FO N I E R O M FOR ww.sae.edu
VISIT: w 0 723 338 CALL: 180 SYDNEY - MELBOURNE - BYRON BAY - BRISBANE - ADELAIDE - PERTH CRICOS: 00312F (NSW) 02047B (VIC) 02431E (WA) Please contact relevant campuses for further information regarding open days, tours, course programs and FEE HELP options.
THE DRUM MEDIA 21 JUNE 2011 • 3 •
S U N L I N E
M U S I C
P R E S E N T S
WITH SPECIAL GUESTS
FRIDAY JUNE 17: EAST BRUNSWICK CLUB, MELBOURNE SATURDAY JUNE 18: ENIGMA BAR, ADELAIDE THURSDAY JUNE 23: THE BASEMENT, CANBERRA FRIDAY JUNE 24: BALD FACED STAG, SYDNEY SATURDAY JUNE 25: THE PATCH, WOLLONGONG FRIDAY JULY 15: AMPLIFIER BAR, WA SATURDAY JULY 16: PACE ROAD TAVERN, WA SUNDAY JULY 17: MOJO’S BAR, WA C O N T R I V E P L AY J U N E D AT E S O N LY OCEAN OF STORMS SYDONIA’S NEW SINGLE MIXED AND PRODUCED BY COLIN RICHARDSON (SLIPKNOT, TRIVIUM, MACHINE HEAD)
• 4 • THE DRUM MEDIA 21 JUNE2011
Kitty, Daisy & Lewis “The only thing wrong with a Gillian Welch album is that she makes so damn few of them." - Uncut Magazine’s Album of the Month
“Listen to this record with the lights low. Listen to it on an old radio, cradled next to your ear.” - Colin Meloy of The Decemberists
INSTORES FRIDAY ALSO AVAILABLE
www.aconyrecords.com shock.com.au
the new album featuring the single
www.shock.com.au OUT NOW
fragile bird
THE DRUM MEDIA 21 JUNE 2011 • 5 •
STREAMING
NOW
IF YOU’VE NOT SEEN NASHVILLE BROTHERS JAKE AND JAMIN ORRALL PLAY LIVE AS JEFF THE BROTHERHOOD, THEN THERE’S SOMETHING TO ADD TO YOUR BUCKET LIST. THE TWO PLAY THE RAWEST GARAGE ROCK’N’ROLL AROUND - AND THEY PERFECTLY CAPTURE THAT BASIC ESSENCE IN THE STUDIO. WE ARE THE CHAMPIONS IS THEIR LATEST LONG-PLAYER, PRODUCED BY ROGER MOUTENOT (YO LA TENGO, SLEATER-KINNEY), AND IT’S RELENTLESS, STRIPPED-BACK ROCK.
ON SALE JUNE 17 WORLD
PREMIERE
ALSO THIS WEEK ON THEMUSIC.COM.AU BE THE FIRST TO CATCH THE CLIP FOR DOES IT OFFEND YOU, YEAH?’S PULL OUT MY INSIDES.
INSIDES IS THE SECOND SINGLE FROM THEIR DON’T SAY WE DIDN’T WARN YOU ALBUM. THE UK BAND WILL BE IN AUSTRALIA LATER IN 2011 FOR SPLENDOUR IN THE GRASS AND SIDESHOWS IN ADELAIDE, PERTH, SYDNEY AND MELBOURNE.
POWERED BY STREET PRESS AUSTRALIA
• 6 • THE DRUM MEDIA 21 JUNE2011
VILLAGE SOUNDS AND SECRET SERVICE PRESENT THE 11TH ANNUAL ARTS & MUSIC FESTIVAL
FRIDAY 29, SATURDAY 30, SUNDAY 31 JULY 2011 TICKETS ON SALE NOW
3 DAYS U ONSITE CAMPING U MULTI STAGES
WOODFORDIA, WOODROW ROAD, WOODFORD QUEENSLAND 1.5 HOURS NORTH OF BRISBANE U ALL AGES & LICENSED
COLDPLAY (ONLY AUSTRALIAN SHOW) U KANYE WEST (ONLY AUSTRALIAN SHOW) U JANE’S ADDICTION U THE HIVES PULP U THE LIVING END U THE MARS VOLTA U REGINA SPEKTOR (ONLY 2011 SHOW...ANYWHERE) BLISS N ESO U PNAU U MOGWAI (ONLY AUSTRALIAN SHOW) U DJ SHADOW U FRIENDLY FIRES U GLASVEGAS THE GRATES U DEVENDRA BANHART AND THE GROGS U MODEST MOUSE U THE MIDDLE EAST KAISER CHIEFS U JAMES BLAKE U KELE U THE VINES U ELBOW U ESKIMO JOE U NOAH AND THE WHALE CHILDREN COLLIDE U THIEVERY CORPORATION U CUT COPY U ISOBEL CAMPBELL AND MARK LANEGAN BLUEJUICE UÊ THE KILLS U BLACK JOE LEWIS & THE HONEYBEARS (FEATURING THE RELATIVES) ARCHITECTURE IN HELSINKI U FOSTER THE PEOPLE U THE PANICS U JEBEDIAH U THE VACCINES GOMEZ U BOY AND BEAR U GOTYE U DOES IT OFFEND YOU, YEAH? U CLOUD CONTROL U MONA SPARKADIA U WARPAINT U MUSCLES (LIVE) U FITZ AND THE TANTRUMS U THE JEZABELS DRAPHT U BRITISH SEA POWER U TIM & JEAN U LEADER CHEETAH U GROUPLOVE U SEEKER LOVER KEEPER YELLE U KIMBRA U PHRASE U OH MERCY U DANANANANAYKROYD U THE BLACK SEEDS U MARQUES TOLIVER THE HOLIDAYS U GHOUL U LIAM FINN UÊ THE HERD U YOUNG THE GIANT U GUINEAFOWL HUNGRY KIDS OF HUNGARY U JINJA SAFARI U WILD BEASTS U ILLY U CUT OFF YOUR HANDS GARETH LIDDIARD U ALPINE U WORLD’S END PRESS U MOSMAN ALDER U LANIE LANE PLUS DJ’S THE ASTON SHUFFLE U FLIGHT FACILITIES U D-CUP (WE NO SPEAK AMERICANO) U AJAX (MEGA JAM SET) HOODRAT & DANGEROUS DAN U LIGHT YEAR U HOOPS U CASSIAN U WAX MOTIF U KATO U TONI TONI LEE CHARLIE CHUX U TRANTER U TRIPLE J UNEARTHED WINNER AND LOCAL ACTS TO BE ANNOUNCED TICKETS AVAILABLE ONLINE FROM MOSHTIX.COM.AU
VISIT SPLENDOURINTHEGRASS.COM FOR UPDATES
THE DRUM MEDIA 21 JUNE 2011 • 7 •
Written with
Mel Buttle
10th ~13th of August, 7pm Sydney Theatre, 22 Hickson Road, Walsh Bay BOOK NOW: sydneytheatre.org.au • 8 • THE DRUM MEDIA 21 JUNE 2011
or 9250 1999
NEW DVD IN STORES NOW
THE DRUM MEDIA 21 JUNE 2011 • 9 •
• 10 • THE DRUM MEDIA 21 JUNE 2011
THE DRUM MEDIA 21 JUNE 2011 • 11•
WWW.MANLYFISHOS.COM.AU
MANLY FISHO’S. NEW VENUE. COMING SOON. SIGN UP TO THE MAILING LIST AT
WWW.MANLYFISHOS.COM.AU
FOR ALL THE LATEST NEWS
• 12 • THE DRUM MEDIA 21 JUNE 2011
SECRET SOUNDS PRESENTS
WITH SPECIAL GUESTS STRANGE TALK
AUG 3 METRO THEATRE TIX: BOX OFFICE 02 9550 3666 | TICKETEK.COM.AU, PH 132 849
TICKETS ON SALE NOW SPLENDOURSIDESHOWS.COM
IAMKELE.COM
THE DRUM MEDIA 21 JUNE 2011 • 13•
COMING SOON
MONDAY 20TH JUNE
KINKY FRIEDMAN AND VAN DYKE PARKS + Jason Walker
TUESDAY 21ST JUNE
KINKY FRIEDMAN AND VAN DYKE PARKS + SpookyLand
WEDNESDAY 22ND JUNE
ALLOWAY
+ Ruby Blue + Aaron Martin THURSDAY 23RD JUNE
ENGLISH AND THE DOC + The Blondettes (Kimba & Sharnee) FRIDAY 24TH JUNE
THE GIN CLUB + Handsome Young Strangers
MONDAY 25TH JUNE
SUPERHEAVYWEIGHTS SUNDAY 26TH JUNE
NATALIE GAUCI + Mike Brislee
Wednesday 29 June Tin Sparrow Thursday 30 June Caravãna Sun Friday 1 July Micah P Hinson Saturday 2 July Rose Of York Wednesday 6 July James Blundell Thursday 7 July Old Man River Saturday 8 July Dragon Saturday 9 July Johnny Cash Tribute Thursday 14 July Martinez Akustica Friday 15 July Dan Sultan & Alexander Gow Saturday 16 July The Paper Scissors Sunday 17 July Mark Seymour Friday 22 July Bob Marley Tribute Saturday 23 July Stevie Ray Vaughan Celebration Tuesday 26 July Ninth Pillar Thursday 28 July Sarah McLeod Friday 29 July Bachelor Girl Thursday 4 August Diesel Friday 5 August Kira Puru Saturday 13 August James Taylor Tribute Tuesday 16 August Boats Of Berlin Wednesday 17 August Bob Log III Thursday 18 August Wendy Matthews Sunday 21 August Jace Everett Wednesday 24 August Alvin Youngblood Hart
COOGE E THUR 23RD JUNE
SAT JUNE 25
NATALIE GAUCI
SARAH MCLEOD
Dig (Directions In Groove) 20th Anniversary WED 29TH JUNE
FRI 1ST JULY
Skipping Girl Vinegar (album launch)
SAT JULY 30
THE SNOWDROPPERS info@codeone.net.au - www.codeone.net.au
Tickets & info from www.coogeediggers.com.au
COOGEE DIGGERS 9665 4466 CORNER BYRON & CARR STREETS • 14 • THE DRUM MEDIA 21 JUNE2011
FRI 24TH JUNE
Pete Murray
SAT JULY 16
Band Bookings
Carus Thompson Request Show
USE ME.
SAT 2ND JULY
Kristina Olsen (US) & Anatolia Torjinski + Jim Conway’s Little Wheel
Thur 7/07 Steve Kilby (The Church) & Ricky Maymi (Brian Jonestown Massacre) + Jill & Alsy (The Triffids) + Richard Lane (The Stems) Sat 9/07 Old Man River + Owl Eyes Wed 13/07 Penny & The Mystics Fri 15/07 For The Love Of Purple Deep Purple Tribute Sat 16/07 Hendrix & Heroes Thur 21/07 Tiny Ruins (NZ) Fri 22/07 The Strides + Uncle Jed Sat 23/07 The Sins Single Launch + The Glamma Rays + The Pork Collective Sat 8/08 Café Of The Gate Of Salvation With guest Paul Capsis Fri 29/07 Last Waltz Revival Sat 30/07 Sarah McLeod Tue 16/08 Kevin ‘Bloody’ Wilson Fri 28/08 Jeff Martin & Terapai Richmond Wed 31/08 The Amazing Rhythm Aces (US) Fri 9/09 Otis Redding 70th Birthday Celebration w/ Johnny G & The E Types
THE DRUM MEDIA 21 JUNE 2011 • 15•
TUE 21 JUN FREE
FRI 24 JUN $10(PRE) $15(DOOR)
SAT 25 JUN $15(DOOR) $15(PRE)
SUN 26 JUN FREE
BUY THE BAND A BEER FEATURING THE EARLYBIRDS
SYDONIA
(USA)
+ CONTRIVE + BEGGARS ORCHESTRA + GODS OF RAPTURE
FOUNDRY ROAD + TENSIONS ARISE + AMODUS + ENGAGE THE FALL
LUCY DESOTO
FOOT IN THE WALL – THACKER BEAT – LACERATION MANTRA - BIG JOE RUMBLE – 24(FESTIVAL) – DIRTY LITTLE IMMIGRANTS – ARCADIA
(USA) + JACK LADDER + DONNY BENET
(US (USA)
FRI 24TH JUNE
The Underground Architect (EP Launch)
+ BigBozza Band + Spookyland + Ray Ray Ray and the Jetsons
SAT 25TH JUNE
L.U.S.T + Ruin Gloria + Robosexual + Enter the Ninja
%.42!.#% 0/).43 4/ #!-053
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• 16 • THE DRUM MEDIA 21 JUNE 2011
&//4"
Lockdown + Bridges + Get Real
4/ #)49 "2/!$7!9
!6 %
SAT 29TH JULY
Secret Sounds presents
AUSTRALIA 2011 With Special Guests Pulp have decided to get together and play some concerts this year. The shows will involve the original members of the band (Nick Banks, Jarvis Cocker, Candida Doyle, Steve Mackey & Mark Webber) & they will be playing songs from all periods of their career. (Yes, that means they’ll be playing your favourites) If you wish to know any more then please visit www.pulppeople.com where you will be subjected to a barrage of cryptic questions. In the meantime ask yourself this: “Do You Remember The First Time?” Thank you for your attention.
Wed 27 July Hordern Pavilion Tickets from Ticketek, www.ticketek.com.au, Ph 132 849
ON SALE NOW SPLENDOURSIDESHOWS.COM
THE DRUM MEDIA 21 JUNE 2011 • 17•
Wednesdays Riot House Comedy
THURSDAY 23RD JUNE
THE STUDY PRESENT
7%$ *5.%
GOLDEN FANG
&2%%9 %.42
NIKKI THORNTON + TIM FITZ
THE MEDICS
4(5 *5.%
THE HONEY MONTH + BABAGANOUJ
PURPLE SNEAKERS PRESENT LAST NIGHT &2) (LIVE) COMPUTER WANTS ME DEAD(NZ) *5.% PLUS THE RESIDENT
+ BIG DUMB KID
KISSCHASY LADIES AND GENTLEMEN + THE HOT DAMN DJ’S
*5.%
*5.%
LOS SKELETONE BLUES THE BLINDFOLDS
28/06 STRIP! TUESDAYS 29/06 SHIVON COELHO + RIOT HOUSE 30/06 SYNDICATE 02/07 MICAH HINSON + DUBSTEP PARTY 03/07 THE VOLTS 09/07 OURBOROS/SRDL AFTERPARTY 14/07 CROSSROADS LAUNCH NIGHT 16/07 MAJOR RAISER
• 18 • THE DRUM MEDIA 21 JUNE2011
FREE ENTRY
COMING SOON
GUITAR HEROES FRIDAY 8TH JULY
FRIDAY 15TH JULY
THURSDAY 28TH JULY
RAY BEADLE
MARK SEYMOUR
DIESEL &2%%9 %.42
STEVE FLACK'S
FRIDAY 1ST JULY
FRIDAY 29TH JULY
DESTROYALLLINES PRESENT NOWHERE
3!4 35.
PURPLE SNEAKERS DJ’S
THE GIN CLUB
FRIDAY 24TH JUNE
SATURDAY 13TH AUGUST
ALVIN YOUNGBLOOD HART (US)
SARAH MCLEOD BACHELOR GIRL
FRIDAY 5TH AUGUST
HENDRIX & HEROES
FEATURING STEVE EDMONDS FRIDAY 19TH AUGUST
JOHNNY G & THE E TYPES
FOR BAND BOOKINGS, PLEASE CONTACT INFO@CODEONE.NET.AU
THE DRUM MEDIA 21 JUNE 2011 • 19 •
Contents Issue No. 1065 Tuesday 21 June 2011 PLEASE NOTE: All entries for giveaways are now via our Facebook, so head to facebook.com/drummedia for details.
DRUM MEDIA Giveaways – Look to your left for free stuff, silly! 20 The Front Line hits hard with industry fact and conjecture, plus Steve Kilbey gives a personal account of supporting Autism research. 22 Mailbag – your say on what floats your boat or makes the red mist descend, plus Backlash and Frontlash. 24 The News – just like it says, with tours, releases and more.
26
Wagons are not as subtle and restrained and maudlin as a lot of traditional country.
32
According to their frontman, the Helmet vocabulary has been pretty well absorbed into rock and pop music. 34 Liam Finn just didn’t want to have sex with Julian Assange. 36
SISTER JANE
THE ANNANDALE TURNS 11! And that means a whopping great two-week-long birthday party, of course. The Annandale Hotel’s Birthday Week celebrations kick off Thursday with Tim Rogers, Leena and Diamond Quills. Friday it’s Papa Vs Pretty, Red Coats and I Know Leopard, while Saturday it’s Wagons, The Gin Club and Matt Banham. Sunday starts midday with Screaming Sunday All Ages with Kill Appeal, Rose From Ruins, Young Blood and more, while that evening it’s Sister Jane, Mike Noga and The Lovetones’ Matt Tow. For the full two weeks’ worth of great shows, check out the Annandale ad in this issue, but the BIG news here is that we have five double passes to give away that will get the winners into every gig over the full two weeks of birthday shows! Party on!
JA! KATCHAFIRE Regular visitors to our shores, Aotearoa reggae kings Katchafire are bringing their brand new album, On The Road Again, four years in the making – with a hell of a lot of international touring to distract them – and released on the brand new label set up by Blue King Brown bass player Carlo Santone and Reggaetown Festival organiser Mickie Sellton, Lion House Records. Katchafire plays the Wollongong Uni Bar Thursday and the Enmore Theatre Friday night and we have one double pass to the Enmore show to give away.
REUNITED – D.I.G. IT Celebrating their 20th anniversary, Australia’s only acid jazz funk export of the 1990s, Directions In Groove (d.i.g.), have reunited once more, the original line up of keyboards player and singer Scott Saunders, saxophonist Rick Robertson, guitarist Tim Rollinson, bass player Alex Hewetson and drummer Terepai Richmond going one better than revisiting their back catalogue by pulling together a bunch of new material they’ve been working on for a new album later in the year. They’re finishing up their latest reunion run Friday at Notes, with special guest vocalist Laura Stitt. We have two double passes to the show to give away.
THE BEST OF NATALIE The last time Natalie Gauci was in Sydney town was back in May last year when she was the personally invited opening artist for one of Italy’s biggest pop stars, Patrizio. We’re about to hear a lot more from her not only because she has a new single, Best Of Me, but also because that song features on the soundtrack of new Australian feature film, Big Mamma’s Boy, hitting the nation’s screens Thursday 28 July. Gauci is back in Sydney to play El Rocco Friday, Coogee Diggers Saturday and The Brass Monkey Sunday and we have one double pass to each show to give away.
A BIG VILLAGE SATURDAY Indie label Big Village, dedicated to bringing to the wider public the new wave of Sydney’s hip hop scene, has just released its first label sampler, Big Things Volume One, the perfect excuse for a party and that’s just what they’re doing Saturday at Tone. Performing on the night are the artists featured on the disc – Daily Meds, Loose Change, True Vibenation, Reverse Polarities, Tuka from Thundamentals, Ellesquire and Jeswon – and we have three double passes to the show to give away with copies of the CD.
WAGONS RUMBLE SHAKE AND ROLL Melbourne’s self-appointed “Twisted-Country Southern Rock Stars”, Wagons, led by the inimitable Henry Wagons, are currently touring their latest and fifth record, Rumble, Shake And Tumble, which kicked off down in Tasmania, luckily before that Chilean volcano got all uppity. That tour winds its way to these here parts after passing through the Transit Bar Canberra Thursday, with a pit stop at the Clarendon Guesthouse Katoomba Friday before shimmying down the mountain to the Annandale Saturday night. We have two double passes to the Annandale show to give away.
CILLA JANE A SECOND TIME Since she received a John Butler Seed Fund grant back in 2006, local acoustic pop singer/songwriter Cilla Jane has been quietly building her profile and fan base, first sharing the stage with the likes of The Audreys, Kate Miller-Heidke, Tim Freedman, Brian Kennedy and Luka Bloom, and then with a debut album, When The Night Falls, that managed to get some quite respectable radio love. She just released her second album, Until Morning Comes, and she’s been taking it for a trot around the place, that trot finishing up at The Vanguard Wednesday 6 July and The Front in Canberra Saturday 9. We have two double passes to The Vanguard show to give away, winners also collecting a copy of the album. Please note – prizes that are to be collected from the office must be done within four weeks of notification of winning. • 20 • THE DRUM MEDIA 21 JUNE 2011
twitter.com/drummedia
Papa Vs. Pretty is a manic band.
37
Glasvegas has a good personal chemistry.
38
Dallas Green from City & Colour is a music enthusiast. 39 Dwele tries to keep a bit of Motown in the soul of music. 40 It’s out with the old and in with the new for Battles.
40
I Exist just goes with the flow.
42
Katchafire wants to put a focus on the band as a whole. 42 There’s something in Ganga Giri for everybody. 42 Despite the dissolution of a former band, Mountain Static doesn’t want to stop making music. 42 On The Record reviews new release albums and singles from I Exist, Taking Back Sunday, Lady GaGa and more. 44 Chris Maric gets local with hard rock and metal in The Heavy Shit.
48
Sarah Petchell brings us local and international punk news in Wake The Dead.
49
With The Breakdown on holidays, Kris Swales captures the zeitgeist in Paradigm Shift. 50 Viktor Krum asks you to Get It Together with the latest in hip hop.
50
Dave Drayton gets Young & Restless with all ages goings on. 50 Cyclone gives you urban and R&B news in OG Flavas. 50 Dan Condon features the world of blues and roots with Roots Down. 51 Michael Smith delivers some Blow with jazz and world music news. 51 Go south as you enter Pedro Manoy’s Swamp Shack. 51 Bob Baker Fish looks at leftfield music in Fragmented Frequencies. 52 Tim Finney shows us his Dance Moves with new currents in the dance world. 52
FRONT ROW This Week In Arts plots your week ahead; News announces the Underbelly Arts festival programme and more; photographer Julian May talks about his trip to India and the exhibition it inspired. 53 Manila comes to Blacktown with Paschal Daantos Berry’s Within And Without; Cultural Cringe looks at the week’s arts news and whispers; Made You Look deconstructs the hype surrounding a four-year-old artist. 54 Mad Men star Bryan Batt discusses his other life on Broadway.
