERVICES OTHER

SHARE ACCOMMODATION

CIRCUS ARTISTS WANTED

AVAILABLE

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 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

CAR CAMPERVAN PARKING

available camperdown close to sydney uni and hospital $25 per week for san campervan boat or what ever 24 access facilities available toilet wifi. iFlogID: 13282

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

iFlogID: 13077

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


Drum Media Sydney Issue #1061  

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...

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