55
Rising stars Damian de Montemas and Ashley Zukerman talk about Australian thriller Blame.
56
LIVE It’s all here: gig reviews, tour guide, what’s happening this week, charts, gig guide, club guide, random shit and more. 57 Backstage and BTL – your guide to studios, recording, gear, courses and more.
74
The Classies – need a singer/bassist/ drummer/any other service/product you can think of? Your answer is here. And on iflog.com.au. 77
THE DRUM MEDIA 21 JUNE 2011 • 21 •
front
LINE
NEWS? ANNOUNCEMENTS? TIP-OFFS? RUMOUR AND GOSSIP? SEND THEM THROUGH TO FRONTLINE@STREETPRESS.COM.AU
STELLE RACKS UP THE CREDITS
NEWS FROM THE INDUSTRY WITH SCOTT FITZSIMONS
COOPERATIVE’S AUS LAUNCH OFFICIAL Music newsletter Your Daily SPA (published by The Drum Media’s publishers Street Press Australia) is reporting that Cooperative Music Australia is officially launching in Australia. After appointing a team they’ll begin releasing material under their own name (which is currently through Shock) from July. As previously reported by the newsletter, Tim Janes (a veteran of Shock) will run the label from Universal’s Melbourne offices. Universal will distribute Co-Op’s releases, which includes the labels Bella Union, DFA Records, Downtown Music, Heavenly Recordings, Kitsune, Mexican Summer and Kemado Records, Transgressive, V2 Music and Wichita Recordings. In a statement Janes said, “I’m truly excited to be working with Vincent [Clery-Melin, General Manager] and his team in building our own standalone platform for marketing, publicity and distribution in Australia and New Zealand. Setting up Co-Op’s office here will provide even greater focus on breaking artists and developing the profiles of the labels we represent. Universal backing this standalone service is real testament to their belief in this diverse group of labels that will no doubt continue to grow.” Upcoming releases include Digitalism, Black Lips and CSS.
MOVES AND SHAKES Secret Sounds and Dew Process have bolstered their ranks recently with Jinja Safari manager Blake Rayner taking up the role of International Licensing Manager. Meg Horan is also back in the mix, as manager of Guineafowl they’ll become part of Secret Service Management while also holding an A&R role at Dew Process. Tim Manton joins Secret Sounds’ staff as Concert Promoter while his existing management roles (Operator Please, After The Fall, Wolf & Cub and Ghostwood) will continue separately.
APP SERVICE Difrnt Entertainment has announced Difrnt Apps, aimed at providing affordable development of mobile apps for bands. The system claims to allow bands to fully customise their app with colour schemes and logos, with a web app available instantly and a phone app upon approval from Apple. The system allows streaming of music and videos and allows fans to buy directly through the app.
MUSO’S AIRLINE DEAL CLOSE The Your Daily SPA music newsletter is reporting that the Australian Music Industry Network (AMIN) is close to finalising a deal with airline Virgin Australia that will see luggage allowances for travelling musicians. Daily SPA reports that while the final details are currently being worked out, an official announcement is imminent. The topic has long been on AMIN’s (made up of the state’s peak music bodies such as QMusic, MusicNSW and Music Victoria) radar, especially considering similar allowances are made for travelling sportspeople.
LUKE STEELE
SXSW DOCO DATES ANNOUNCED Details for the screening of SXSW documentary Outside Industry can be announced with the industry-only screenings to be held across the east coast, Adelaide and Perth. In Sydney it will be held at The Vanguard on Monday 18 July, in Melbourne the Corner Hotel Tuesday 19, in Adelaide Fowlers Live Wednesday 20, in Perth (venue to be announced) Thursday 21, at the Margaret River Yangillup’s Caves House Hotel Friday 22 with a date and venue to be announced in Brisbane. Entry is free but restricted to members of the three key industries covered by the festival and conference SXSW – music, film and interactive. There are no reservations or RSVPs, but a business card or letter head will get you in. For further info email Phil Tripp at tripp@sxsw.com.
JET’S NEW GANG A new side project from members of Jet has announced its first Australian dates. Featuring Jet’s drummer/ vocalist Chris Cester and bassist Mark Wilson, Damn Dogs also features Louis Macklin (67 Special) and Mitch McIvor and describes its sound as “bombastic warpath to the dancefloor, conjuring images of Gorillaz in a coke-fueled fistfight with the Beastie Boys at a Clash show in one of Andy Warhol’s factories”. The band’s first single, Very First Century, takes its dues from Gang Of Four and was recorded by Scott Horscroft at Sydney’s Big Jesus Burger studios. Having spent time in North America, the band will play in Melbourne and Sydney in their first mainland shows. An EP featuring remixes will be released in July.
FRESHLY INKED Sydney-based metal group Darker Half has signed to Rockstar Records for the local release of their new album Desensitized. Recorded at Dewolf Studios, it will be distributed nationally through MGM. Formed in Switzerland but featuring three English, one Swiss and one Australian member, Halfway Homebuoy is now living in Australia and has signed to Fogsongs for a worldwide publishing deal. They’re recording their debut EP at Damien Gerard’s in Sydney. Flashpoint Music has snapped up We Are Grace for their debut album – due later this year – which was produced by Larry Page and Harry Vanda. The Central Coast outfit was formerly operating under the progressive rock guise of Forgetting Yesterday. Bella Union – to be distributed in Australia through Cooperative Music – has signed three new acts including one of SXSW’s hyped acts Veronica Falls. Also signed to the imprint were I Break Horses and Zun Zun Egui.
EPITAPH CONFIRMS WARNER JUMP Epitaph and Warner have confirmed the deal that was announced by Your Daily SPA two weeks ago, which will see the punk label switch its distributions to the major label from independent label Shock. With releases from Tom Waits, Wilco, Alkaline Trio, New Found Glory, Dangerous! and more due this year, Epitaph Records’ General Manager Dave Hansen said, “We are pleased to announce our agreement with Warner Music Australia. [Managing Director] Tony Harlow and the Warner Music
team have made a great commitment to supporting us while respecting our independence, and love our music. We look forward to working with them on distributing our catalogue in Australia and New Zealand.”
GO VAULTING WITH BDO With its 20th anniversary event happening next year, Big Day Out is holding a vault competition that is encouraging fans and punters to submit their material collected from throughout the festival’s history. They’re looking for photos, setlists, merch, tickets, programs, footage and stories to be submitted via a photo/link to bigdayoutblog@gmail.com. Those who submit material will go into the running to win a major prize pack. Entries close Wednesday 29 June.
CITY & COLOUR MISSES TOP SPOT Two punk-centric releases led the ARIA album chart debuts this week, with Dallas Green (Alexisonfire) landing the second spot with the latest album, Little Hell, from his acoustic side project City & Colour. It broke up the female dominance at the top of the chart but Adele (21) still sits in top spot with Lady GaGa (Born This Way) third and Seeker Lover Keeper (Seeker Lover Keeper) fourth. American pop/punk favourites All Time low managed 13th with their latest record Dirty Work, beating out compatriot and country star Carrie Underwood in 14th with Play On. Soul revivalist Aloe Blacc managed 22nd with the release of 2010’s album Good Times. As it stands there’s only two local releases in the top 20 with Seeker Lover Keeper joined by Damien Leith’s Roy in 16th. In singles local artists have pushed into the top ten, with Stan Walker’s Loud in ninth joining DJ Havana Brown’s We Run The Night in 7th. The Faker lads have made an appearance in the club charts with the Rob Pix/CSS/Lancelot mix of their tune Dangerous entering the top 50 at 48.
FAKE LEE HARDING ARTICLE PULLED The Patience Project – a new pop/rock outfit featuring ex-Idol Lee Harding and Kid Courageous – were the victim of a fake online article last week on website Duderocket. The article, submitted by contributor Lisa Eakins, quoted Lee Harding as saying, “I literally am on the verge of tears hearing how amazing this music is”. The article made claims that friends were left out of the band for issues relating to domestic violence. After the band was made aware of the story and disputed it on Facebook, the website posted a retraction. “A contributing writer to Duderocket submitted an interview reported to be with the band The Patience Project. We have since learned via the band’s management that the interview was not genuine and contained false and defamatory statements,” they wrote. “Until we can verify its authenticity, we have removed the interview and are investigating how this happened. Please treat any information contained in the interview as untrue and not endorsed by the band or any of the members featured in the article.”
PERKINS DELVES INTO POO Tex Perkins has revealed he’s contributed by an
music
• 22 • THE DRUM MEDIA21 JUNE 2011
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Luke Steele (The Sleepy Jackson/Empire Of The Sun) has been revealed to have a co-writing credit on the leaked Beyoncé album 4. Steele’s input into the track Rather Die Young follows on from the backing vocals he provided on Jay-Z’s lsatest album The Blueprint 3’s opening track What We Talkin’ Bout. As well as being involved with one of American hip hop’s most powerful couples, Steele helped out British artist Tinie Tempah earlier this year when he co-wrote and performed on Illusion. A press release from EMI confirmed that Steele is working on a new album but a representative from the label couldn’t confirm if it was an Empire Of The Sun record or the rumoured collaboration with ex-silverchair frontman Daniel Johns.
upcoming children’s album by Rhys Muldoon – Play School veteran and friend of Kevin Rudd. In an interview with FasterLouder Perkins described the album as “edgy”. “Well, would The Wiggles ever deal with poo? Rhys gets down and dirty with the kids. Poo is a big issue when you’ve got little kids. They need to learn about what to do… that’s basically the premise of the album: where The Wiggles won’t go.”
RED EYE LOOKS ELSEWHERE Sydney’s Red Eye Records’ King St store is moving to 143 York Street as of Monday. With the store to be closed Saturday and Sunday, there’s a 20 per cent storewide moving sale until then.
METALLICA FINISHES ALBUM WITH LOU REED Metallica have finished their latest project, which had been long rumoured and speculated about, which they’ve revealed to be a full length collaborative album with Lou Reed. Posting on their website they wrote, “Ever since we had the pleasure of performing with Lou at the 25th Anniversary of the Rock and Roll Hall of Fame at Madison Square Garden in October of 2009, we have been kicking around the idea of making a record together. Some of you astute Bay Area residents may have picked up news of recent Lou Reed sightings in the greater San Francisco area and we have indeed been working at our home studio at HQ on and off over the last few months. In what would be lightning speed for a Metallica related project, we recorded ten songs during this time and while at this moment we’re not exactly sure when you’ll hear it, we’re beyond excited to share with you that the recording sessions wrapped up last week.”
BONNAROO TRAGEDIES Two punters died at the recent Bonnaroo music festival, it was confirmed last week. A 24-year-old male died in hospital after being airlifted from the Tennessee festival and a 32-year-old female was found dead in her tent. Headlined by Arcade Fire, Eminem, Stephen Stills/Neil Young/Rick Rosas/Joe Vitale and others, the four day event attracts up to 80,000 people and heat had been a concern for this year’s promoters.
VALE After suffering a stroke last week – and reportedly being on the mend – the saxophonist with Bruce Springsteen’s E Street Band, Clarence Clemons, has died aged 69. Springsteen posted on his website, “Clarence lived a wonderful life. He carried within him a love of people that made them love him. He loved the saxophone, loved our fans and gave everything he had every night.” Founding member of ‘90s Sydney punk band Downtime Billy Hughes has reportedly died after a motorcycle accident in Sydney’s inner west at the age of 41. Frank Zappa collaborator Larry ‘Wild Man’ Fischer has died at the age of 66, his cult-loved artistic outbursts usually related to his manic depression and schizophrenia. Founding member and lead singer of The Coasters, whose most famous hit was Yakety Yak, Carl Gardner has died at the age of 83. He was battling Alzheimer’s disease and heart failure.
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STEVE KILBEY RELATES A PERSONAL TALE AS TO WHY THREE MEMBERS OF THE CHURCH ARE RAISING AWARENESS OF AUTISM.
U
niverse Within is an Autism Awareness and Benefit Gig. This one-off performance, which sees Steve Kilbey, Peter Koppes and Tim Powles of the church taking the stage with an array of special guests, will be held at the Red Rattler on Thursday and will donate money raised to the not-for-profit organisation, Autism Spectrum Australia (Aspect). The organisation is the country’s largest not-for-profit autism-specific service provider. According to their website, their vision is “to overcome the isolation of autism” and their mission is to “build confidence and capacity with people who have an autism spectrum disorder, their families and communities by providing information, education and other services.”
have seen the great joy and great sorrow as our family attempted to understand him… I must admit I thought he was just a very naughty boy at first and I was quick to become angry at his seemingly anti-social behaviour (Autistic people can’t always understand “normal” social conventions like hello and goodbye and thank you and please and all that kind of thing). In some ways Marlon is an incredibly bright and focused individual, in other ways he is frustratingly hard to reach – what might have been called an idiot-savant in the bad old un-PC days before we began to vaguely understand this condition. Marlon looks totally normal (actually I envy his bloody rock star looks) and he is interested in strange and arcane things (e.g. the medieval concept of the ‘humours’) and he can read and concentrate on this for hours, but if you ask him how things are going he just might completely blank you. Some people have suggested that I myself am mildly Asperger’s and that might account for my lack of social skills and my abhorrence for meeting strangers and chatting about ordinary stuff – you know I have to try so fucking hard to do this and only just now in my 50s can I really pull it off. I personally believe many of our great geniuses (e.g. Van Gogh) may have been affected.
The Apsect site outlines that “Autism spectrum disorders (ASDs) are lifelong developmental disabilities characterised by marked difficulties in social interaction, impaired communication, restricted and repetitive interests and behaviours and sensory sensitivities. “The word ‘spectrum’ is used because the range and severity of the difficulties people with an ASD experience can vary widely. ASDs include autistic disorder, Asperger’s disorder and pervasive developmental disorder – not otherwise stated, which is also known as atypical autism. Sometimes the word ‘autism’ is used to refer to all ASDs.
“Anyway, Autism is a real problem and a real heartbreaker and the number affected is on the rise inexplicably. We need to find cures and ways to bridge the gap and open these private universes so those affected can indeed join the rest of us out here in what we loosely call reality.
“Studies show one in 160 Australians have an ASD and that it is more prevalent in boys than girls. The effects of an ASD can often be minimised by early diagnosis and with the right interventions, many children and adults with an ASD show marked improvements. Now you know all that, so why members of the church and why Autism? Here, the church’s Steve Kilbey writes a personal piece for Drum outlining why they chose to get behind the cause: “Yeah, three members of the church are playing a benefit raising an awareness for Autism on June 23 at the Red Rattler. There will be guests and stuff and an appearance by church alter ego, the refo:mation. Firstly I am no real expert on Autism. It is an umbrella term for a whole range of conditions covering the more mildly
“It will be a great one-off night – please come and support this worthy cause.”
STEVE KILBEY affected (Asperger’s Syndrome) right up to those who are indeed locked into a private universe quite inaccessible to family and friends. The medical world seems reasonably baffled by it too and the whole problem needs much more research and much more understanding to unlock the cause and treatment of Autism. We are particularly concerned for siblings of Autistic kids who need strategies for coping with the incredible problems
s k bondi 2011
that it brings and the ASPECT organisation specialises in this very thing. “Autism is very close to home. The church’s executive producer and patron Professor Kevin Lane Keller has an Autistic daughter and I have seen the sadness and bewilderment of Autism and how it affects this good friend of ours. I have an Asperger’s nephew Marlon Kilbey and I
WHO Steve Kilbey, Peter Koppes, Tim Powles and more WHAT Universe Within – an Autism Awareness and Benefit Gig WHEN & WHERE Thursday, Red Rattler
Gibson Guitars and The Drum Media present
Styled from the movie “Crossroads” the deal is, submit a CD with your 2 minute jam ASAP to: The Gaelic Hotel, 64 Devonshire St Surry Hills. First heat commences July 14. The battle will come down to the final 8 to be held over one massive night with a special guest band performing and guest judges. For more information: gaelichotel@gmail.com www.thegaelic.com
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Prizes: • Gibson Les Paul Guitar, • Marshall combo amplifier • 10hrs studio recording time at Zen Studios • 100 CD’s with2 page bio booklet.
THE DRUM MEDIA 21 JUNE 2011 • 23 •
YOUR SAY
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ON FILE Dear Drum, Re Tim’s letter (Mailbag #1063) I’d like to clear a few things up, seeing as this particular letter had quite a bit of feather-ruffling potential. For some background: 1) A vast proportion of music-sharing is peer-to-peer (P2P): one computer downloads files from others that already have the file; 2) All music is copied and made available by members of the community; 3) The biggest music-sharing sites use P2P technology and only provide the ‘link’ between one computer and the rest of the network. In regards to simply switching off access to ‘major free music rip-off websites’, you’re right, it is as easy as flipping a switch, however, shared music differs to certain types of porn in that the legality of what they’re doing (linking computers together) is ambiguous (many have tried and failed to pass this responsibility onto ISPs). You’ll find that the members of file-sharing communities are technologically abled and have the skills and technology available to bypass filters. I cannot discuss the direct damage that’s been done to the music industry, but I can speak of the benefits of music-sharing. P2P music sites provide convenient access to huge libraries of music that you’d otherwise be without. One such site recently surpassed 500,000 releases, all of which are provided by the community. This, coupled with broadband technology, means you’ll find what you want and listen to it within minutes of glancing over the P4K BNM list. Many artists have employed P2P technology to benefit themselves and to gain exposure. A great example is Trent Reznor, who has distributed some of his latest releases for free via P2P while also offering physical releases. But for every prominent artist, there are thousands of independents who use it merely to make their work available to all who will listen. I think P2P technology and more generally the internet is either misunderstood or is given too many bad eBay seller ratings. I can agree with you that increased musical accessibility has devalued it somewhat; being buried by music media buzz doesn’t exactly help either. Though I
FRONTLASH
have to say that the notion of IT owning music rights is ludicrous; if you understand the nature of the technology, you’d understand that they’ve no need for it – in fact it would be burdensome if anything. In my opinion, file-sharing is akin to climate change; there’s no way of stopping it, so let’s learn to live with it (though I may have opened a whole other can of worms right there). So to finish my current can, P2P can be extremely useful if understood; music industry figureheads probably haven’t put as much effort into trying to use it than they have punishing those who do. Look up ‘death of oink’ for a perspective on this. I wish I could say more, but I actually would like this published :) Trung Blacktown To highlight how this issue is still no closer to being sorted, Oink was shut down in 2007 and no one is any nearer to figuring out how to combat piracy. – Ed
HIP REPLACEMENT Dear Drum, After reading Mia Freedman’s recent op ed about ‘hipsters’ and having a scoff, I’m left wondering if the hipster is even a thing, like the goth and emo of yore. I’m not sure if I think it’s a valid musical subculture, or merely a trend of young people trying to out-obscure each other. Musical subcultures have defined fashion trends in past decades – ‘60s hippie, ‘70s disco and punk, tacky ‘80s, ‘90s bubblegum pop etc. I heard someone say that they think the hipster will be the defining musical movement of the ‘00s but I’m not sure that I agree, because it’s difficult to pin down. Maybe subcultures don’t mean as much as they used to. I wonder when our children look back on these decades, what bands they’ll think of and what they’ll be wearing to their noughties-themed parties. Will they dress like their dead grandmother threw up on them then, too? Or do we not really have a defining music or fashion movement? Leila Marrickville May I direct you all at this point in time to latfh.com. Always delivers a chuckle. – Ed
BACKLASH
ADELE
AMY WINEHOUSE
Back on top of the ARIA charts. Good to see someone work their way up there and stay there and not have another flash in the pan popster elbow their way to the top and disappear just as quickly.
Apparently slurred and stumbled her way through a gig in Belgrade, leading her to cancel the rest of her tour. It’s well known she has a problem, so maybe the lashing should go to her minders for not ensuring she is in a fit state to perform rather than Winehouse herself for the performance.
BAZZA Barry Humphries joins the cast of The Hobbit. Now we’re just going to be even more impatient for the first film’s release.
CLARENCE CLEMENS Find a live version of Rosalita and give it a spin in honour of the Big Man.
BATMOBILE A sweet, new, in the flesh Batmobile has been revealed for a Batman arena show, whatever the hell that would entail. Why is that so bad? Well it’s not coming to Australia as yet. We’ll just have to drool over pics.
CHEFS Not even a supposed iPhone scandal can save what has been a fairly mediocre season so far of Masterchef. Yeah it’s still probably rating through the roof, but where are the personalities and hunger and desire of the contestants?
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• 24 • THE DRUM MEDIA 21 JUNE 2011
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THE DRUM MEDIA 21 JUNE 2011 • 25•
NEWS@DRUMMEDIA.COM.AU Last week’s Drum cover stars The Grates have sold out their Friday night show at Oxford Art Factory with special guests Guineafowl and Big Scary. Newcastle’s Fat As Butter Festival returns to Camp Shortland, The Foreshore, Saturday 22 October, with the organisers offering a “Time To Pay” ticketing option whereby you can pay for tickets in three instalments, perfect for students and freelance music journalists. For details, check the website. The full line up will be announced Monday 18 July. Austin, Texas-based singer/songwriter Lisa Richards is playing Petersham Bowling Club Sunday, supported by 49 Goodbyes and Mark Lucas.
DON MCGLASHAN
DON TAKES THE STAGE
THE LAURELS Sydney shoegazers The Laurels will be joining Texan psych rockers The Black Angels Friday 1 July when they head into The Metro, along with special guest Joel Gion of the Brian Jonestown Massacre, who’ll be putting in a DJ set. Joining Art Vs Science on their forthcoming The Experiment national tour, which will bring them to the Enmore Theatre Friday 8 July, are Strange Talk, with the Sosueme DJs also on hand to keep things moving. When Alpine head into the Oxford Art Factory Thursday 14 July, Boy In A Box will be warming up the stage for them, as they will for MONA when that band hits the Annandale Thursday 28. Boy In A Box also do the honours for LA five-piece Funeral Party when they play the Metro Theatre Friday 5 August. Currently sitting in the ARIA top ten with her debut single, We Run The Night, Australian DJ Havana Brown has been invited to join US rapper Pitbull as the other special guest of Enrique Iglesias Saturday 23 July at the Acer Arena. The Dark Shadows have scored the opening slot Sunday 24 July for Glasvegas at the Metro Theatre. Foster The People will be joined by Guineafowl when they put in their sold out Sydney Splendour sideshow appearance at the Metro Theatre Friday 29 July, which has prompted a second Sydney show, this time the night before, at the Gaelic Thursday 28.
‘TIS THE LIFE
The 2011 Parklife lineup is upon us. The festival, which specialises in a crossover of indie and dance music, happens in September and so kicks off the sunny festival season in our lovely country. This year it’s happening at Kippax Lake, Centennial Park, on Sunday 2 October. The lineup is, again, a big one, featuring Gossip (pictured), Death From Above 1979, Lykke Li, The Streets, Little Dragon, Digitalism, Santigold, Diplo, Duck Sauce, MSTRKRFT, Simian Mobile Disco, Sebastien Tellier, SebastiAn, The Naked And Famous, Kimbra, Gold Fields, The Aston Shuffle and more. Tickets are on sale at midday next Thursday 30 June.
ONE MAN
LOST AND FOUND
Having formerly played with Deloris, Melbourne musician Marcus Teague these days is making music under the name Single Twin. His first album is simply titled Marcus Teague, and was recorded and mixed by Teague himself over a period of five or six years, at home using GarageBand and a single Rode NT-1000 microphone. It’s been an almost full-time venture since the demise of Deloris in 2008, and here’s the result. It’s hitting the road, so head along to Teague’s shows if you’re curious about how this labour of love has turned out. With band, he plays Street Theatre on Tuesday 2 August, Lass O’Gowrie on Wednesday 3, Low 302 on Thursday 4 and Yours & Owls on Saturday 6.
After a successful string of reunion shows earlier in the month, homegrown ‘90s pop sensations Bachelor Girl have announced a new run of NSW shows. This year’s reunion coincided with the release of the duo’s greatest hits album, Loved And Lost: The Best Of Bachelor Girl, which included hits like Buses And Trains and Permission To Shine, as well as several previously unreleased songs. Tickets are available now for performances at Lizotte’s Newcastle on Tuesday 26 July, The Vault 146 on Thursday 28, The Brass Monkey on Friday 29, Lizotte’s Kincumber on Saturday 30 and Lizotte’s Dee Why on Sunday 31.
Renowned New Zealand singer/songwriter Don McGlashan is recognised as one of the country’s best songwriters, with five entries in APRA New Zealand’s Top 100 Songs of All Time. He’s played in Blam Blam Blam, The Front Lawn and, most famously, The Mutton Birds, as well as worked and performed with artists including Johnny Marr, Crowded House, Radiohead and Wilco. He has also written film scores, notably for Jane Campion’s An Angel At My Table in 1990. McGlashan also has two solo albums under his belt and lately has been doing live duets in New Zealand with Paul Kelly and in Tasmania with Violent Femmes/The Break’s Brian Ritchie. Catch him in his element at Lizotte’s Dee Why on Thursday 28 July and The Basement Circular Quay on Sunday 31, with special guest Andrew Keoghan.
FIERCE FUNK The Fierce Angel DJs have been added to the lineup for Funk N Grooves, which happens Saturday 10 September in Pokolbin. The DJs have hosted parties all around the world, from Sydney to Buenos Aires and beyond, but this is their first time in regional NSW. Special décor will be on hand for the set and house music galore, of course – plus showgirls and more spectacular bits and pieces. The rest of the lineup includes The Cat Empire, Amy Meredith, Muscles, Hungry Kids Of Hungary, Muph & Plutonic, Ash Grunwald, Batucada Sound Machine (NZ), Lanie Lane, King Tide and more. This is the event’s third year and it’s set in the picturesque Hunter Valley, so you can expect a relaxed but wonderful day of live music.
Friday sees the release of the sixth album, Culture Of Fear, from another of this year’s international visitors to Splendour in the Grass, Washington DC’s Thievery Corporation, who will also be putting in a Sydney sideshow, Monday 1 August at the Enmore Theatre. The new Wu-Tang Clan album, Legendary Weapons, will be released Friday 29 July, the week before the legendary rappers hit Australia for their second ever tour, which brings them to the Enmore Theatre Friday 5 August. Out now is new single, 225 Rounds. Jack Ladder and Donny Benét will be the featured guests when LA psych rockers Warpaint play the Manning Bar Thursday 28 July. Fresh out of Utah, USA, alt. rockers Neon Trees are playing Hermann’s Bar Wednesday 3 August as part of their first Australian tour. When Above & Beyond take to the Hordern Pavilion Saturday 10 September, their special guests will be Berlin-based Canberran producer Jaytech and one Mat Zo. Showcasing first single, In Spite Of Ourselves, a duet with Bob Evans AKA Kevin Mitchell, from her forthcoming album, Naked, singer/songwriter Kirsty Lee Akers hits the road in August with Nashville-based singer songwriter Jace Everett. They play The Basement Circular Quay Thursday 18, Rooty Hill RSL Friday 19, the Gearin Hotel Katoomba Saturday 20, The Brass Monkey Sunday 21, Lizotte’s Newcastle Wednesday 2 and Lizotte’s Kincumber Thursday 25. Brisbane’s Nikko, having just finished recording their second album, play the Great Northern in Newcastle Friday 22 July and the Lansdowne Saturday 23. This year’s big winners at the recent WA Music Industry Awards, Split Seconds are introducing themselves and launching new single, Majesty, this side of the continent opening for fellow former sandgropers The Panics at the Oxford Art Factory Friday 8 July. The Panics’ new album, Rain On The Humming Wire, is out Friday 29 July. Papa Vs Pretty and Bleeding Knees Club are joining The Vines when the now nine years together band launches its latest album, Future Primitive, Saturday 27 August at the Metro Theatre. Hailing from northern NSW, singer/songwriter Loren and his band are celebrating the forthcoming release of his third album, Listening To The Moon, with a run up the coast that takes in the Northern Star Newcastle Saturday 9 July and the Grand Junction in Maitland Sunday 10. • 26• THE DRUM MEDIA 21 JUNE 2011
YOU ME AT SIX
POP/PUNK DOUBLE
RUFUS
A treat for pop/punk fans comes in the form of a coheadline tour from You Me At Six and We The Kings, two of the biggest names in the current scene. From the UK, You Me At Six’s most recent album, Hold Me Down, cemented them as an act to watch and they’ve been lauded as an electrifying live band. We The Kings are preparing to release their latest album, Sunshine State Of Mind, in July, following the release of their most recent success, Smile Kid. The lineup is solidified with the presence of local heroes The Mission In Motion. Tickets are on sale Friday for the show at the UNSW Roundhouse on Sunday 28 August.
CHASING THE SUN Local roots rockers Caravãna Sun are releasing a new single at the end of the month. It’s called Feel Better and, like the rest of the band’s music, combines the best parts of roots, surf, ambient and world musical styles. The group has only been together for a couple of years, but frontman Luke Carra has played with the likes of C.W. Stoneking, The Whitlams and Ash Grunwald, as well as performed at festivals including Peats Ridge and France’s Fete De La Musique. Catch the band launching Feel Better Thursday 30 June at The Brass Monkey.
AT THE HELM Gold Coast rockers Helm haven’t been on the road for a while, instead focusing their energies on writing and recording for their upcoming third studio album. In the past they’ve taken their blistering show all around the country, both in their own right and supporting the likes of Grinspoon, The Butterfly Effect and Dead Letter Circus. Now they’re hitting the venues again to preview material for the Rising Tides tour, ahead of the highly anticipated release of Vol 3 in autumn 2012. A new single, Home, is slated for a November release. Catch them Friday 26 August at Waves with Mind At Large, Shinobi and Raising Bodhi, and Saturday 27 at the Bald Faced Stag with Shinobi, Baby Rolls and Scatterfly.
DOWN THE RABBIT HOLE A new club night is launching at Tone next month. It’s called Rabbit Hole and you are all invited to take the trip down! The launch night is happening Saturday 2 July and will feature Sydney bands Hailer and The Khans, as well as tunes spun all night from resident Rabbit Hole DJs cbDj and Nick La Rosa. There’ll also be appearances from Estaban and Andy + Mike, and a 2am late night headliner from RUFUS. After the launch night, Rabbit Hole will happen every first Saturday of the month, so make sure you pencil it in.
TAKING ON THE WORLD
JASON HERD
HAVE YOU HERD? Dance music aficionado Jason Herd is known around the world for his hit I Just Can’t Get Enough (Herd & Fitz ft. Abigail Bailey), which was A-listed on Radio One UK for four weeks. He’s also released close to 30 bits and pieces on his own labels JSoul and JFunk, as well as four releases on Erick Morillo’s Subliminal Records. He has a new release coming this year and has appeared as a DJ around the world, from Creamfields to Ibiza and Redlight Paris. He’ll be at Fake Club on Saturday 16 July and Academy on Friday 22.
MYSTIC VIBRATIONS
Local band World Champion has a new single out. It’s called Dream and you can check it out on the band’s Bandcamp page or grab it from iTunes. The tune takes inspiration from lo-fi pop and shoegaze, harking back to the feel of ‘80s cold-wave nostalgia and has been given the seal of approval from NME, who featured it in their April 2011 edition. The band will launch the single – which is their first! – on Saturday at Oxford Art Factory’s Gallery Bar. The show is free, and Day Ravies will play in support.
From the NSW South Coast, Penny & The Mystics make music that blends roots, reggae and rock. The Barefoot Tour sees them hit the road for nine weeks around NSW and Queensland, stopping in Sydney for one show only. The band has received a Contemporary Music Touring Program grant from the Australian government for this tour, which takes them to exciting locations in both states including the Snowy Mountains and Hervey Bay. They released their self-titled album to critical acclaim last year. Catch them at Notes on Wednesday 13 July with Southerly Change.
EASY, TIGER
LOOKING FOR THIS?
Melbourne sextet The Tiger & Me is known for feverish live performances and equally arresting recorded material, debut album, From A Liar To A Thief, receiving praise from fans and critics alike last year. They’ve played a number of boutique festivals in the country and for the latter part of the year they have some exciting plans. A series of three EPs is forthcoming and the first, The Howling Fire, is gearing up for release. In Sydney, that happens Saturday 20 August at The Basement Circular Quay, with Peregrine and Evan & The Brave hopping along to support.
Queensland band Alibrandi plays indie alternative rock that’s bursting with infectious melodies and blistering riffs. They’ve recently wrapped up their debut EP, The Emergency, at Loose Stones Studio with the help of producer Shane Graham, mastered in Seattle by Troy Glessner. Their sound is described as reminiscent of the likes of Manchester Orchestra and Bloc Party, so what are you waiting for? Give them a warm welcome when, with Melbourne’s Cave Of The Swallows, they stop in at The Patch on Thursday 7 July, The Wall on Friday 8 and Hamilton Station Hotel on Saturday 9.
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THE DRUM MEDIA 21 JUNE 2011 • 27•
NEWS@DRUMMEDIA.COM.AU
TOKIMONSTA
MONSTROUS THINGS
SEEKAE
Los Angeles’ Tokimonsta, hot off the back of her debut EP Creature Dreams, and master remixer Nosaj Thing are teaming up to fly down our way for one night only for a double headliner that’ll make beat lovers sweat. This will be Nosaj Thing’s first Australian appearance, but Tokimonsta was here last year and wowed audiences everywhere. Nosaj Thing has received attention lately for remixing the likes of The xx, Radiohead and Flying Lotus. This is sure to be a show that will sell out quickly so make sure you snap to it when tickets go on sale tomorrow. Friday 22 July at Oxford Art Factory is show time – take note.
SEEKAE COMES HOME One of our city’s finest electronic groups, Seekae has enjoyed success this year with the release of their second album, +Dome, and they’ve sold out album launches around the country. Having recently headed off to the UK, the trio returns in August to perform again around the country. They have also become one of the most blogged-about bands in the world, right next to The National and TV On The Radio, according to The Independent. Considering the band’s rapid ascension, tickets won’t be on sale for long for the show at The Metro on Saturday 20 August, so get in quick.
BACK TO ‘69 Singer/songwriter (and, off topic for a second, awesome photographer – look his stuff up) Bryan Adams has announced that he’ll return to Australia in September on his Bare Bones tour, where he will perform his most loved hits in special venues around the country. Adams has been making music for over 30 years, has sold over 65 million albums and topped the charts in over 40 countries. He’s racked up an impressive slew of hits, including Heaven and Summer Of ’69. The new album, Bare Bones, features stripped-back renditions of these hits and the live show will bring them to life, focusing on his voice. Pre-sale tickets are available from noon on Thursday, and the general sale starts 9am Wednesday 29 June. He plays the Sydney Opera House on Saturday 17 September and the Civic Theatre on Thursday 22.
KEEPING UP
THEY LIVE!
Rockers The Living End have been an institution in this country for too many years to count now, with hits like Prisoner Of Society standing testament to the power of Australian music. Love or hate them, you cannot deny their impact, nor the awesomeness of that upright bass. They’re back in action with their new album, The Ending Is Just The Beginning Repeating, out 22 July. The title track from the album has already been released as a single and is enjoying airplay around the country and the band is following the record’s release with intimate shows to show off their new material. Tickets are on sale Thursday 7 July, for the band’s first headliners in quite a while, at the Enmore Theatre on Saturday 3 September and ANU Bar on Wednesday 7. They will be joined by 2009 triple j Unearthed High winners Hunting Grounds and King Cannons.
For the first time in more than a decade, The Amazing Rhythm Aces will bring their tunes to Australia. It certainly isn’t the first time the band has played here though – this will be their seventh tour here. The band has had a swag of hits including Third Rate Romance, Amazing Grace (Used To Be Her Favorite Song), the Grammy-winning The End Is Not In Sight (The Cowboy Tune) and Dancing The Night Away, which became a huge hit for Leo Sayer. The band’s most recent album, Midnight Communion, saw Russell Smith win the Best Male Vocalist award and I Got A Real George Jones was voted the fourth best country song in the 2009 Just Plain Folk Music Awards. With Brent Parlane, they play The Basement Circular Quay 17 August, Southern Cross Club Thursday 18 and Notes Wednesday 31.
CLAIM THE THRONE
THE PANDA BAND
KINGS OF METAL
THE VINES
PANDAS FROM PERTH
BACK TO THE FUTURE
Having recently played a brief tour on the East Coast, The Panda Band – all the way from the other side of the country – will return for a proper national tour on the back of their upcoming album, Charisma Weapon, due for release next month. The band only returned to the touring circuit this year after an extended break and was welcomed back warmly at this year’s WAMi Awards. The album will be their first since This Vital Chapter (We’re Almost Not Even Here), which spawned the successful debut single, Sleepy Little Deathtoll Town. The first taste of the album, single, The Fix, is currently available as a free download. They will play The Brass Monkey on Wednesday 10 August, Vault 146 on Thursday 11, Northern Star on Friday 12, The Gaelic on Saturday 13 and ANU Bar on Wednesday 17.
They’re a band that has been in the media for all kinds of reasons, from the music itself to the personal demons of band members. The Vines are one of Sydney’s most notorious acts and have been for the last decade, beginning with their debut album, Highly Evolved, in 2002 and now, in 2011, with their fifth, Future Primitive. It’s been a good few years since they last did a national headline tour, but all that is about to change with the announcement of a string of dates through August and September, where they’ll be joined by rising stars Papa Vs Pretty and Bleeding Knees Club. The Vines play The Metro on Saturday 27 August, Wollongong Unibar Thursday 1 September and the Cambridge Hotel Friday 2.
ANGELAS DISH
SERVING IT UP Central Coast quartet Angelas Dish has been quiet for a while, but 2011 sees them back in action with a new single and a new album. The single is Crash and the album is Walk Into The Sky, made with the guidance of US producer and mixer Michael “Elvis” Baskette (Incubus, Story Of The Year), and the general consensus seems to be that they’re back in fine form and it’s quite a welcome return. They play Blacktown Showdown on Saturday 25 June, Oxford Art Factory on Friday 1 July (free entry), a cancer benefit at the Woolloomooloo Bay Hotel on Saturday 23 and a free afternoon show at Bateau Hotel on the Central Coast on Sunday 14 August. • 28 • THE DRUM MEDIA 21 JUNE 2011
DOUBLE THE TROUBLE Sydney’s own Fait Accompli has just wrapped up a brand new double-A side single, No Fool and On A Blue Day, showing two different sides of the band – the colour red and the colour blue, respectively. They describe their music as “soul punk”, which is pretty interesting to say the least – so if you want to find out exactly what that means and see the band peddle its new singles (releasing July 8 in stores) on stage, check them out on Wednesday 29 June at Beach Road Hotel with The Melodics and Mary Of The Moon –it’s a free show. They’re also at Spectrum on Saturday 16 July with The Go Roll Your Bones, Mylee Grace, Violet Pulp and Dampvamp DJs, and The Patch on Friday 22 with Royal Chant, The Flat White Cats and Lathams Grip.
HALALGOODBYE Sydney band Halal, How Are You? has announced that they will be splitting after one final show, happening Thursday at FBi Social, Kings Cross Hotel. The band was nominated as the Best Live Music Act at 2010’s SMAC Awards, and this show will be their first for over six months and their last as they’ll all be moving on to different projects. Thursday’s show is presented by FBi’s Monday night program Radiant, bringing together acts from Sydney label Lesstalk and Canberra’s Dream Damage. The Fighting League, TV Colours and Sweet Teeth will also be on hand to play sets on the night.
FANTINE
SHE’S GOT SOUL On the back of her second single, Eleven, Sydney-based indie electro soul singer Fantine will embark on her first ever headline tour around the country, as well as make a short dash over to New Zealand. Last year saw the songstress tour Australia as guest vocalist with Space Invadas, as well as supporting Lupe Fiasco. Fantine spent her youth travelling and living in various countries with her parents, and she is fluent in four languages – a talent that certainly seeps into her worldly music. She will play Beach Road Hotel on Friday 19 August and the Great Northern Newcastle on Saturday 20.
BEAT ON THE BRAT Brisbane quartet The Mercy Beat launched its debut album, How To Shampoo A Yak, to over 300 punters at hometown venue The Zoo. Time to bring that launch all around the East Coast now. The album was independently released in August 2010, and mixed and recorded at Zero Interference with Bryce Moorhead (Violent Soho). Jack The Bear ( Jet, Nick Cave) took over mastering duties and the end result has seen the band receive plenty of radio love, also becoming triple j Unearthed’s featured spotlight artist in February. They play the Town Hall Hotel on Friday 8 July with Steppin Razor and Dividers and Hamilton Station Hotel on Sunday 10.
OPIUO’S FIRST HEADLINE Melbourne dance aficionado Opiuo is set to head to Sydney to play his first ever headline show here, with support from fellow Melbournite JPS. He’s here on a mission to spread the word about his new EP, Squiggle, which will be launched at the show. Opiuo’s sounds range from jazz to reggae, funk, rock and psychedelia, and he’s already performed alongside the likes of MC Hammer, Bassnectar and FreQ Nasty. Slurp And Giggle, his last full-length release, has been nominated for Best Dance/Electronic Release at the Australian Independent Music Awards. Give him a warm Sydney welcome at Oxford Art Factory on Friday 29 July.
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Claim The Throne is a band that’s continuing in the grand tradition of that curious thing that is folk metal, joining the ranks of recent tour mates Alestorm and Finntroll. Expect to hear a lot of ‘arrrrd music when you check them out on their upcoming tour, where they’ll be ransacking venues across Australia and New Zealand. They’ve been bashing out the tunes since 2005 and last year they solidified their lineup. Triumph And Beyond is their latest album, 12 tracks of fearless, loud power. They play Friday 9 September at The Basement Belconnen, Saturday 10 at the Sandringham Hotel and Sunday 11 at The Patch.
DO YOU LIVE HERE? Canberra experimental/post-hardcore band Hands Like Houses recently returned from putting the final touches on its debut album in Florida at Chango Studios, where albums from the likes of Woe Is Me, Memphis May Fire and Sleeping With Sirens were dreamed up. The band is embarking on a small tour to welcome itself home, showcasing its new assembly and no doubt previewing songs from the record. They play SFX at the St James Hotel on Saturday 9 July and Valve on Sunday 10 with We Rob Banks.
BALANCE & COMPOSURE
THE RIGHT BALANCE Pennsylvanian rockers Balance & Composure mix that traditional emo sound with indie rock sensibilities, evident especially on their debut album, Separation, an excellent record that’s been a long time coming. They’ve spent the first half of 2011 touring relentlessly in their native USA, and now they’re bringing their blistering rock to our shores for the very first time, joined by Brisbane quintet Fires Of Waco. Apart from regular venue shows, they’ll also be playing free acoustic sets at beloved record stores across the country. Catch Balance & Composure at The Gaelic’s new club, Nowhere, on Saturday 20 August – tickets will be available on the door only. They’ll play a free acoustic set at Resist Records the following day, Sunday 21, before going to Canberra on Wednesday 24 to play Bar 32.
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BACK2BACK BEATLES Six of Australia’s finest frontmen are teaming together to perform two Beatles classic albums live on stage. Sgt Pepper’s Lonely Hearts Club Band and Abbey Road will be performed back to back by a 17-piece band, with vocalists Mark Seymour (Hunters & Collectors), Irwin Thomas ( Jack Jones, Southern Sons, John Farnham), Jon Toogood (Shihad), Rai Thistlethwayte (Thirsty Merc), Dean McGrath (Hungry Kids Of Hungary) and Tim Morrison (Trial Kennedy). The Beatles Back2Back is brought to you by the people behind the White Album concerts in 2009 and the Let It Be shows in 2010 and happens at the State Theatre on Friday 12 and Saturday 13 August. Jon Toogood will not however appear at the second date.
INTO THE DARK
GO GO BONJAH
From New Zealand via Melbourne, five-piece Bonjah is becoming an explosive force in Australian music and has been praised for dynamic live performances all around the country. They sold out their Go Go Chaos album preview show in just 48 hours and the title track from that album is just about to hit the airwaves. The band has been named as an Artist To Watch in 2011 by Rolling Stone, so you know it’s serious business. They’ll next play the Great Northern Newcastle on Friday 2 September, Oxford Art Factory on Saturday 3 and The Brass Monkey on Sunday 4.
Sydney metallers Darker Half have signed to Rockstar Records for the upcoming release of their new album, Desensitized, which was recorded at Defwolf Studios in their hometown. The album is due for release mid-August but will be available in advance at shows on their East Coast tour. They stop in at Hamilton Station Hotel on Friday 8 July, The Basement Belconnen on Saturday 9, Devastator Fest at The Harp on Saturday 23 and Venom on Saturday 30. More shows are to be announced.
PUPPY PARADE Damn Dogs is a brand new project from Jet’s Chris Cester and Mark Wilson, Cannon’s Mitch McIvor and 67 Special’s Louis Macklin. The band’s debut single, Very First Century, was recorded with producer Scott Horscroft (Birds Of Tokyo, Little Red) at BJB Studios in Sydney, and is available for your listening pleasure at the group’s newly-launched website. Thursday 21 July marks their first ever Sydney show at Oxford Art Factory, where they’ll show off their new chops. They’ve been described as a Gorillaz-esque dance band, which is pretty curious given their lineage – so check it out if you’re intrigued.
BIRTHDAY SHENANIGANS The Annandale Hotel is celebrating 11 years in business this week, and the full lineup for the next fortnight’s festivities is upon us. Thursday 23 June sees Tim Rogers joined by Leena and Diamond Quills, while Papa Vs Pretty headline on Friday night with Red Coats and I Know Leopard in tow. Melbourne’s Wagons take the stage on Saturday with The Gin Club and Matt Banham, and Sunday’s a-screamin’ with an all ages show including Kill Appeal, Rose From Ruins, Young Blood and more from midday. Sunday night sees Sister Jane, Mike Noga and The Lovetones’ Matthew J Tow on the bill. Looking to next week, Thursday 30 June’s show is headlined by Rick Brewster’s Angels with Black Label, and Friday 1 July is The Mess Hall’s turn, with friends 78 Saab and Underlights. Then the Blood, Sweat & Beers festival happens Saturday 2 and Sunday 3, featuring the likes of The Snowdroppers, Area 7, The Anchors and The Outsiders on the first day and A Death In The Family, The Rumjacks, Former Cell Mates and Gay Paris on the second. Come say happy birthday and give back to the venue that’s given so much to Sydney.
Out now is the latest album, The Brick Album, from the Australianpowered Nashville-based four-piece The Greencards, featuring guest appearances by Vince Gill and Sam Bush. Out Friday is the perfectly named XXX: 30 Years Of Bellyaching from the inimitable Shaun William Ryder, who of course made his name in the Happy Mondays and then Black Grape among other musical escapades, the album a collection of some of the greatest moments in that peripatetic career. Montreal, Canada three-piece Timber Timbre has just released a second album, Creep On Creepin’ On, locally. The white English rose Smokey Robinson calls Aretha Joplin, Joss Stone releases her new album, LP1, Friday 29 July, the reason for its name being it’s her first on her own label, Stone’d Records. The Red Hot Chili Peppers finally have a new studio album ready for release. Titled I’m With You, it’s out Friday 27 August. Celebrating the tenth anniversary of the release of the first Australian version of The Annual, Ministry Of Sound have pulled together two CDs worth of the biggest tracks from across the series by, among others, Martin Solveig, Basement Jaxx, Ou Est Le Swimming Poll, David Guetta, The Presets, PNAU and deadmau5, in The Annual 10 Years, mixed by John Course and Mark Dynamix. John Digweed releases a three-CD set titled Structures 2 Friday, one CD a “blessed out electronica mix”, another dubbed Unmixed Bedrock Exclusives DJ Friendly and a third captured “live from Avalon, Los Angeles”. Ambient pioneer, hit producer, multi-media artist and technological innovator, Brian Eno has once again teamed up with Rick Holland for a new album, Drums Between The Bells, out Friday 8 July. Donny Benét is Rice Is Nice’s latest signing and that will see his album, Don’t Hold Back, released Friday 8 July. Taking on everything from jungle to dubstep, rave to garage and all points between, “elusive and spooky beatmaker” UK producer Zomby releases his new album, Dedication, Friday 8 July. Adelaide’s Leader Cheetah release their second album, Lotus Skies, Friday 15 July. Advance notice for lovers of Melbourne hip hop master Phrase – he releases his new album, Babylon, Friday 12 August. • 30 • THE DRUM MEDIA 21 JUNE 2011
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THE DRUM MEDIA 21 JUNE 2011 • 31•
new
FRONTIER
AUSTRALIA’S STARTING TO FEEL THE WAGONS FERVOUR. HENRY WAGONS TELLS DANIELLE O’DONOHUE HIS BAND IS NOW PACKING THE, ER, WAGON FOR OVERSEAS.
O
nstage Henry Wagons is a whirlwind. He wears a Bjorn Borg style headband and every time he flicks his head, stomps emphatically or pulls some outlandish rock move his glasses fly off, ending up who knows where. One suspects the singer goes through more pairs of glasses than he does guitar strings. He tells stories in between songs that have the audience in stitches and the songs he gives voice to are a thrilling mix between the achingly tender (Alone With Me), the wryly comic (Keep Your Eyes Off My Sister) and, like the title of the new album, songs that rumble, shake and tumble (Goodtown, I Blew It and Willie Nelson).
Wagons play a live show that is bursting with energy and life and at the front of it all is the maelstrom that is Henry Wagons, a born frontman whether he’s commanding the stage of a small pub or standing on a festival stage in front of thousands with cameras zeroing in on his every pose. Offstage the man is much more subdued but no less excitable. He answers questions thoughtfully but when he’s talking about the artists that he loves and the joy of playing live, he gets a gleam in his eye and he’s off. At this point in the band’s career, there’s a lot to talk about with Wagons. The band that started ten years and five albums ago is beginning to make a mark. Before the band’s last album The Rise And Fall Of Goodtown they’d rarely ventured much further than their hometown of Melbourne. Playing their raucous urban country, they were happy releasing albums and going about their business – which for their lead singer meant regular appearances as a reporter on ABC’s Art Nation and becoming a familiar face to audiences of RocKwiz. But with the release of The Rise And Fall Of Goodtown in 2009, Wagons could ignore the call of the road no longer. Though the amount of people taking the stage can sometimes vary, Wagons is joined in the band by Mark Dawson, Si “The Philanthropist” Francis, Matthew Hassett, Richard Blase, Chad Mason and Steve Hassett. There’s really no point listing the instruments they play because they spend quite a lot of their time onstage swapping them. If the audience is lucky the singer might even get behind the kit while Si The Philanthropist does a rap number. Not very country, but that’s just what happens at a Wagons show. In the last two years things have been very busy for the band and their frontman in particular. For every tour that Wagons play here and overseas, Henry inevitably has a run of solo shows scheduled, usually as a support act, to bring his band’s music to a whole new audience. Recently the band played Byron Bay’s Bluesfest and it gave Wagons a chance to go large. “We played it last year as well,” Henry Wagons says. “Last year we played some of the smaller stages. It was our first trip there. And this year we got to open one of the main stages. We were playing at midday, but it was on this absolute motherfucker of a stage. Like the cameras and the big screens. “I get excited enough when there are just lots of people looking at me. But with cameras and big screens that was a dream come true. It was really good. What I liked about having the cameras there was I got to direct the cameras. There were times when I’d talk about the • 32 • THE DRUM MEDIA 21 JUNE 2011
band members. I’d say, when introducing a song about spending time in a jail cell with my band, getting sick of waking up in the morning and looking at Si The Philanthropist’s face, I’d tell the camera to zoom in and that was a new stage dynamic I’d never worked with before and I absolutely loved it. Henry Scorsese.”
But even with the cameras and an audience considerably larger than Wagons is used to, the singer says his performance doesn’t actually change that much. And at Bluesfest when there was a chance some of his audience could’ve been from some of his favourite bands, even that didn’t faze him. “I always play to an infinite black mass at Wembley Stadium, whether it be at the Empress Hotel in Melbourne or not. So, no, I don’t really look to many people in the crowd unless I’m humiliating them in the front row. I just like to entertain myself, no matter what.” When it comes to writing though, Wagons says he does sometimes write with his audience in mind. But as to whether his band is a country band or not, he doesn’t really have an answer. “I don’t know. The slot in those yellow cupboard spaces in JB Hi-Fi, I don’t quite know where we go. Especially recently I’ve been listening to a lot of Ole Opry stuff, like a lot of Conway Twitty and George Jones and I love the music of Porter Wagoner and Johnny Cash obviously, but when it comes to my own songwriting I always tend to lean toward the more dramatic side of country.
“
I’ve always liked the whole outlaw country thing more than Nashville country – Willie Nelson, Kris Kristofferson, that sort of stuff.”
“I find myself not being able to be as subtle and restrained and maudlin as a lot of traditional country songs, you know, where they sit and deliver these amazing narratives. I guess I don’t have the attention span. So I kind of really like the dramatic crescendos of Elvis or Roy Orbison or Neil Young. “I’d love to have the restraint of writing a narrative based, Hank Williams-depressing country record with an acoustic guitar, a double bass and a box on percussion. But I’m not quite ready for that yet. Maybe one day. I’ve always liked the whole outlaw country thing more than Nashville country – Willie Nelson, Kris Kristofferson, that sort of stuff. There’s still a rugged conservatism I guess, but I like to think of them as rebels with big dramatic crescendos. And as a huge fan, I’m just spitting back out what I’m absorbing I guess. I don’t know where we fit. Just look in both [country and alternative] sections in JB Hi-Fi if you wouldn’t mind.”
Considering how big a fan Wagons is of the man’s music, it’s no great surprise that his band has been playing a song called Willie Nelson for years. It’s a right stomper with the very dramatic crescendo in the chorus that Wagons is so fond of, but unfortunately he can’t claim it as his own. The song was written by another Melbourne band, The Wayfaring Strangers. “We’ve been playing it for so long. We’ve actually tried numerous times to record it. We recorded it during the sessions for our last two albums before this and there’s always been something lacking in the recording. This time we’ve sort of tweaked it a little bit and added a section and I think it holds up to our satisfaction as a recording. “The Wayfaring Strangers have kindly let us do whatever we want with it. They don’t play so much anymore, but they’re glad that it’s still getting to the stage even though they’re not. It was important to me to capture something of how we played it live on record and we’ve kind of managed it so, yeah, I’m really happy to have it on the album.” Now that the band is starting to see the results of venturing beyond Melbourne, they’re setting their sights even further afield. A journey to the US to SXSW this year saw the band play seven shows in four days. It was the singer’s second SXSW visit, but this year was the first he played shows with the rest of the band. “Last year I was mostly there for the ABC sort of covering it for media, but I played a couple of shows. One in an Irish pub, one in front of a supermarket. When you have such a monster – this conglomeration of talent – there are lots of hangers on and lots of sort of side gigs; parasites. Last time I felt like I was one of these parasites. “To actually get there and actually be part of the thing – this year we were lucky enough to already have a booking agent and label that were already partitioning for us and putting us on bills. We had a lot to do and a lot of people that they wanted to show us to. I think we’ve got a tangible shot at the States. But for all I know I’ll be in a cul-de-sac, dirty in a gutter in Georgia somewhere in another three years trying to speak to you on the phone for a phone interview.” But for now Henry Wagons has a reason to be excited. Not least of all, because he’s about to arrive in Sydney with a bunch of new songs that the band is only just now taking out of their wrapping. “Bluesfest was sort of the second outing for a lot of the new material. We’re still keeping it under our hats for the tour by and large. I’m not sure that anyone will particularly care whether they’re in or out of the hat. But it’s important to us. I’m excited about playing largely new songs.” WHO Wagons WHAT Rumble, Shake And Tumble (Spunk/EMI) WHEN & WHERE Thursday, Transit Bar; Friday, Clarendon Guesthouse; Saturday, Annandale Hotel
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THE ANNANDALE HOTEL
MANY HAPPY RETURNS
Everyone loves a party, so Wagons are thrilled to be able to help the iconic Annandale Hotel celebrate its 11th birthday. The annual Annandale Hotel Birthday Week is notorious for pulling out surprising line ups, reuniting bands and just providing a week long series of gigs that leave punters very tired and emotional. And just like everyone else, Henry Wagons has his favourite Annandale moments both as a performer and from claiming his place on the sticky floor in front of the stage along with all the other fans. “I’ve seen some of my favourite ever gigs there,” Wagons says. “Watching Will Oldham and Justin Townes Earle play to reverent faces in a packed silent room were special and influential musical moments for me.” As a performer there’s always a sense of achievement when you’re able to cross such an iconic venue off the list of places you’ve played. Wagons made sure he made the most of his milestone Annandale moment. “Our last gig there was our first ever headlining show at the Annandale. It was a real moment for us. I was so ecstatic and a little self inflated at the time, so I used the bar as a catwalk during the show. The obstacle course of coasters, beer bottles and elbows made me feel like I was in a game of Frogger.” And like the thousands of patrons that have passed through the Annandale doors to worship at the foot of rock’n’roll, Wagons has an appreciation for the room’s worth. “It’s cast in the classic mould for a great rock venue. The decor is all blacks and greys and it has a certain smell and pungent flavour to the air that only comes with being drenched in big sweaty noise for years. “Unfortunately, going to see live music is an increasingly boutique hobby for many people. It seems that many people prefer clubs, eating sushi and Masterchef. The Annandale is a shining beacon for live performance. It would be a curse on Sydney’s live music culture to have it snuffed out.”
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THE DRUM MEDIA 21 JUNE 2011 • 33•
SWINGS AND GROOVES
HELMET’S INFLUENCE ON HARD ROCK AND HEAVY METAL IS WIDESPREAD, EVEN IF THE YOUNGER GENERATION OF HEAVY MUSIC FANS HAVEN’T QUITE GRASPED THE SCOPE OF IT YET. BRENDAN CRABB GETS TURNED OUT WITH PAGE HAMILTON.
SELECT MUSIC PRESENTS
BUSBY MAROU BIDINGMYTIME
THE
TOUR
WITH SPECIAL GUESTS
AVALANCHE CITY & JACKSON McLAREN PLUS HALFWAY AT SELECTED SHOWS
FRI 1 JULY • THE OLD MUSEUM
BRISBANE ≡
ADELAIDE *† THU 14 JULY • JIVE
Tickets from www.oztix.com.au
Tickets from www.moshtix.com.au / 1300 GET TIX
Tickets from www.oztix.com.au / Available from the venue
GOLD COAST *≡
BULLI *†
THU 21 JULY • THE HERITAGE HOTEL
FRI 8 JULY • THE SOUNDLOUNGE
FRI 15 JULY • NORTHCOTE SOCIAL CLUB
MELBOURNE *†
NEWCASTLE *† FRI 22 JULY • CBD HOTEL
Tickets from www.thesoundlounge.com.au
Tickets from www.northcotesocialclub.com / 03 9486 1677 / Available from the venue
Tickets from www.bigtix.com.au / Available from the venue
ROCKHAMPTON *≡
GEELONG †
SYDNEY *†
SUN 10 JULY • THE PILBEAM THEATRE
SAT 16 JULY • THE NATIONAL HOTEL
SAT 23 JULY • SPECTRUM
Tickets from www.pilbeamtheatre.com.au / Box office: 07 4927 4111 / Available from the theatre
Tickets from www.oztix.com.au
Tickets from www.moshtix.com.au / 1300 GET TIX
* Avalanche City appearing † Jackson McLaren appearing ≡ Halfway appearing
DEBUT ALBUM OUT NOW www.busbymarou.com
“P
eople who don’t like Helmet blame us for nu metal,” Page Hamilton, mainman for the veteran American hard rockers laughs. “The funny thing is, I was having a conversation with someone recently and they were saying how Faith No More were probably far more responsible for that. I was like, ‘Yeah, we don’t rap,’” he laughs again. “The drop-tuned, minimalist riff approach I think is what people latch on to – it’s easy to get. The musical subtleties are some of the things people don’t always get about the band. Harmonically there’s a lot of denser chords that I use. It swings, it grooves. At this point, twenty years into it, the Helmet vocabulary has been pretty well absorbed into rock and pop music. You go back pre-Helmet and you don’t hear those things, so the band has had an impact.” With regard to heavy music and hip hop combining, Helmet was at the forefront of this fusion’s growth via the 1993 film, Judgment Night, a motion picture most only remember because of its groundbreaking soundtrack. Helmet’s collaboration with House Of Pain, Just Another Victim, was one of the singles released from the megaselling release. The jazz-trained, fast-talking Hamilton recalls this time with a dose of humour. “When it came out, someone – I think it was Rolling Stone – said to me, ‘This rap and metal thing could be huge.’ I went, ‘Ah, I don’t think so.’ That shows why I shouldn’t be an A&R guy,” he chuckles. Also, while some younger musicians are aware of Helmet’s importance, on occasion they still miss the mark somewhat. “It’s funny, because generations will forget. We were on tour recently and one of the guys in the support band said to us after the show, ‘Why didn’t you play your cover of Sepultura’s In The Meantime?’” he laughs. “Dan [Beeman, guitars] had an argument/discussion with him, telling him, ‘Oh, Page wrote that in ’91, Soulfly just covered it you know,’ but the guy didn’t seem to believe it at first. You hope you don’t get lost in the source and there’s a lot of music out there. It’s flattering to hear covers and some really good bands have told me I’ve influenced them. Like [Pantera’s] Dimebag Darrell – may he rest in peace – when someone of that calibre tells you that, I’d be lying if I didn’t say it was cool.” Providing inspiration for legions of heavy bands aside, after tasting commercial success with albums such as 1992’s Meantime, 1994’s Betty and Aftertaste three years later, the band went on hiatus from 1998-2004. Since reconvening the quartet has largely operated under the radar. This hasn’t been helped by the declining state of the record industry – for bands of Helmet’s ilk, the days of wads of cash (the band were rumoured to have been awarded a $1 millionplus advance and much creative control on signing with Interscope Records for Meantime) are long gone. Hamilton doesn’t seem too fazed by it though. “It was a different era. That’s not something I have any control over. I don’t spend a lot of time dwelling on it. I’m proud of the band’s musical history and that’s what I’m responsible for. I hope we can continue to tour and make albums, because we’re still enjoying it. [With new album, Seeing Eye Dog] there was no label involved, by design. We entertained offers and just decided that I could afford to pay for it myself – with a little loan from my manager – and that would be preferable. It was really fun to do it that way and I plan to do it the same way the next time. “Not that our past labels have ever stepped on my toes, but it’s hard not to feel a little bit of pressure. [Previous label] Warcon showed up at the studio one time with a computer, showing me all of these video directors. I couldn’t give a rat’s ass about that. As a guitarist, vocalist, songwriter and producer making a record, that’s wasting my time. “I hope to do a new album next year. We need to come up with some money, as you don’t make a lot of money selling records these days. It’s tough; we play a lot of shows, but we’re not getting any help from the sales side. You’re touring and selling T-Shirts – that’s how you keep it afloat. We’re bringing one guy with us over to Australia, as I just can’t afford to bring our sound guy over there. Luckily we’ve got competent people over there to do the sound and be tour manager, but it’s tough. There are a lot of bands out there. But I don’t think about the business that much; I trust my manager. I’ve been really fortunate to be able to just concentrate on the music and he concentrates on the business side.” On the topic of Australia, what Hamilton, the band’s only remaining founding member dubs “by far my favourite lineup” of Helmet will venture to our shores. Despite the array of highly talented players who have been a part of the band at one point or another (including John Stanier, John Tempesta and Frank Bello), the axeman is audibly enthused about this latest incarnation, which also features drummer Kyle Stevenson and new bassist Dave Case. “Dave has been in the band for a year now and I think he was the missing piece of the puzzle, both as a musician and a person. He’s a better player, learnt the music more thoroughly than our previous bass player and he sings great backing vocals. He’s funny too; not always intentionally, he’s kind of Captain Obvious sometimes. We all give each other a lot of shit,” Hamilton laughs. “For me, the lineup with Chris [Traynor, guitars] was really good; we still hang out in LA playing jazz. They all brought something different to the table. John [Stanier] and Henry [Bogdan, bass] were great and I loved playing with John Tempesta [drums]. I love these [new] guys; it’s the most fun and the least amount of drama I’ve had. I love all the other guys like brothers, but there was a lot of friction. Some of them are really high-strung, which is tough. Musically, we had a good time. But this is by far my favourite – it’s been a really fun time.” WHO Helmet WHEN & WHERE Friday, Manning Bar; Thursday 30 June, ANU Bar; Friday 1 July Wollongong Uni; Saturday 2, Newcastle Leagues
• 34 • THE DRUM MEDIA 21 JUNE 2011
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N\[e\j[Xp# Ale\ ))
JIMMY WEBB (USA) Perhaps the world’s greatest living songwriter showcases his hits in a charming evening of songs, melodies and memories. Mr Webb is the author of ‘Witchita Lineman’, ‘MacArthur Park’, ‘By The Time I Get To Phoenix’, and many many more.
K_lij[Xp# Ale\ )*
AUSTEN TAYSHUS The big man of comedy is back! The man behind ‘Australiana’ celebrates the release of his new book, Merchant of Menace’. PLUS, DJ Marin Ganza live in the Macquarie Place bar from 5.30pm.
=i`[Xp# Ale\ )+# Xe[ JXkli[Xp# Ale\ ),
PAUL CAPSIS – MAKE ME A KING Internationally renowned cabaret artist Paul Capsis in top form, doing his first Sydney club shows in yonks. Not too be missed!
Jle[Xp# Ale\ )-
THE STEVE CLISBY BAND Once again Steve Clisby is back at the Basement bringing the finest sounds of live music from Steve's original jazz-soul set list. Beautiful singing; red hot band.
Dfe[Xp# Ale\ ).
DRUM MASTERS: GEORGE KOLLIAS IN CLINIC Presented by Billy Hyde’s, join world famous blast beat metal extremist drummer George Kollas the engine behind death metallers Nile for an exclusive live clinic.
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FIONA SCOTT-NORMAN – THE NEEDLE AND THE DAMAGE DONE A one night return of Melbourne comedian Fiona Scott-Normans devastatingly funny audio-visual exploration of the bizarre lure of truly bad music last seen in Sydney at the Opera House.
N\[e\j[Xp# Ale\ )0
FIONA SCOTT-NORMAN – DISCO: THE VINYL SOLUTION For one night only one of the BIG hits of the Melbourne International Comedy Festival. Piss yourself as Fiona examine the lure and luridness of classic disco tunes. It’ll be raining men tonight, folks …
K_lij[Xp# Ale\ *'2 =i`[Xp# Alcp ( Xe[ JXkli[Xp# Alcp )
BRYAN BATT (USA) in BATT ON A HOT TIN ROOF Join Broadway and Mad Men star Bryan Batt for a stunning evening of songs, show tunes and stories in this exclusive Sydney season. PLUS DJ Andy Glitre plays classic soul in our Macquarie Place bar from 5.30pm.
:fd`e^ Jffe 9ffb Efn 0),( ).0. K_l# Alcp . – JAMES BLUNDELL + CATHERINE BRITT =i`# Alcp (, – JAMES MORRISON JXk# Alcp (- – DAN SULTAN + ALEX GOW N\[# Alcp ). – FITZ AND THE TANTRUMS (US) K_l 8l^ (( – JACE EVERETT (US)
THE DRUM MEDIA 21 JUNE 2011 • 35•
INTERESTING AND EXCITING THINGS LIAM FINN’S NEW ALBUM, FOMO, IS NOT AS RUDE AS IT SOUNDS, BUT IT IS AS CATCHY. WHILE GIMMICKS AREN’T NEEDED WHEN YOU’VE GOT INTERNATIONAL RECORD DEALS AND A FINE MUSICAL PEDIGREE, IT DOESN’T HURT LIZ GIUFFRE RECKONS.
F
OMO, or Fear Of Missing Out, is Liam Finn’s second solo album (after 2007’s I’ll Be Lightning) and it’s nearly a decade since he flew the coop at home in New Zealand to make his name in the family (music) business. While vocally the comparisons to dad Neil – and more uncannily, Uncle Tim – are hard to avoid, this Finn is not making the same type of music, or at least not the same boy-meets-girl, boy-attacks-shark pop that the older folks started with back in the day. Instead, Liam Finn’s work is an attempt to explore what it’s like to gear change because you can, not because it’s the best way to out of the Antipodes. “FOMO is slightly provocative as a word, but it really was a term being tossed around a lot amongst my friends and family last year,” Finn begins, on the line from London. “My family were away doing interesting and exciting things and a lot of my friends were away doing interesting and exciting things. It was my first time back in New Zealand and living in one place for years, really. I hadn’t lived in New Zealand for about seven years and it was something that I was craving and really wanted to do after constant touring. But I immediately kind of got, you know, a bit sad when I spoke to my folks who were with my brother and my friend’s band in London, Skyping them and you get that little spike of sadness or envy that you’re not with them and that was when we started giving each other a hard time – ‘Harden up, stop being a FOMO,’ or, you know, ‘I’m feeling a bit FOMO missing out on this and that.’ “In general, moving back to New Zealand after a long time of all that work and effort establishing myself in the international music scene, I had a few moments of worry or anxiety, wondering was I making a mistake or taking a step backwards, asking if isolating myself wasn’t a good idea. So I guess that was the thing there too.” Finn’s just had a break following finishing his record and a mad pretour spruik, which included the now infamous unofficially popular music Olympics, South By South West. When asked if it really is the Very Big Deal that us mortals are led to believe it is, he’s funny and perhaps unexpectedly direct. “Totally. It’s a full-on clusterfuck of bands, but it’s always a really good time and it’s exhausting too. We played seven or eight times over three days and I think everyone had kind of had a similar experience of it being not being very conducive to doing your best show in front of these supposedly important people. For me I think it has two functions, either if you’ve already got stuff set up and you’re there and you’ve got a new record out and all the press and industry are there at one time – if you’re one of the few lucky ones with a buzz around you then you really do kill a lot of birds with one stone. Then for me this year it was just a great way to get all the people involved in releasing my record around the world in one place; all my different labels and agents all get to meet each other. Because I’m on different indie labels all around the world they quite often haven’t met before, so it was a really nice introduction for everyone.”
“
Moving back to New Zealand... I had a few moments of worry or anxiety, wondering was I making a mistake or taking a step backwards.”
So South By Southwest turned into “Liam Finn fest”? “I guess so. I hadn’t thought of it that way but I’ll go along with it,” Finn laughs, now just the tiniest bit nervous. Don’t worry Liam, you also said your music was bigger than Jesus, right? Sonically FOMO moves around a lot and from track to track Finn becomes almost unrecognisable at times. However this variety is something he’s proud of and gives the listener an insight into an artist who’s determined to try to expand himself rather than find a good thing and just stay there. With former Gerling man Burke Reid in on production, with sounds and images from movies, the isolation of a kiwi beach and other assorted artistic bric-a-brac all used as inspiration, one of the weirdest, but most enjoyable, detours is The Struggle. It’s a song that came from a dream (not unlike the Beatles’ Yesterday), however the result is not a mournful ballad, but a ditty about shagging Julian Assange. Seriously. Well, sort of seriously. “It was a very strange image,” Finn begins, understating wildly. “I’m not the best sleeper at the best of times, but during the record I wasn’t sleeping well and when I was sleeping I was having these very strange, warped dreams. That was one in particular that stuck with me and it was around the time of the WikiLeaks scandal coming out. I quite literally had a dream that I had sold my soul and I guess part of that was that I had to have sex with Julian Assange on my birthday and it felt really unfair. Even though I don’t dislike Julian Assange – I think it’s quite fascinating all that WikiLeaks stuff – but I just didn’t want to have sex with him.” Continuing deadpan – and hilariously – Finn adds, “The next day, to be honest that song wasn’t a joke, but I was trying to make something fun and get myself out of a bit of a funk, so I made this real industrial sounding, crusty track and when it came to doing the vocals I wanted to try and find that elusive energy that happens when you’re onstage. That’s one of the hardest things when you’re in the studio, is capturing that same energy that you have on stage; you only have one chance. So yeah, I sort of just threw myself around the world a bit, try to pinch myself and get some adrenalin going and the first thing that came to mind was last night’s dream and I ended up ranting about that in a monologue.” WHO Liam Finn WHAT FOMO (Liberation) WHEN & WHERE Wednesday 24 August, Cambridge Hotel; Thursday 25, ANU Bar; Friday 26, Oxford Art Factory • 36 • THE DRUM MEDIA 21 JUNE 2011
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KIND OF MANIC
THRUST INTO THE LIMELIGHT WHILE STILL IN HIGH SCHOOL, PAPA VS PRETTY HAS BEEN QUITE A MUSICAL LEARNING CURVE FOR ITS THREE MEMBERS – THOMAS RAWLE, ANGUS GARDINER AND TOM MYERS – AS THEY TELL DAVE DRAYTON.
T
he three members of Papa Vs Pretty – chief songwriter, guitarist and singer Thomas Rawle, bassist Angus ‘Gus’ Gardiner and drummer Tom Myers – are at Big Jesus Burger studios, Surry Hills. Barely out of their teens, the band seems on top of the world, heralded as a prodigious ‘next big thing’ and rightly, as such, flanked by a manager and EMI label representative. And a dog. They have a collective ADD energy and attention span, bouncing between conversations as they do musical styles on their debut, the Paul McKercher-produced United In Isolation. The band has had a dizzying rate of productivity since the once-bedroom project of Rawle expanded and took to the stage in 2007, steadily releasing singles from its three EPs and working with Australian music royalty Paul Dempsey. Even with the latest album in the can the band shows no signs of slowing; Rawle is tinkering with the pre-programmed beats on an old Wurlitzer Funmaker and proudly telling the two minders that this is the sound they can expect for album number two. It’s hard to tell if he is joking – as United In Isolation reveals, this is a band that is not afraid to experiment and, it seems, McKercher played his part in fostering that attitude. “He was a legend, he helped rope everything together and he really encouraged us to try all our more elaborate ideas, especially when it came to layering,” explains Rawle. “I know with this record on some tracks there’ll be like twenty guitars or like forty vocal tracks. There’s lots and lots of stuff going on; he knew when to draw the line and also when not to. Like, for example, on Bitter Pill, when we were doing vocal layers for one of the bits and he was just, ‘Oh, do another one… do another one… We want it to sound more like Queen’. And it’s like, ‘Okay!’”
“
We were doing stuff when we were sixteen; we were kind of just fucking around. And it’s kind of strange when you’re fucking around and you’re taken seriously.” THE FRONTIER TOURING CO. PRESENTS
“The stuff that he has done with Augie March and Blasko,” Myers chimes in, adding You Am I to the pile, “they’re all Australian records that we really love, so it made sense… And just his general vibe in the studio is really healthy for a band like us ‘cause we’re kind of like a manic band.” The band’s eclectic tastes are rapidly apparent and are given equal merit in the rehearsal room too. “This particular record was a really strong group effort,” begins Rawle, before an energetic Myers cuts him off. “What usually happens is Tom comes with a song, the lyrics, the riff – everything is kind of fleshed out and he’s already got a demo version. At the next rehearsal we’ll flesh out our parts. That’s just the way it works and if it ain’t broke, don’t fix it,” he explains with a laugh. On a record jam-packed with production excess – the aforementioned Bitter Pill, Honey, Look For Me and Charity Case all swell with studio tricks and added instrumentation deftly managed by McKercher – it is interesting to hear Rawle discuss his increasingly simplistic approach to the initial songwriting. “A lot of the songs are written as acoustic demos so they work at a really, really basic level. ‘Cause I remember the first tour we ever did we were doing stuff with lots of keyboard set-ups and crazy laptop set-ups and all this kind of Battles band set-up and when we first realised we were going to play outside of Sydney and stuff like that, we had to tour like that. So we had to kind of strip back and it changed the way I wrote songs, that I realised they had to work at a really basic melodic level.” As if to certify the realisation that would lead to the band’s current sound, Myers adds, “I reckon after that first tour it’s almost like when we became a full-on band. That’s almost the defining moment of like, ‘We’re a band.’” “When we were doing that sort of stuff we were all pretty young,” Rawles excuses their vision of excess. “I mean we’re still pretty young now, but at that particular point in time I was still in high school. I’d been writing songs for a while ‘cause I’d been recording stuff since I was about seven – but that doesn’t really mean much, because you’re seven – and it’s the same when we were doing stuff when we were sixteen; we were kind of just fucking around. And it’s kind of strange when you’re fucking around and you’re taken seriously. It’s kind of an odd thing; we were figuring what it’s like to be in a band and what to do.” The praise heaped on the band meant they were keenly watched during their formative period and now it almost seems as though they are consciously attempting to eschew the attention. The tongue in cheek, handwritten photocopied press release for United In Isolation begins: “Dear Makers of Taste, We are makers of music!” and goes on to conclude: “We were going to say something edgy here, but we figured you’d just listen to the record and either like it or not like it.” “Believe it or not, we didn’t have a title for the record until the absolute cut-off point and management – good old Kristy over here,” Myers explains, pointing to her with good humour, “they all sat us down and said ‘Give. Me. A. Fucking. Name. For. The. Album.’ So we had some pizza, had some beer and then we came up with United In Isolation and a cheeky press release. We’ll see how the reviews go,” he adds, the lot of them bursting out in laughter. Continuing their energetic output, pre-orders for the new album were accompanied by Memoirs From A Bedroom: Issue 1, a series of home recorded songs, B sides and outtakes that is the first of many planned. “I’ve kind of said that I have like 30 albums sitting on a hard drive at home that I’ve done just waiting to go and it kind of feels like unless you can prove it, people probably think that you’re bullshitting,” reasons Rawle. “This is the first issue and it has seven songs and so we are going to – hopefully with every record – accompany it with one of these discs.” WHO Papa Vs Pretty WHAT United In Isolation (Peace And Riot/EMI)
ON SALE NOW
WEDNESDAY 3 AUGUST MANNING BAR 18+ OZTIX.COM.AU || 1300 762 545
WHEN & WHERE Thursday, Cambridge Hotel; Friday, Annandale Hotel
FAMEISDEAD.COM || FRONTIERTOURING.COM
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DEBUT ALBUM HABITS
OUT NOW
THE DRUM MEDIA 21 JUNE 2011 • 37 •
A MATTER OF TRUST
GLASVEGAS’ JONNA LÖFGREN TALKS PERSONAL CHEMISTRY, NO FIXED ADDRESSES AND KANGAROO DELIVERY REQUESTS WITH JEREMY WILLIAMS.
H
aving already lost two drummers (Ryan Ross and Caroline McKay) since their formation in the summer of 2003, the well-established Glaswegian indie rockers Glasvegas cast their net far and wide when McKay left the group in October last year, citing personal reasons (you may recall that 2009 had been equally eventful for the quartet when lead singer James Allan went missing a few days before the Mercury Music Prize awards ceremony, for which their eponymous debut album was nominated). In looking outside their local pond, they stumbled across Sweden’s Jonna Löfgren, who at the time was far from a fan. “Actually when I got the first phone call, I didn’t know about the band,” Löfgren takes up the story. “Even the guy who called me said, ‘What? You don’t know them?’ They are big in Sweden, but I just live in my own bubble. I just didn’t know about them. He was telling me all their songs and saying how big they were and my hand started shaking as he told me.” Having had her very own Hollywood moment, Löfgren didn’t jump to any conclusions. Though she more than trusted her informant, she decided rather than getting lost in a dream world, she would pinch herself back to the realms of reality before heading online to see if what he had said really was true. She continues, “I just Googled them when I hung up the phone and read about them. They had been supporting U2, Kings Of Leon and all that stuff. I was just like, ‘Oh My God!’” While on paper she knew that prospect read like a dream, the sensible Löfgren knew that there was one final step she had to take before saying that she was interested – she needed to hear what this band, which everyone but she was already raving about, sounded like. Thankfully she was duly impressed. “I started listening straight away to the first album. It was really, really good. That helps that you enjoy the music you are playing.” With her head firmly back in the clouds, Löfgren knew she had the opportunity of a lifetime potentially on a plate in front of her, but even she doesn’t really recall how she got from her home of Boden to being in one of Scotland’s most exciting contemporary rock bands. With an explosion of laughter she proclaims, “I don’t know! I just used my charm!” Though her delectable presence may well have gone a long way in swaying her bandmates (the aforementioned James Allan, his cousin Rab Allan and their pal Paul Donoghue have all been with the band since they formed in 2003), she proceeds to detail the two stages to fully-fledged acceptance into the fold. “They wanted me to send some DVDs. So I sent them one DVD where I played a Bruce Springsteen song. We had like a group where we were doing covers of Bruce Springsteen. I think the one that they fell for was the one where I took my iPhone and recorded a video of me playing [Glasvegas’] Geraldine. I was in a rehearsal room and Geraldine was coming through the speakers and I just played to the song. I heard that they really liked that one. “Then I guess after that I got to meet them in London while they were recording the last bits of their album. I think they just wanted to meet me. I thought maybe we would play something together, but I think they had already decided I was good enough to play the drums, they just wanted to see what I was like as a person. That is important within a band where you spend 24/7 together, so it has to work with personal chemistry.” With the band based in their hometown of Glasgow, Löfgren did not hesitate to make the move across the waters to setup a new home. However, the move has left her somewhat confused. With the successful band constantly on the road, she is not even sure where she is resting her head at night, let alone where to find her own bed. Clearly amused by the whole predicament, she giggles, “When people ask me, ‘Where do you live?’ I always say I don’t know. When I am in Glasgow I always stay in a hotel and back in Sweden I don’t have an apartment anymore. I am homeless. I feel like I am a tourist everywhere. I don’t have an address!” While she concedes that maybe she misses having a real home, she knows the issue is merely short term and of the sacrifice she declares, “I think it’s kind of worth it, you know? I don’t feel like it is weird at all actually.” The band is already out on the road again promoting their latest album, Euphoric /// Heartbreak \\\, and Löfgren feels fully part of the fold and is comfortable with the fact that though she is the only member of the band who did not contribute to the composition of either of the band’s two hit albums, she is able to make a difference to their live sound. “When I learn songs, I listen to them then I try to do it my way. It is just the small stuff but it makes a difference. If some other drummer listened to the same song, we would not play it the same. The boys have always been supportive when I have changed something, or do what feels right for me. It is important to trust each other when we rehearse or play music together.” With their Australian appearance at Splendour leading the way for the group’s first headline tour on these shores, Löfgren laughs out loud when asked what audiences can expect. “I think it’s going to be great and they can expect a hell of a show.” Though she gives little away about the show’s content, it is clear that she is excited about discovering Australia, or as much of it as she can, during the band’s whistle-stop tour. “I wish we had more time, but I think it is going to be doing a gig then flying to the next place. I have always wanted to go to Australia so I am really looking forward to it. But I think even with the little time we do have, we will get to see a little bit.” When probed to find what, if any one thing, would be an unmissable element of her impending trip, she reveals that she is open to suggestion. However, there is one request she has, given that she probably won’t have time to see a kangaroo for real, she asks, “Will you bring a kangaroo [to the gig]?” WHO Glasvegas WHAT Euphoric /// Heartbreak \\\ (Columbia/Sony) WHEN & WHERE Sunday 24 July, Metro Theatre
• 38 • THE DRUM MEDIA 21 JUNE 2011
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FROM LITTLE THINGS…
FROM A COLD, LONELY BASEMENT IN ONTARIO, CANADA, CITY & COLOUR IS NOW CONNECTING WITH A GLOBAL AUDIENCE. THE EVER-HUMBLE DALLAS GREEN TELLS BENNY DOYLE WHAT TO EXPECT FROM AN ALBUM THAT IS SURE TO SOUNDTRACK A MILLION MOMENTS THIS YEAR. PIC BY CYBELE MALINOWSKI.
“I
’ve never been a sort of really world domination type of guy – I’ve just written songs.” It’s not exactly the tagline of a man on the verge of blanketing airwaves across the globe. But Dallas Green has never been one to puff his chest out, even when he’s creating a wall of noise as guitarist for melodic posthardcore titans Alexisonfire. Worlds away from the abrasive nature of that five-piece and far from reflecting the inked-up physique of the 30-year-old, Green is a softly spoken, gently mannered individual who only wants to write songs that make him happy. Only then does the hope of reaching a mass audience even cross his mind. Taking shape over the last couple of years, Green explains down the phone line from his Canadian homeland that making Little Hell has been a slow process since the 2008 release of his previous City & Colour album, Bring Me Your Love. Writing here and there in between tours, the recording of the album was eventually finished in February, so it’s been a couple of months of sitting, waiting, biding time, as is the nature of the industry. But fans haven’t been waiting as patiently. They’ve been demanding City & Colour. Attesting to this fact, far further than his frantically snapped-up sell-out tour of Australia in April, is Green’s recent sold-out show at one of the most iconic venues on the planet, London’s Royal Albert Hall.
“
I didn’t want to just sort of shy away from one style just because it didn’t fit the mould of what people thought City & Colour should sound like.”
“That was definitely one of those moments,” says Green when asked about some of the pinnacles of his performing career. “It was just something that you’d never think you’d end up doing; it was just one of those surreal moments. There’s just been so many things that have happened at that venue over the years, you couldn’t really count them all. To be on the list, I guess, it’s pretty crazy to think about.” Fragile Bird and Northern Wind from Little Hell were the first tracks officially available to fans. Polar opposites as far as their composition, sound and delivery, Green agrees that these tracks are a good indication of the disparate sounds to expect this time around. “I think it’s a good example of how I went in both directions on this record. And I think it’s now to a point where I don’t think people, once they hear this record, there really won’t be any more talk of…” He re-gathers his thoughts, “because I feel like for the last couple of years it’s sort of been all about ‘the two sides of Dallas Green’ sort of thing. “Whereas now it’s just like people, I feel like people should just not expect their need to decide on the one thing, you know? Like with the record, I wrote different types of songs and I didn’t want to just sort of shy away from one style just because it didn’t fit the mould of what people thought City & Colour should sound like. It’s my project and I write the songs the way I want to hear them.” With Alexisonfire, Green and his bandmates covered both Midnight Oil and The Saints for a special tour 7” last year while on City & Colour’s most recent tour, attuned ears would have picked up the subtle yet familiar melodies of Sam Sparro infiltrating the encore of the set. Showing himself to be not only a fan of tunes from down under but a general audiophile with a broad palate, Green talks about the first musical connection he spawned as an impressionable youngster. “It’s weird, growing up I kinda went through all these different periods. I guess the first music that really hit home with me was the grunge era because I was 11 or 12, maybe 13 years old when that blew up. So bands like Pearl Jam and Soundgarden, Alice In Chains and Nirvana, they were the first bands that I really felt a kinship with, like a really emotional connection with the music. “And that just led me on my path. Because I liked Nirvana, I found out about the Melvins because Kurt Cobain was a big fan. And Pearl Jam had the whole Neil Young connection, which turned me onto the idea of Neil Young. I feel like I could go over chronologically the way I got to where I’ve gotten or the way certain bands have led me to other bands. But it would just take me forever because I’m an enthusiast, a music enthusiast – I like lots of different music and have always liked lots of different music over the years.” Green thinks, more than anything, this is a generational situation that, thanks to the Internet, has sadly tapered off. “You had to do research if you were interested in finding new music. So I would read the liner notes of the CDs that I’d gotten and you’d look to see what bands that band thanked and if any of the names stood out to you then you’d go listen to them and that leads you to somewhere else and before you know it you’ve got a big CD collection.” It’s this core love of music that resonates through everything Green does and runs through Little Hell, from the gorgeous pastels of Scott McEwan’s cover to the curious song titles and vivid lyrical content. The songwriter attests this complete package is more important than ever before. But although important, it’s not everything. “I think it’s gotten better nowadays because it’s such a coveted thing, you know? I think people are spending more time on their artwork and everyone is releasing everything on vinyl again. Because although technology is sort of overtaking, there are still those people who like I said, like myself, who are enthusiasts and who want to sit and read the lyrics and who look at the art and hold something when they listen to the record. “But really, I feel like with a record and with songs, it all depends on how it makes you feel. So if you like the way a song sounds, you shouldn’t worry about what other people think.” WHO City & Colour WHAT Little Hell (Dine Alone/Shock)
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THE DRUM MEDIA 21 JUNE 2011 • 39 •
DETROIT SOUL CITY
ON THE EVE OF HIS SUPPORTS WITH BRIAN MCKNIGHT, NEO SOUL KING DWELE CATCHES UP WITH CYCLONE TO DISCUSS A BIT OF HISTORY AND JUST WHERE HIS HOME TOWN IS AT.
happens, Gardner digs techno – a little known fact is that he DJs, albeit on the rare groove tip. “I love it! I dabble a little bit with techno music – you probably wouldn’t know it by listening to my album, but I experiment with a lotta different types of music, from techno to drum‘n’bass to garage to rock music… I’m inspired by all of it. I have fun. I look forward to the Electronic Music Festival – I can wear a different hat and go out there and rock with them.”
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t’s rare that a support generates as much excitement as the main act, but Detroit neo-soulster Dwele, a.k.a Andwele Gardner, touring Australia with Brian McKnight, is doing just that. “The only thing I heard about Australia is that y’all have the most beautiful women ever,” Gardner says mischievously. “I expect to fall in love with Australia – I think maybe I won’t leave. Maybe I’ll just stay there.” Brian McKnight has long been associated with a more commercial strain of contemporary R’n’B (he once assisted Peter Andre on a surprisingly decent urban album in Time), while Gardner represents the alternative. But possibly those boundaries are artificial. Certainly, these performers’ paths have crossed previously. “We’ve done a few shows before – actually, here in Detroit and I think we’ve done a couple in LA and elsewhere in the US. This will be our first time doing a tour together. We are somewhat from two different sides of soul but, in a way, I feel like some songs on my album [W.orld W.ants W.omen] could be considered a little more R’n’B than soul and some songs on his album [Evolution Of A Man] could be considered more soul than R’n’B. So I think it’ll be a nice mix. We’re covering all the bases with this tour right here.” Gardner will focus on his singles, but hopes to return with his band and “get deep into all the albums”. D’Angelo, Maxwell and Erykah Badu led the neo-soul movement in the ‘90s. Yet Gardner, as with Raphael Saadiq, arguably the genre’s ‘godfather’, isn’t always recognised. Hailing from a musical family, he plays several instruments – his father first taught him piano, Gardner later picking up the trumpet, then guitar and bass. But Detroit is a tragic and volatile city and, soon after Gardner reached double figures, his dad was fatally shot. With music providing therapy, Gardner got into A Tribe Called Quest, initially MCed but on embracing
As Detroit’s most famed soulster today, is Gardner consciously carrying Motown’s legacy? “I like to think of myself as carrying on the legacy of Motown. [But] every artist from Detroit – whether you’re doing soul, whether you’re doing rap, whether you’re doing rock or techno – we all try to carry on that legacy. Being that Motown isn’t here physically any more, I feel like it’s our job to keep it here in the soul – in the soul of music. All artists and musicians from Detroit feel that way; that we need to carry on that legacy.”
vintage soulsters such as Marvin Gaye, Stevie Wonder and Donny Hathaway, switched to singing. He hustled a ‘demo’ album that achieved cult status in Detroit and along the way he’d befriend J Dilla. Indeed, many of Gardner’s international fans discovered him through his connection with Slum Village – he did a cameo on their crossover hit, Tainted. That joint borrowed from the forgotten Gloria Jones classic revived in the ‘80s by Soft Cell. Subsequently, producer JR Rotem jacked Tainted Love for Rihanna’s SOS. “I think it’s cool,” Gardner laughs of RiRi’s inadvertent ‘biting’. “I don’t hold any rights to it, so it’s cool – it’s all free in the music game. I definitely respect her work.” Gardner debuted properly with Subject, entailing the single, Find A Way, on Virgin in 2003. Alas, Slum Village were mishandled by majors and the same happened to him. Following 2005’s jazzier Some Kinda... he went indie with Koch (now E1 Music) for Sketches Of A Man. Gardner most recently issued W.orld W.ants W.omen (WWW), around this time last year.
Despite the title, WWW is partly his response to the GFC (It’s said that whenever America is in recession, Detroit feels it first). He’s yet to commence the follow-up. “I’m not officially working on the next album, but I keep a studio at home and it’s so easy to work on the road – I am constantly working. Whenever I get a concept, I’m putting it down, so I’m always working.” Gardner’s own shows inspire him. “I write from my experiences, things that I’ve gone through – and also things that I see my people going through. As far as production goes, I try to gear my albums towards what I see the people react to at shows… ‘cause ultimately that’s where the staying power is – at live shows. You’re trying to make people move and you’re trying to create a memory at the shows.” Like Eminem, Gardner has stayed in the Motor City, but others leave. “I still live in Detroit. I stay downtown, actually, in the heart of everything. So Detroit is still in the bones.” As he’s on the phone, the city is preparing for the annual Detroit Electronic Music Festival. As it
BATTLE HARDENED
IN THE FACE OF ADVERSITY VIA DEPARTING MEMBERS AND LABEL PRESSURES, NEW YORK’S BATTLES HAVE PRODUCED THEIR MOST KILLER ALBUM TO DATE. BRENDAN TELFORD SPEAKS TO DRUMMING VIRTUOSO JOHN STANIER ABOUT GLOSS DROP, DISCARDED RECORDS AND THE STRENGTH NECESSARY TO NOT WALK AWAY.
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kind of recording project that never toured. I mean, we had just spent seven years to get to where we are now. Who knows what his reasoning is behind it all? It was pretty hard to take, but, y’know, he just left.”
The attention preceding the release of Gloss Drop has inevitably focused on the departure of Braxton, the reasons behind the sudden exit and the resultant reactions of the remaining core members, who also include Ian Williams and Dave Konopka. It is quite clear that the issue remains unclear, even to Stanier.
Not only was the setback a bitter pill to swallow, but now a band that had wowed the world with its organic, seamless, complementary dynamic, had an integral cog missing from the machine. Or to put it more aptly, it was like losing a limb. To make things worse, the original recordings were already almost a year behind the deadline that their label Warp Records had given them so that the idea of a natural healing process was taken out of the equation.
“We maybe saw it coming a little bit. [Braxton] started to remove himself more and more from the rest of the band, so it wasn’t totally out of the blue I guess, but it was with very little warning. It was a matter of him saying, ‘This is what I will and will not do,’ that sort of ultimatum – that’s what came out of nowhere. He basically wanted Battles to turn into this side project, this
“It all happened so fast,” Stanier reflects. “The thing was we were already so late with what we had set out to do. If it had all happened two, one-and-a-half years ago, we could have just sat down and taken a look at things, talked out what we wanted to do now, if we still wanted to do this thing, do we get in a fourth person... But it happened at the worst possible time ever. And it wasn’t
• 40 • THE DRUM MEDIA 21 JUNE 2011
WHO Dwele WHEN & WHERE Saturday and Wednesday 29 June, Metro Theatre
The result of such a tumultuous time in their lives is an album that holds all of the trademarks of the Battles aesthetic, yet without the effects-laden childlike vocals of Braxton the band turned to friends for inspiration. “There were four songs that we knew all along would need vocals on them and ironically enough that was the easiest thing as far as the creation of this record is concerned, the least amount of work,” Stanier admits. “It was a simple conversation where we all agreed that we’d get different people to come sing on them. We have known Eye [from Japanese band The Boredoms] for ages so we just contacted him, we’ve known Kazu [Makino] for ages through her band Blonde Redhead here in New York, so we just went over and picked her up – she did her part in one night then caught the bus back home. Even Gary Numan – he was our ‘fantasy’ artist to work with, but we just had the label ask him and he said yes. So we went over to Boston and hung out with him for a bit. He really liked the track... It was that simple.”
he success Battles experienced after incendiary live shows and the release of 2007 debut album, Mirrored, almost came undone last year when, whilst deep into the recording of their follow-up Gloss Drop, singer/guitarist Tyondai Braxton abruptly walked out, never to return. With the band’s unique dynamic relying heavily on all four members’ disparate approaches to creating music, the possibility of another Battles album appeared to be slim to none. “Yeah, it was a pretty strange time,” a very relieved John Stanier comments from his home in Brooklyn. “I definitely did not think that [Gloss Drop] was gonna happen. There were times when I wasn’t sure we would come out of it. It was a difficult time, so that made it a very tricky album to make. It’s an experience I never want to go through again, so I’m very happy that we got it done.”
Gardner may be independent, but he’s adjusted to a changed music industry. His song, McCafe Liquid Love, for a McDonald’s campaign, received wide props. And he continues to be a popular singer-of-hooks. Gardner sang on Common’s The People (produced by Kanye West), Pharoahe Monch’s Desire and even graced Jazzanova’s Of All The Things. One of his most high-profile collaborations came last year, performing on Kanye West’s Power (Gardner also laced Flashing Lights, together with Aussie Connie Mitchell). “It’s always great working with that guy,” Gardner enthuses of West. “He’s a workhorse. It’s good to be in the studio with him [and] to see how he goes about creating a song – ‘cause, at the end of the day, we’re all trying to get to that same goal, which is a hot song. It’s always good working with different artists to see how they go about that. ‘Ye is definitely talented. I look forward to working with him again in the future.”
like we had finished recording – we only had a couple of songs that we fully finished and a whole bunch of other stuff.” With so much pressure threatening to destroy the band from within, Stanier maintains that calling it a day was never an option. “There wasn’t any time at all to reassess, we just had to act; just go with our instincts. The thought never really crossed our minds; we collectively wanted to continue working together. I was hell-bent on getting it done. It was like my life depended on it. There wasn’t another option for me. If I had walked away then and not taken care of what I thought I needed to take care of, I probably would have regretted it for the rest of my life. So we had about ten days where we came home, we went out a couple of times, hung out, then we turned around and went back into the studio and tore everything we had done before apart and started again. We just started again from scratch. It was like out with the old and in with the new and we had the whole thing done in three-and-a-half months.”
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With all of these changes aside, the most noticeable change in the Battles sound is the somewhat sunny tone that permeates throughout. A casual listener would think that Gloss Drop is the result of a band that are in a good conceptual place dynamically – that this is, in essence, a fun record. “To be honest with you, that totally came about by accident. Time was of the essence, so we didn’t sit down and work on constructing this happy, dancey record at all. It just turned into that and the only reason I can give for that is that we were in such a negative, horrible place that we were forced to turn a negative situation into a completely positive situation. You know, we just isolated ourselves from everything else, dug deep down and just made it happen. There was no ulterior motive to write something to get us out of this depressed state; there was no universal mantra. We just decided to lock all the negative stuff away, that we would worry about it later, drank a tonne of beer and then just did it. So in a weird way Gloss Drop is the sound of us freaking out!” WHO Battles WHAT Gloss Drop (Warp/Inertia)
HANDSOME TOURS and SECRET SOUNDS PRESENT
with special guests Guineafowl
UT
29.07 - Metro Theatre O SOLD
how 2nd S ! d Adde
28.07 - The Gaelic
Tickets from Moshtix Ph 1300 GET TIX, mosthix.com.au, thegaelic.com, or splendoursideshows.com
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THE DRUM MEDIA 21 JUNE 2011 • 41 •
DIDGERIGROOVE
EVERYBODY SINGS
FROM THE SUBURBS OF ADELAIDE TO VANCOUVER, REAL WORLD TO GLASTONBURY, IT’S BEEN QUITE A MUSICAL JOURNEY FOR PERCUSSIONIST AND DIDGE PLAYER GANGA GIRI, AS MICHAEL SMITH DISCOVERS.
ON THE EVE OF THE RELEASE OF THE KIWI REGGAE MAINSTAYS’ FOURTH ALBUM, KATCHAFIRE’S JAMEY FERGUSON TALKS COLLABORATIONS, CHARITY AND THE CHRISTCHURCH EARTHQUAKE WITH JUSTIN GREY.
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started off as a kit drummer,” Ganga Giri explains of his musical evolution, “but had a dream of playing didgeridoo and there was no one teaching it in Adelaide back in those days. But I found one and taught myself how to play it, picked up the circular breathing really quickly and then naturally wanted to put the funk grooves, almost like a drum kit or beatbox style, through the didgeridoo. “From there I joined a world music group called Dya Singh, which was a north Indian fusion group. We went off all around Australia and overseas as well and I started hearing electronic music, but there was a big difference between the electronica world and the world music world and I just wanted to marry the two. I wanted to reach a wide audience and I didn’t want to have any limitations on my music at all, so I started to delve into the realms of electronica and just mixed it in a way… I think good music is all alchemy and I guess the alchemy has taken some years to master and I’ve got a lot of friends around the world now, because I’ve been circulating the world for a while touring our message and there seems to be something in there for everybody.” While Giri feels that message is best delivered in the live context, he’s certainly pleased with the latest album he and his eponymous group have released, Good Voodoo, which includes contributions from a few of those international friends, like Canadian dharma bluesman Harry Manx. Alongside indigenous elders like actor, singer and didge player Gnarnayarrahe Waitairie and Uncle Owen Nunyah, the most prominent voice on Good Voodoo is one Jornick Joe Lick, very much the dub/reggae dancehall celebrator. “We were there to do the Vancouver Folk Festival and a few weeks before he wandered out of the bush on this island called Saltspring Island [off the British Columbia coast]. We have a bass player over there and Jornick could hear the dub music my bass player was making and programming as he was working on his [own] album and Jornick knocked on the door and said, ‘Hey mon, me hear de dub music.’
“So they became really good friends, started jamming and did a little impromptu gig on the island and then we all met up in Vancouver for the festival and Jornick just jumped up and has stayed ever since and lives here [in Melbourne]. I think he’s an amazing spirit man, shares this amazing energy wherever we go.” Also in the five-piece version of the band – most of the international festival performances see the band expand to ten-piece – touring the album are drummer Dan Pearson, indigenous songman and dancer Gumaroy and percussionist Yeshe Reiners, who also plays an array of other instruments like the Zimbabwean Mbira or thumb piano and the West African N’goni, a kind of primitive guitar, and has toured Australia with Harry Manx. Though he doesn’t feature on Good Voodoo or any of the previous Ganga Giri albums, perhaps the most impressive name in Giri’s CV is Peter Gabriel, with whom he recorded a track that ended up on the Rabbit Proof Fence soundtrack.
It’s fitting then that that album, the band’s fourth and latest, carries the hard-won title of On The Road Again on its spine. The follow-up to 2007’s Say What You’re Thinking, On The Road Again is Katchafire’s most collaborative effort to date. Ferguson and fellow lead vocalist Logan Bell, the group’s core songwriters, opened up the songwriting process to the rest of the band for the first time – which in itself was a direct result of the group’s endless tour schedule over the last three years.
“That was one of those chance meetings,” he remembers. “I was living in London and just busking at the [2001] WOMAD Festival, DJing and playing didge through my little PA and [Gabriel] bought a CD and asked my girlfriend at the time for a card and started calling me. I had no idea it was him but he left a message, so I rang the number and it was Real World Studios.”
“Because we’ve been touring so long, that’s pretty much how the live shows are going – everybody harmonises anyway,” Ferguson explains. “It’s been a few years now and everyone has found their voice, so it seemed that it’d just be a natural progression to ask them to write a couple of songs. Everybody had a go at it and I think the other writers have really come to the party this time and I really see their personality in their songwriting.
WHO Ganga Giri WHAT Good Voodoo (Independent) WHEN & WHERE Friday, Wickham Park Hotel; Saturday, Transit Bar; Sunday, Tone
POST APOCALYPTIC
Despite it all, little has changed for the band. They returned to the same studio to record II: The Broken Passage, Jason PC’s (Blood Duster) Goatsound in north Melbourne, though this time they were afforded Billy Anderson (Eyehategod, Sleep) as producer. They’re progressing the somewhat loose but thoroughly metal conceptual story of the first record. They still don’t take themselves too seriously. And they still love Kerry King, founding member and guitarist of Slayer. “The second song on the album, Ghost Of The King – with a bit of a double entendre – it’s about Kerry King being the king of the undead and he lays out the quest ahead,” Willoughby explains, “There’s a song about battling a dragon, a song about a wizard and a sword in a stone.” The “quest ahead” to which Willoughby refers is that undertaken by the album’s protagonist. “It continues on from the last album, where we went with a sort of apocalyptic, end of the world sort of theme as a bit of a step aside from writing what used to be atheist, brutal songs. We wanted to write something a little different. “This time, The Broken Passage, we went with a post-apocalyptic theme. What the world would be like • 42 • THE DRUM MEDIA 21 JUNE 2011
Katchafire are now heading across the Tasman to launch the album with a national tour and the band has committed to donating a percentage of the profits from the tour to help rebuild earthquake-ravaged Christchurch through the New Zealand Government’s Christchurch Earthquake Appeal. On February 22 New Zealand’s second most populous city was rocked by a 6.3 magnitude earthquake that left at least 181 dead and a repair bill estimated at $8.5 billion. Nearly four months after the quake, major parts of Christchurch’s CBD remain cordoned off due to sustained structural damage and the city was dealt another blow last week when more powerful quakes hit the city. With government subsidies to help with the recovery having dried up, despite the admission that the city and its residents will be rebuilding for many years to come, Ferguson says the decision to donate their takings to Christchurch was a no-brainer. “We just sat down and explored a lot of options and that came out to be our best option to do it that way. It’s terrible what’s happened – similar to the floods over in Brisbane; the world is ending. We all have family down there and we all grew up with friends that live there. They got out okay, but they all lost their homes. Lots of the people who moved there from Hamilton just moved back here because they lost their houses. And they’re still having aftershocks there. It’s a warzone.” WHO Katchafire WHAT On The Road Again (Lion House Records) WHEN & WHERE Thursday, Wollongong Uni; Friday, Enmore Theatre
SIMON GIBBS, AKA MOUNTAIN STATIC, FINDS HE CAN MAKE AN ALBUM WITHOUT HIS FORMER BAND. TONY MCMAHON ALSO FINDS OUT THAT HE’S GOING TO BE PERFORMING GIGS WITHOUT COMMON EQUIPMENT.
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Cue the shift from subsidiary label Common Bond to parent company Resist Records (home of scene heavyweights Parkway Drive) for the release of album number two, supports for the likes of Propagandhi and Doomriders and the well-earned hype that now sees Willoughby on the other end of the line.
“We put the ball out there to the boys and said, ‘Why don’t you try writing a song for yourselves?’ We thought that would make the band more potent – if we present ourselves to the public as a band it would be a more accurate depiction of what people would see when they come to the live show. The main goal was to show
everybody the whole of the band; we wanted to take a little bit of the focus off just me and Logan and place it on the band as a whole.”
DOING RESEARCH
I EXIST FRONTMAN JAKE WILLOUGHBY TALKS WIZARDS, WEED AND KERRY KING WITH DAVE DRAYTON.
n the phone from Canberra, I Exist frontman Jake Willoughby is audibly nervous, pointing out this one of the first interviews he’s done: “I haven’t done many of these, I’m all new to this”. The nervousness is understandable as in the last year the band of mates from the country’s capital have experienced a rather impressive rise through the ranks of heavy music in Australia. A 7” titled Three Nails And A Book Of Flaws put them on the map before their debut LP, I: A Turn For The Worst, and a split 7” with Sydney buddies Phantoms, whose guitarist Adrian Kelly also moonlights as one of I Exist’s four axemen, cemented their position as one of Australia’s most intriguing hardcore acts.
ince forming back in 1997 as a Bob Marley tribute band and adopting a name inspired by Marley & The Wailers’ seminal 1973 album, Catch A Fire, Hamilton collective Katchafire have certainly done the hard yards. While they’ve been touring up and down their native New Zealand for over a decade, in recent years the seven-piece has taken huge strides in bringing their Polynesian-tinged reggae to overseas markets. When Drum got on the blower with Jamey Ferguson (sax, keys, vocals), the band had just returned home after touring Hawaii and playing in front of around 2000 people at Honolulu’s Waikiki Shell. They’ve frequented the back roads of mainland US, the UK and wider Europe and Japan in their tour van on multiple occasions, recently gallivanted around Brazil and have an album that’s climbing up the US Billboard reggae charts.
R So he’s looking around at a post-apocalyptic world ruled by Kerry King and scored with sludgy stoner blues metal. What’s he see?
esearch is the debut album from former Tic Toc Tokyo frontman and multi-instrumentalist Simon Gibbs, aka Mountain Static. Recorded in several locations including two churches, with Gibbs playing almost all the instruments, this is an intelligent, haunting record; emotional and endearing, melodious and moving. Somehow – inspired by folk art and sacred music, as well as the paintings of James McNeill Whistler – Gibbs has managed to create an album that one wishes to listen to for both its thematic depth and its accessibility, which is no easy feat.
“White Girl Black Unicorn. They were literally just stupid lines when that song got written that I was singing over the top ‘cause I had nothing else and was just trying to figure out the sort of phrasing I wanted. While being stupid ridiculous lines they ended up sticking, so I ended up writing the entire song around those two lines.”
Does Gibbs see this music as an extension of his work with his previous band? Yes and no, seems to be the answer. “I think there are elements here of what Tic Toc Tokyo did, but it’s slightly different in terms of the fact that it’s the themes are a bit different. Also, there’s no guitar, there’s no bass and there’s a lot more vocals and drums.”
More impressive still is that despite having seven members, the band has been able to reach a consensus on the lyrics and titles without too much hassle. “The song names we gave them all I’m still happy with and everyone is still happy with. We all make compromises and we don’t see conflict. We’re chilled dudes, we just go with the flow,” says Willoughby.
Although, as mentioned above, Research was inspired by folk art and sacred music, Gibbs says that the real motivation for the record was the not inconsiderable notion that he simply didn’t want to stop being a muso.
after the end. The last one finished off with blasting into space and the prospect of starting new life out there. This time is returning to earth and having a look around,” says Willoughby.
And for those wondering about the bands non-musical influences, you can be pointed, once again, in the direction of Ghost Of The King, where the protagonist tells Kerry: “‘But my liege, I’m not a noble man. I like to drink and smoke and fight.’ It’s true of all of us,” says Willoughby, “We’re all good dudes but we’ve got our vices.” WHO I Exist WHAT II: The Broken Passage (Resist) WHEN & WHERE Saturday, The Basement Canberra; Saturday 23 July, The Annandale; Sunday 24 July, Cambridge Hotel; Monday 25 July, ANU Bar; Saturday 10 September, Bastardfest
“Tic Toc Tokyo played our last gig in August and I started recording this in September, so I guess the record was kind of brought about by the fact that I realised, once the band was over, that I’d stopped making music and I didn’t want to be doing that. It just seemed to make sense to be doing another record. I didn’t really know what the outcome would be other than that I wanted to make a record. That in itself was quite good because it developed as I went along.” There then is the thematic content of Research. As well as exploring ideas surrounding exile and migration, Gibbs examines what it means to engage with landscape, both a profoundly fascinating subject in this country and also a profoundly political one, although he perhaps didn’t realise this at the time. “There’s just such a huge amount of amazing landscape in this country. When you travel across the land, you
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do tend to get a sense of the vastness of it and I just find it incredibly interesting. From a personal point of view I guess, my background is that I grew up in the UK and my mother lived in New Zealand, so I have moved around quite a lot in my life. Now that people have had a chance to listen to the record, quite a lot of them are coming back to me with this idea that there are political connotations to all that, which I find quite interesting because it’s not something I initially thought about.” Given he played most of the instruments on the record himself, Gibbs is brave enough to admit his live shows are a work in progress, but what an exciting work they sound – gigs in churches and the unique subtraction of a particular piece of live music equipment most musicians would never dream of. “There’s still quite a learning curve. I’ve got a number of musicians playing with me and it’s quite exciting. Sometimes, I have to use a backing track from a laptop, which is not my favourite way of working. However, the reason we’re playing in churches is so that the songs can be performed without microphones and just use the space that we’re in. The Sydney show is at Paddington Uniting Church. The singers I’ve got performing with me all have really powerful voices, so it’s going to be great to see how that all works in that space. It’s something I’ve not ever done before, but I think it’s going to be really good.” WHO Mountain Static WHAT Research (Inertia Distribution) WHEN & WHERE Thursday, Paddington Uniting Church
THE DRUM MEDIA 21 JUNE 2011 • 43 •
WITH ROSS CLELLAND
BOYS BOYS BOYS! Casio Joy Firestarter The Boys Boys Boys, and the girls girls girls that give them voice are from Perth, but have an almost Japanese pop sense to them as the squelchy keyboards flutter around and then insert themselves in your head. It is sweet and light and throwaway but happily stays on the knowing smile side of twee. The sheer bubbling, er, joy of it carries it along and as is the sign of goodness, you start making the ‘woo!’ and ‘hey!’ noises in it involuntarily after two listens. Pop for pop’s sake is never a bad thing.
FAKER Dangerous Capitol On the other hand, commercial imperatives sometimes hold sway. Down to just the central duo, Faker decide programmed keyboards and drums from 1982 are the way the wind is blowing. Result: the Nathan Hudson New Order tribute show. The backing may be more synthetic, but Huddo still sounds likes he’s swallowing something nasty as he sings. Whether their audience sees the irony in the style – or even cares – remains to be seen. For the rest of us it’s just, well, there. And will have no effect whatsoever.
THE LIVING END The Ending Is Just The Beginning Repeating Dew Process Yeah, it’s still identifiable. The social commentary still in place and a chorus which will see tinnies a-raised in a thousand festival crushes, but something’s different. Further research discovers it’s cowritten with various of the somewhat likeminded Hold Steady and produced and fiddled with by big name American producers. Chris Cheney’s voice seems a little auto-tuned and everything else sounds a little too ‘right’ as well. Only turds need to be polished this much and the Living End were always a bit better than that.
FLOGGING MOLLY
GIVERS
LADY GAGA
Borstal Beat/Other Tongues
Glassnote/Liberator
Universal
Speed Of Darkness
In Light
With a new label and a new inspiration, it’s a brave new world for Flogging Molly on fifth studio album, Speed Of Darkness. After a decade with SideOneDummy, Speed… is the Celtic punk seven-piece’s first release on their own label, Borstal Beat. And it’s bristling with vitriolic, searing anger at the establishment, with particular focus on the countless blue collar Americans left out of work as the Global Financial Crisis wrecked the US economy. Written in frontman Dave King and violinist Bridget Regan’s Detroit basement and recorded in a converted church in North Carolina, Speed… has Flogging Molly channelling working-class heroes from Seeger to Springsteen. The centrepiece to Speed… and certainly its best song is the fuming The Power’s Out, which rattles along on the back of a bluesy riff that sounds like Brian May’s guitar on We Will Rock You fed through a chainsaw. Unlike any other Molly song to date, The Power’s Out makes the hairs on the back of your neck stand upright and begs to be cranked up to 11. Elsewhere, Revolution and Don’t Shut ‘Em Down illustrate the American dream broken and slow-burning, while stripped-down lament So Sail On is Molly of old. Regan gets her first lead vocal credit with the short but sweet A Prayer For Me In Silence and closer, Rise Up, delivers a rousing finale to an album about persevering in time of hardships.
Joyous and upbeat, In Light is a warm, complex and mature debut offering from this Louisiana five-piece. Opener, Up Up Up, is a perfect summer anthem, with bubbly percussion, energetic hand-claps, tinkles of glockenspiel and an infectiously boisterous chorus that will no doubt blast out the windows on many a road-trip. Their music has it all; earthy rhythms, rocky guitar solos, choruses more than likely to inspire group singalongs and enough splashes of electronic sound effects to keep in with the current fashion. Each song is unique with constantly evolving rhythms, styles, texture and dynamics and a positive energy that is refreshingly persistent. The first half of the album is jumpy and excitable; Meantime begins with a laid-back rock feel but quickly morphs into a funky guitar riff, ending with an outro that will be stuck in your head for hours. Saw You First cracks a rollicking, bluegrass pace, while Ripe’s dreamy vocals cast a lazy spell that comes as sweet relief from the manic energy of other tracks.
Born This Way Maybe it’s a sign of getting old, maybe it’s just churlishness, or maybe, as all the little monsters assert on the countless message boards dedicated to GaGa, it’s just an act of anti-pop discrimination but this review isn’t about to proclaim Born This Way album of the decade. It isn’t even going to assert Born This Way’s claim to pop album of the decade. In fact, Born This Way will be lucky if it’s the pop album of this year. Instead Born This Way is a collection of recycled Eurodisco beats, Madonna-esque vocals (both in style and substance) and busy production that will chart its arse off, but rarely do any of these songs rise to the lofty realms that great pop dwells in. In a recent letter to V Magazine GaGa responded to calls that she’s ripped off her ideas by saying she’s well schooled in the art of pop culture and this is her response – by reinterpreting old ideas and placing them in a new context she’s making them new. Maybe that was true of The Fame and its follow-up The Fame Monster and dizzying singles Paparazzi, Bad Romance and Poker Face, but Born This Way forgets to add something new. For a start, do we really need another pop artist using religious iconography to express their sexuality - (Judas)?
If Springsteen had recorded 2006’s We Shall Overcome: The Seeger Sessions a few years later, and if an Irishman and a few punk rockers had snuck into the recording sessions, it may just have ended up sounding similar to Speed…, which is some compliment.
The second half of the album is slightly less intense but in no way weak. Noche Nada is just asking to be used for a TV ad with its catchy chorus, yet it avoids cliché nicely. Atlantic has a distinctly world music feel with rhythmic plucks, chimes and fluttery pipes, while closer, Words, provides the album’s title and a nice mixture of all their elements to finish the set. The album displays a sizzling melting pot of influences, resulting in rich and thickly textured music. It listens more like a ‘best of’ compilation of hit singles than a debut album, and if their live show has even half the vibrant energy of their recordings, it will certainly be one not to miss.
Justin Grey
Alex Hardy
Danielle O’Donohue
MOUNTAIN STATIC
TAKING BACK SUNDAY
THE BLACK DAHLIA MURDER
Inertia Distribution
Warner
Metal Blade/Riot!
The problem is we know she can do better. It won’t stop Born This Way from being a pop culture juggernaut, nor will it stop GaGa’s millions of “little monsters” from labelling any dissenting voice as anti-pop. But you don’t have to be anti-pop to be disappointed in Born This Way. You just have to be anti-bad pop.
BRAIN DRAIN Wahine Division Inependent Pop – even a bent kind – through improvisation can be a tough ask. Meandering invention looking for a hook almost defeating each other’s purpose. But Adam McFillin finds a melodic base in some well put together rhythmic loops and lets it take its own direction from there. His guitar scribbles over the top, not often forgetting where it came from, while his occasional voice is an afterthought. In lesser hands it could be very hit and miss, but there are enough ideas and skills in most of this to draw and hold your attention.
THE DELIVERY Thinkin’ About Givin’ Up On You Stanley Records The nation laments the loss of the final ‘g’. Others might lament The Delivery losing their former prefix: the Mo Trowell which used to be there now ain’t. With new, but otherwise experienced frontlady Brielle Davis, the band has re-embraced the country and the blues, which seems to sit better with all. It twangs a bit, but it’s more ‘inner-west’ than formally ‘western’. Everybody and everything is that bit more relaxed, and taking a run at Gram Parsons’ Luxury Liner to finish this is the sound of a band in a happier place.
GB. Indigo Independent Not to be confused with GB3 – The Underground Lovers Glenn Bennie and various conspirators, this is trans-Pacific singer-songwriter George Byrne – singer/songwriter brother of Rose – whose residence on the American west coast seems to have had his familiar rootsy acousticism supplanted by collaboration resulting in a somewhat richer and more produced way. It’s all well put together and designed not to offend, but that may just be the problem. In its playing safely, some personality has perhaps been lost. • 44 • THE DRUM MEDIA 21 JUNE 2011
Taking Back Sunday
Research
Melbourne based multi-instrumentalist Simon Gibbs has delivered an album that is layered, eerie and exciting. Dwelling on the thick emotions of longing, fear and discovery, the work here is intentionally ambiguous. You are urged towards inspiration rather than definition, yet he never over-indulges himself, keeping all tracks short as a concentrated flicker of sensation. Elements is a perfect opening paragraph to the ensuing argument. It lays out the opposing factions of nature-inspired folk and ambient dub and how they interact through conflict and the ultimate resolution of hybridism. The caged cerebralism of the man-made world confronts the supple dominance of the natural world. We then encounter Valhalla and it is as dark as a summer blockbuster’s trailer music. His voice is strongly guided by Robert Smith and other ‘80s vocalists, while the metallic pacing elicits anxious trepidation under the inevitable crunch and destruction in a black, echoing night. The End Of The Golden Weather is almost haunting, but lingers on like a song of Gregorian chants that lacks an appealing melody, while Migrations Part 1 has him speaking his lyrics under a pensively muted strumming, with a notably enunciated tone. The images however, are a deflating exposure of melodramatic existentialism decrying an urban malaise. Part 2 is simply the subsequent aural aftermath, as the final track, Takaka Farewell, is to the entire album; a steady rhythm of xylophone and tambourine effusing peace and optimism.
Sometimes a self-titled record can seem uninspired, tired or obvious, especially when it is not a band’s first. For Taking Back Sunday’s fifth studio album it seems appropriate, or at the very least justified. The band has returned to the same lineup that was responsible for the full-length debut, Tell All Your Friends. Despite past lineup changes, the band still managed a better trajectory than their contemporaries (see: The Used/ Story Of The Year); where those bands’ sounds stagnated in the angst that popularised it, Taking Back Sunday branched out – ‘matured’ – albeit with mixed results. And they continue to do so. With their last album castigated by the band as their worst to date, the selftitled effort shows a band reinvigorated, playing more melodic rock, delivering confident and catchy choruses topped off with the theatrical musings of frontman Adam Lazzara. Perhaps the rebirth of the original lineup has inspired it, perhaps not – either way, the album is thematically driven by religion with lyrical musings on faith, repentance, sin and belief in Faith (When I Let You Down), This Is All Now, Call Me In The Morning and You Got Me among others.
Despite the bite-sized tracks, this is definitely an album that needs experiencing from start to finish so that the cohesion of his experiment can be truly appreciated.
No longer relying purely on fast pace and angular, dissonant chords to pack a punch, Taking Back Sunday’s growth is best described by Lazzara in the anthemic chorus of Sad Savior: “You don’t have to pretend to be an orphan anymore”. Gone are the angst-ridden teen musings – this is a band holding themselves responsible, challenging themselves to progress and continue to develop their sound. They still seem a little uncertain, but they’re asking the right questions.
Jarred Keane
Dave Drayton
twitter.com/drummedia
Ritual
Not all bands have to make quantum leaps sonically to remain an appealing prospect. With each album, America’s The Black Dahlia Murder don’t alter their sound and scope too much. They just slightly refine their sickening tales of violence and mayhem each time, becoming a lethally taut death metal juggernaut. They’re a little nastier and more depraved every time a new record arrives. Album number five is a familiar tasting, yet still potent cocktail. There’s old school, slimy Morbid Angel-esque songs (the ominous On Stirring Seas Of Salted Blood), a few faster ones and others bridging their unashamed love of Carcass, Cannibal Corpse and At The Gates. Even the 90-second, grindcore-flecked Den Of The Picquerist doesn’t provide a breather; it’s short, sharp and bloodsplattered. Pre-released track Moonlight Equilibrium is instantly recognisable as The Black Dahlia Murder fare, but just that fraction tighter than you’ve heard them before. The black metal influence (most notably Dissection) is marginally more prominent on Carbonized In Cruciform, or Great Burning Nullifier’s tremolo picking, but early ‘90s death metal continues to inform the majority of what they do. Trevor Strnad’s wicked yet engaging and distinctive blend of guttural growls and vicious high-pitched shrieks is a staple of their sound, but exudes added aggression and urgency. Ryan Knight again introduces an enhanced sense of melody into the mix via appropriately crafted leads on The Grave Robber’s Work and The Raven. Short hair or not, Ritual will finally silence anyone still foolish enough to dub this band anything but pure and unadulterated death metal. Brendan Crabb
smokes and whatever else. And a song about a waterslide, Mammoth Falls, from the band’s split 7” with Phantoms getting a well-deserved rerun. Self-described “acoustic hippy jam” The Riders Ode is just that – a nice midpoint on the album that shows the band’s transition from hardcore influences to more British metal ones most strongly. It would be hard to top the finish of their debut, a cover of Sleep’s Dragonaught, but the sprawling one-two punch packed by Wretched Earth and Return To Cosmos manages with ease. Dave Drayton
THURSTON MOORE
TRACY MCNEIL
Matador/Remote Control
Vitamin
LENGTH: 13 tracks, 44 minutes.
Fire From Burning
Demolished Thoughts
MOODS: Brutal, brutal and brutal.
Thurston Moore has been a super-dooper busy type of guy lately, with a recent super-dooper album with his little-known band for the soundtrack for French teen thriller, Simon Werner a Disparu, combined with eating packets of stuff on Beck Hansen’s back porch. So the story goes, sometime last year, the Midnight Vulture bandit agreed to produce Moore’s fourth solo effort after a hang-out at Beck’s ranch, an effort which turned into a departure from the down-tempo experimental sound to a stripped-back acoustic affair. Ever the underdog, the songs are stripped-back affairs incorporating sparse guitars and orchestral arrangements but always with the vocals taking the lead, where in the past it’s usually been the guitar that’s the centrepiece. Charmingly chugging towards oblivion, the moments seem to meld into one another so that you may be left wondering if it’s the next song you’re listening to or still the same track. That’s not to say the album is a tub of shit; it just takes more patience to appreciate. Standout moments such as In Silver Rain With A Paper Key, Orchard Street and Illuminine demonstrate that generally anything that Moore, Beck or his long-time drummer (appearing here on percussion) Joey Waronker put their name to eventually wins you over. Strings and bows sprinkle here and there, and it’s a seemingly optimistic Moore at his most intimate. Thurston’s hoarse vocals and introspective lyrics are a jigsaw puzzle open to any number of themes and one wonders if one would enjoy it as much if the people behind the record weren’t as well-known. My money is on yes.
Country music obviously appeals to a much smaller demographic in Australia compared to the US. This is why we don’t often see country artists dominating the charts. Singer/songwriter Tracy McNeil’s second album, Fire From Burning, however has a slight chance as she weaves in elements of folk into her predominantly country style. Born in Canada and now based in Melbourne, her craft fuses together the typical and not-so-typical aesthetics of country and roots music. The standout tracks are those that travel beyond the boundaries of said genres. Her exterior influences are evident by the drawn-out phrases of High Horse, giving the song a very folk-like feel, whilst Melody Breakers’ erratic fiddle motifs and frolicking banjo are representative of the typical structures of country music. Country-ballads Whippoorwill and In My Time are the stronger ballads on the album. They emphasise the creativity of McNeil’s songwriting, both songs reaching a level of lyrical sophistication. They also possess many interesting qualities in terms of structure, breadth and melody, whilst still maintaining a country essence. The entire album however suffers from a lack of climactic drive. Slow-burners Ride Home and Uncharted Ground lull into one another and musically do not evolve, shift or grow in any shape or form. Title track, Fire From Burning, also goes absolutely nowhere and has no climax, leaving listeners uninspired and disinterested. Fire From Burning will be praised by the enclave of country music listeners; however the album as a whole is not strong enough to break through the barriers of the Australian music scene or to appeal to the many foreign musical palettes.
Adam Wilding
Celline Narinli
I EXIST
DID YOU KNOW
II: The Broken Passage Resist
• The split 7” with Phantoms on which Mammoth Falls originally featured, titled Bad Romance, had a series of special edition tour covers printed, the artwork of which included references to Bill And Ted’s Bogus Journey and Kevin Smith film regulars Jay and Silent Bob.
Returning to Jason PC’s Melbourne-based Goatsounds Studios, where they recorded their debut album, I: A Turn For The Worse, sometime seven-piece I Exist also enlisted Billy Anderson (who has worked with Eyehategod and Sleep, among others) to helm the desk.
• The first single from the album, Wyverns Keep, features guest vocals from a slew of Australia’s premium heavy music crop including members of shotpointblank, Jungle Fever and Extortion.
There are four guitarists - four - God knows who plays what (other than Josh Nixon’s impressive leads on Black Unicorn and Immortal Mare and pretty much everywhere else) but it makes it dense and heavy. The guitars are thick enough to sink the vocals somewhat in the mix but it fits the dark pulse of the The Broken Passage’s trajectory. The presence and balance of the guitars is enough to drive you through the metallic sludge of stubborn riffs.
• With seven members there’s guaranteed to be a bit of history in the band. At one time or another members of I Exist have played in the following; Slowburn, Hard Luck, 4Dead, Never Alone, Pirate Satellite, Pod People, Disavow, Blood Duster, Reign of Terror, Vera, Life & Limb, Top Gun, A Stab In The Dark, Phantoms, Outright, Thrush, Cold Front, Rex Banner, Templestowe, Necrotic, Skeleton Dance, Echo Inside, Burn The Hostages.
Submerged amongst it, the power of this band is in drummer Simon Murphy; beneath the multitudes of guitar lines sits a tight, straight-hitting drummer. Ghost Of A King shows he has pace and accuracy, and Blades Ruin proves he can pummel – though his style never detracts from groove-heavy riffs, as in the likes of Black Unicorn and Lungs Of Mire. The occasional concept of the first album, an apocalypse of sorts, is occasionally developed further in The Broken Passage, the protagonist returning to a broken Earth, doing battle, kneeling before Kerry King. But amidst that there are the same party tunes about beers,
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THE DRUM MEDIA 21 JUNE 2011 • 45 •
NEW SINGLES/EPS ROUND UP WITH ROSS CLELLAND The past is a strange country. There was a time my horror at the credit Rick Brewster’s Angels featuring Dave Gleeson would have been untold. Now, Waiting For The Sun (Spitfire Music) chugs along in the prescribed fashion from somewhere between 1978 and 1990 to soundtrack a night at the local. Even more black T-shirts, tatts, and facial hair territory from Frankenbok, Dine In Hell (Prime Cuts/MGM) just the sort of sensitive balladry the title would suggest. From an utterly different place and time, Westernsynthetics provide electronic dubstep that bubbles and then arcs off at tangents more than the average synthesised sounds. Their No Holiday EP (Sub Continental Dub/Cargo) is Australian music designed for anywhere else but that suburban public bar. Currently touring with the wondrous Middle East, Wolves At The Door’s ebbing and flowing dualvocalled plaintiveness is well shown on Colours (Independent). Almost mystical in its intertwinings. Below Is The Beginning (Independent) is a good example of The Lockwoods’ layers and sometimes desperate distance in their music. There are some spiky edges to an echoey noise which can hold your attention. More new ways to get yourself known: Cosmo Jarvis got himself mentioned on Stephen Fry’s Twitter feed, as the polymath was for some reason taken with his YouTube ditty, Gay Pirates. So, adding some potential religious outrage, Sure As Hell Not Jesus (Frame) rattles along similar lines. He’s only 21, and this is apparently one of 300 songs he has ready to unleash on the world. Likewise, Mini Mansions have the endorsement of Josh Homme. No surprise really, as it’s QOTSA’s Michael Shuman’s ‘other’ band. Acoustic trio with piano rather than his betterknown combo’s widescreen noise, Monk (Rekord Rekords/Liberator Music) rambles along before getting all shouty at the end. Meantime Perth’s Calling All Cars would seem eminently suited to the support spot for Mr Homme’s beast, Reptile (Shock) motoring along at a goodly clip, not far behind that devil’s pick-up truck. Recording in an abandoned mental asylum. That’s almost too rock. Grand Atlantic went to New Zealand to find a suitably vacant padded room and came back with an album, of which Poison To The Vine (Laughing Outlaw) is the first loud and angsty preview. Going past their shenanigans as part of the recent Vivid affair, Wu Lyf did their recording in a disused Manchester church, the vaulted darkness giving just the right mood to their music. Dirt (Mushroom) all muffled drums and yelling into the void, in the northern town’s traditions. Recently Unearthed by triple j, Salvagers make modern pop veering towards rock. Young Bones (Independent) coming at you with insistence and confidence. They’re currently in Texas somewhere, and they may well enjoy it too. Crooked Saint is Tim Wheatley, once of Sparrows, but his Every Angry Inch EP (Walnut Street Records/MGM) sees the band mostly gone, and conversations somewhere around a Josh Pyke flavour. Boukabou’s Inside Out (Independent) is big radio-friendly pop. Having the redoubtable Wayne Connolly as producer means it’ll sound as good as it possibly can. The electronic burps and farts of another time push SBTRKT’s Wild Fire (Young Turks/Remote Control). Using Sweden’s Little Dragon adds to the soul internationalism and askance view of it, making for something very different. Some of the same third-hand synths may have found their way to Tasmania, where The Scientists Of Modern Music placed them layer upon layer to make a sweeter vision. Because If I Die (Rubber) is the kind of electronic-based pop Pnau would appreciate. The strings lull you at first, but then Enter Shikari go back to their more familiar cross-cultural shouting and political dismay, making it hardly a Quelle Surprise (Liberator Music) at all. Besides the Gaga as the last pop star who we will talk of in terms of selling multi-million CDs, the things that will jostle for the front spaces in those surviving record shops will be those albums safe for the mums and dads. Susan Boyle, we blame you. For everything. So, safe, chubby-faced boys in suits aping old Sinatra and Bennett styles will be the default stocking filler with the Cadbury’s Roses. Steven Rossitto is another who should be back at the karaoke lounge, but his My One And Only Love (Capitol) is corporation approved. One part Galvatrons, one part Lazy Sons, one part Dandy Warhols, and now up to seven pieces altogether, Immigrant Union have some built-in curiosity, and somehow end up making rootsy stylings agreeable to fans of The Band and such. Oregon (Independent) is an old-fashioned toe-tapper, in a good way. Also calling itself ‘roots’, but with a Latin toward ‘world music’ accent, Watussi’s Cuando Sera (Watussi Music) has longing mariachi horns and a feeling of melancholy. There’s always still a place for a paisley shirt and the softer psychedelica that uniform tends to suggest, as The Demon Parade’s guitars spiral up toward the low clouds, To The Mountain (Jaya Jaya Records) drifts and breathes as you’d expect. • 46 • THE DRUM MEDIA 21 JUNE 2011
COMPILATIONS
VARIOUS
VARIOUS
VARIOUS
Beautiful Eskimo/Other Tongues
Popboomerang
Late Night Tales/Balance/EMI
Dig Cave Dig
Electric And Eclectic
Late Night Tales: Midlake
While Cave remains the oddest of role models – for his mere survival, let alone success – a tribute album is a tough ask, his art being so immediately identifiable. The rock of merely copying and hard place of trying to tamper with such proven formulae makes this a bit hit and miss. The Vasco Era’s Dig, Lazarus, Dig!!! seems to run out puff midway. A little more successful, Where The Wild Roses Grow is taken back to folk roots with Little Wolf & Casey Hartnett’s Oz-toned lament. Ouch My Face go suitably mental on The B.P.’s Junkyard.
Despite the title, the real joy of this collection are its folky, rootsy tunes; The Wedding Song by Melbourne’s Skipping Girl Vinegar, For A Short Time by The Aerial Maps (sounding like a lost Paul Kelly track) and a gorgeous Angie Hart/Stephen Cummings double feature in Stick To My Fingers by Four Hours Sleep. The darker side of acoustic loveliness is explored by Splurge in When I’m Down (of which Tex Perkins might be proud) and the cheeky Sutton Grange by the Steinbecks. The cherry on top is Danna & The Changes’ cover of Wake Up Little Susie - it’s pretty cool.
Bob Carpenter’s Silent Passage kicks this off with slow, bittersweet beauty, proof this kind of music can still be attacked by the James Blunts of the world and emerge victorious. Put together by Texan five-piece Midlake, this a celebration of harmonies, melodies and the odd slide guitar, resulting in an unusual but lovely take on late night sounds, with Fairport Convention, Bjork, The Flying Burrito Brothers, Nico and The Band just some of the surprises. Of course, the band also get a go, with a fab cover of Black Sabbath’s Am I Going Insane.
Ross Clelland
Liz Giuffre
Liz Giuffre
VARIOUS
VARIOUS
VARIOUS/HENRY SAIZ
ABC/Universal
Universal
Balance Music/EMI
Sweet Little Bird
When I First Met Your Ma
Balance 019
This double-CD is a lady-sounds love-in and, heck, there’ve been compilations put together with more tenuous connections. At least this collection avoids too much mainstream cliché (no Gaga, no Katie Perry, No Madonna) and lets some indie goodness through. Bat For Lashes’ Daniel is well worth it, as is Camille’s Home Is Where It Hurts. There are some bits to avoid; Dido in any form but especially here with Here With Me, same with Missy Higgins’ Scar. This writer particularly recommends Sia with Breathe Me.
A Mother’s Day compilation, part schmaltz but also part goodness, the main thing out of place is the Paul Kelly track, which, though gorgeous, is much less about mother/child stuff than the rest, a collection of specially recorded covers and originals dedicated to the artists’ mothers, including Bertie Blackman’s divine Fleetwood Mac cover, Gold Dust Woman, Andy Bull’s Beatles’ retread, Mother Nature’s Son, and Gin Wigmore’s divine Over The Rainbow. The originals are also well worth it, Clare Bowditch, Washington and Oh Mercy particularly.
Calling on veterans like Timo Maas and Nick Warren for the previous two Balance installments was seen by some as a regressive move, but order has been restored with rising Spanish producer Henry Saiz taking the helm for Balance 019. Saiz’s approach sits somewhere between traditional DJ mix and artist album, with over half the 31 tracks featuring either a writing or remixing credit from the man of the moment. The result? Perhaps the most cohesive release to bear the Balance stamp, a wonderfully constructed voyage through a mesmerising sonic maze.
Liz Giuffre
Liz Giuffre
Gloria Lewis
VARIOUS
VARIOUS
VARIOUS
Inertia
EMI
Delta Swamp Rock
Eurovision 2011: The Official Album
Hallelujah: Songs Of Love And Hope EMI
So journalists love to make up funky-sounding genres, but this one takes the cake. The label claims these are “sounds from the South at the crossroads of rock, country and soul”, but it’s more like a celebration of those who got to 1955 and kept going straight rather than turning left down the highway that would be rock and roll. As such Johnny Cash in gospel mode is featured (If I Were a Carpenter), Cher pre-electro, Lynyrd Skynyrd in their soft but sultry goodness (twice), Barefoot Jerry (also twice), Tony Joe White and many others. The disc is worth it alone for Joe South’s Hush (which, they’re right, is hard to explain).
Let’s be honest; so much of the joy of Eurovision is watching the performances, not hearing them, so this 2CD set was always going to be an acquired taste (or mean beer coasters). Having said that, remember ABBA were Eurovisioners and did do very awesome pop, and here there are some quite lovely examples - Running Scared, Ell/Nikki (Azerbaijan), New Tomorrow, A Friend In London (Denmark), I Can, Blue (UK), Lipstick, Jedward (Ireland), Change, Hotel FM (Romania) and the funky, strangely hypnotic Haba Haba, by Stella Mwangia (Norway).
I love a tenuous link to bring songs together for a compilation, but sorry, this one is too much of a stretch. The theme is pop songs that are vaguely spiritual (or spiritual songs performed by vaguely pop performers), but rather than getting the soul out of each side, the smooth production and re-recordings have taken the soul out completely. Especially disappointing is Elizabeth Marvelly’s version of Crowded House’s Don’t Dream It’s Over (it’s so smooth you simply don’t believe there’s any frailty there to lose) and Aled Jones’ cover of the Carole King/ James Taylor masterpiece, You Got A Friend. The sentiments are lovely, but they’d still be lovely with just a little less sop.
Liz Giuffre
Liz Giuffre
Liz Giuffre
VARIOUS
VARIOUS
VARIOUS/STEVE LAWLER
Late Night Tales/Balance Music/EMI
So Frenchy, So Chic, Spread The Love 2011
Late Night Tales is one of the few remaining survivors of a more innocent time when ‘after hours’ meant ‘recovery’, steering clear of post-coital electronic bliss and enrolling selectors whose own exploits generate real emotion. Denmark’s Anders Trentemøller now sits comfortably in such company, his metamorphosis from minimal-tech maestro to shoegaze electronica progenitor complete. The vibe murky is from the minute This Mortal Coil’s Waves Become Wings opens the session, the dream state allencompassing till the spoken word end credits.
A mixture of French and English language material tied together by the French film festival, here are some trademark lovelies (like Zaz’s Les Passants and Le Long De La Route, airy, catchy and, well, very chic), but also some perhaps more acquired tastes, like The Rodeo’s On The Radio (a country-esque excursion that doesn’t quite fit) and the too simple My Name Is Trouble by Keren Ann. All is restored however with Robin Leduc’s Laissezmoi Passer and the rocky Dans Ma Rue by Fefe.
Of all the myriad dance music compilation series of the past decade, few are spoken of with the reverence accorded UK jock Steve Lawler’s Lights Out series – a convergence of tribal, progressive and a certain shade of dark, druggy sexiness. But are the ingredients as fresh as they were ten years ago? First impressions are lukewarm, the majority of this two-disc selection best described as ‘functional’. What works on a heaving 3am dancefloor doesn’t always translate into home listening. The key to Decade is it’s a dish best served loud.
Liz Giuffre
Gloria Lewis
Late Night Tales
Gloria Lewis
Cartell Music/SBS
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Lights Out – Decade Viva/Balance Music/EMI
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Sunday July 3 Clarendon Guesthouse • KATOOMBA* TICKETS from WWW.CLARENDONGUESTHOUSE.COM.AU * MAJOR CHORD NOT APPEARING
www.othertongues.com.au
New album “Micah P. Hinson &The Pioneer Saboteurs” out now! ★★★★ “Troubled Troubadour’s fourth album is his best” – MOJO ★★★★ “Incredibly addictive” – UNCUT ★★★★ “There are few voices in contemporary alt-country quite so adept at wresting consolation from the depths of despair as Hinson’s sonorous baritone” – Q ★★★★ “Hinson has one of those voices – that of a Cave or Cohen, Waits or Costello – that can howl, bark, croon or condemn with equal verve” – THE FLY OTHER TONGUES EDITION INCLUDES 2 BONUS TRACKS!
Do you drink at least occasionally? If so, Bond University Department of Psychology is looking for community members to take part in a study of traits and motives relatedto alcohol use. Participants are required to be at least 18 and no more than 26 years old and will be asked to complete questionnaires assessing drinking behaviours and personality traits and to perform three game-like tasks on computer. Testing will take approximately 60 minutes and individuals will be paid $30 for their participation. Please contact Juliette via email: jtobiasw@bond.edu.au or via phone: 0418 447 909 for more information on the study or to book a testing appointment.
THE DRUM MEDIA 21 JUNE 2011 • 47 •
METAL AND HARD ROCK WITH CHRIS MARIC
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Technical math rock heroes Periphery are heading back our way. Last seen sharing the stage here with the Dillinger Escape Plan, they return as part of The League of Extraordinary Djentlemen tour along with fellow proggers Tesseract. So gather up all the time signatures you can and prepare to be bent out of shape Saturday 30 July. The Annandale might actually break this time.
CHAOS DIVINE
A CHAOTIC CONNECTION Perth metal heads Chaos Divine launch their second album, The Human Connection, Saturday at Venom. Drum caught up with the band to talk about the new album.
What was the concept behind The Human Connection? A lot of the themes in the lyrics reference the way people interact with each other and in particular the way in which people connect with those in the afterlife through higher states of consciousness. Many of the songs on the album were written after the passing of Dave’s [Anderton, vocals] father, so there are a fair few lyrics based on this, One Door especially. Speaking musically, the idea we had going into making it was to create a record that we felt collectively encompassed all of our influences without cutting back on parts, which was the case with our last album, Avalon. We trusted our judgement on the music and explored every idea that we could so that the music was exactly where we wanted it to be. Having almost four straight weeks of studio time to record really helped this.
What can people expect from the upcoming shows? Given the fact we have worked in a lot more melody and a bit more of a ‘prog rock’ vibe to this CD, it seems we have won over some new fans while still giving the old fans something to bang their heads to. We really like the space we have stepped into with this album so hopefully it opens up more doors for us. People can expect a lot of the new material on the upcoming live shows. It has been over a year since we came over east to play and we are really looking forward to playing with some great east-coast bands in Melbourne and Sydney.
• 48 • THE DRUM MEDIA 21 JUNE 2011
Out of the absolute plethora of soundalike bands out there, only a few stand above the pack giving our little genre hope for the future. One of those bands is Suicide Silence, who actually do redefine heavy music and bring something different to the table that’s also heavy as a really heavy thing. The press release said you should come and witness a ruthless and unrelenting attack on the senses and a top class exercise in extreme metal oppression. Hey, that works for me! Said oppression will be demonstrated at the Roundhouse Saturday 10 September. It’s all ages too, so kids, please go and check out your new shit but remember to borrow your dad’s Slayer albums from time to time. Sydney’s best-dressed punk metallers Platinum Brunette have had three of their songs, including one from their latest EP, What Doesn’t Kill You Makes You Prettier, selected to appear in the upcoming major movie release, 33 Postcards, which stars Guy Pearce and Claudia Karvan. Nice work! So that’s what’s happening soon, here’s what’s happening now…
FRIDAY The legendary Rose Tattoo will be getting up close and personal at the Sandringham Hotel in Newtown over the next two nights. Angry and the boys will be sweating it out upstairs along with Nat Col & The Kings and Melody Black, whose soon to be released debut album is seriously bad arse! Doors open at 8pm. Page Hamilton is up there with Henry Rollins as a man of serious integrity and Helmet is probably one of the most important post-hardcore bands of all time. It’s been a long three-year wait for them to come back here and tonight, you can catch them and Pangaea at Manning Bar. If you find yourself down the other side of the mountain tonight, drop into the Cabbage Tree Hotel in Fairy Meadow, which is in Wollongong in case you don’t know which mountain I’m talking about or where Fairy Meadow is. There, you will find the Ambush Your Prey tour in full swing. Nobody Knew They Were
TESSERACT Robots and Inside The Exterior will be joined by One Time Menace, Heart Set To Fail and Bloodshed Of The Innocent for a night that promises to include all of the following sub genres: mathcore, metal, experimental, progressive, alternative, hardcore and deathcore. I think that covers everything, yeah. Ten bucks at the door, which opens at 8pm.
SATURDAY Tonight at the Sando, Hell Crab City and The Lazys have the task of warming up the crowd for those original rock’n’roll outlaws, Rose Tattoo. From west to east up Parramatta Road tonight, you have three options and they are: Foundry Road, Tensions Arise, Amodus, Not Another Sequel Just Another Prequel and Alex Anonymous (from Melbourne) coming together for a show of epic proportions at The Wall. Tickets are $15 at the door. Tensions Arise have secured Logan Mader to produce their upcoming album too. Since putting away his touring road case as part of Machine Head and Soulfly, Mader has produced albums for Devildriver, Divine Heresy and more so they’re in good company. Black Wire Records have got Captain Cleanoff, Burning Servant, Death-Cult Jock, Battle Pope and Michael Crafter all making noise from 7pm. It’s BYO and all ages, which should be interesting… Some of the country’s finest new (not nu) metal bands will all be converging on the Agincourt Hotel as Venom hosts Dawn Heist, Chaos Divine (who are getting some awesome album reviews lately), The
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Eradicated and Whisky Smile. Find Nick, tell him I sent you and ask him for a CD or something. Newcastle is up for an interesting and fucked up night with the GG Allin Tribute Show defiling the Hamilton Station Hotel. Along for the ride are selfproclaimed comedic rock’n’roll sexcore outfit Fuck U Saurus and How To Survive A Bullfight, who apparently play fuck-off punk rock. Not sure how that differs to normal punk rock so I guess you’ll have to stick your head in and find out! It’s $10 entry and as a special offer, the first ten payers “receive a free turd sandwich” – whether it’s prepackaged or made on the spot, I do not know.
SUNDAY Captain Cleanoff backs it up again for another night of grindcore at the Sando this time. Roadside Burial, Death-Cult Jock, Serious Break and the awesomely named Fat Guy Wears Mystic Wolf Shirt will all eventually get the tiniest of cheques from APRA for playing too.
MONDAY Fans of blast beats and extreme drumming in general should get down to The Basement Circular Quay to catch Nile’s George Kollias in clinic mode. I’ve seen the guy warm up and he has to be part cyborg or something. Simply amazing. Psycroptic’s Dave Haley will open the night with the Tassie triplet – no, probably not. heavy@drummedia.com.au
HOT HOT HOT PUNK AND HARDCORE WITH SARAH PETCHELL Not sure how well this fits in with a punk/hardcore column, but I figure there is enough crossover that it will warrant this particular tour announcement’s inclusion here. This September (which is shaping up to be an amazing month for tours) will see Suicide Silence returning to the country for the first time since last year’s No Sleep Til Festival. The band is set to continue developing the buzz surrounding them with the release of their third album, The Black Crown. Sydney, you can catch Suicide Silence Saturday 10 September at the UNSW Roundhouse for a licensed all ages show. Tickets are on sale now through Ticketek. Bastardfest is back, bigger and better than last year, and considering the calibre of bands that are playing there really is no excuse not the head along. So Saturday 10 September, head along to the Sandringham Hotel to see Blood Duster, Extortion and I Exist join Psycroptic, The Dreamkillers, Ruins Claims The Throne, Pod People, Bane Of Isuldur, Ouroboros, Daemon Foetal Harvest, Anno Domini, Chaos Divine, Enfore, Dawn Heist and Ignite The Ibex. So yes, there are predominantly metal and grind bands on this bill, but the addition of Extortion and I Exist means there really is something here for fans of all types of extreme music. Tickets are on sale now through Moshtix and you can check out bastardfest.com for more information. Blood, Sweat & Beers is right around the corner and if you haven’t picked up your tickets yet from the Annandale I suggest you head on over and get them, because this is one weekend of music you really don’t want to miss. Especially now that a bunch of acoustic acts have been added to the lineup to serenade you as you eat your sausages and drink your Coopers, you over 18s. These are Davey Burdon (of Former Cell Mates and ex-Leatherface), Isaac Graham (all round good dude, or so the promoter tells me), Nathan Seeckts (Melbourne folk act) and Lucy Wilson (another invader from Melbourne, who the promoter says is “probably too good for this festival”). Just to remind you of dates, Blood, Sweat & Beers takes place over the weekend Saturday 2 (from 2pm) and Sunday 3 July, and I will see you all there. Californian pop-rock outfit Hellogoodbye will be releasing their latest album locally (finally!) on 1 July this year. The album, called Would It Kill You?, will be released through their own Wasted Summer Records and distributed through Shock. Hellogoodbye has already been confirmed to come back to Australia as a
Florida’s I Set My Friends On Fire mixes posthardcore with electronica, and has just released their second album, Astral Rejection, produced by Travis Richter of From First To Last fame. Drummer Chris Lent took the Drum hot seat.
How do you think the new album differs from your first and what elements do you think have stayed the same? We tried to just raise the vibrational frequency of the band as a whole; not change it, just upgrade it. So the body stayed intact, it’s just living in a newer dimension.
What was inspiring you during the making of this album?
HELLOGOODBYE part of Soundwave Revolution this September/October, and Would It Kill You? (released in the US late last year), following on from a handful of EPs, is the first full-length release from the band since 2006’s Zombies! Aliens! Vampires! Dinosaurs! This September sees The Swellers head to Australia as a part of the Soundwave Revolution Festival. But before then, the band is releasing a new album, titled Good For Me. The album came out last Friday and was recorded with The Descendents drummer Bill Stevenson at his Blasting Room Studios in Colorado. “Even though we wanted to make a record that’s really reminiscent of the ’90s pop/alternative radio and ’90s pop/punk that we grew up with, that’s accessible and big and awesome sounding, we also wanted to make it sound like we do live: a bunch of sweaty dudes playing a show and not caring about anything else,” said singer/guitarist Nick Diener in a recent press release. Good For Me is the follow-up to 2009’s Ups And Downsizing. To add another album to my “Most Anticipated of 2011” list, Ringworm has announced that their fifth album, Scars, is completed and due for release on 19 July (at least in the US) through Victory Records. This is the follow-up to 2007’s Venomous Grand Design and sees the band continuing to produce its brand of metallic hardcore. Ringworm will be heading to Australia as a part of the Melbourne leg of Bastardfest. In the meantime, let’s keep our fingers crossed that this extends to a full Australian tour, or at least a Sydney show. Through announcements and tantalising hints via social media, it looks like Orange County metalcore outfit
Bleeding Through is preparing to write a new album and will head into the studio for recording in coming months. In a post on their Facebook, the band informed fans the group has been writing new material: “Brian’s coming over so we can write tunes! We all have been writing. Game on people.... recording this summer. Can’t fucking wait!!!!” This will be the band’s sixth full-length release and the follow-up to last year’s self-titled album. There are a whole bunch of new releases out this Friday. First up, Taking Back Sunday is releasing album number five, a self-titled affair that, according to reports (see our reviews pages), sees them moving back to their roots. Also, California metalcore outfit Of Mice & Men is releasing their second album, The Flood. If you checked out the Destroy Music tour, you probably caught these guys as they opened the show. So if you liked what you heard, go and grab the album. Finally, and the release that I’m most excited for, the Bay Area’s Set Your Goals will be releasing their highly anticipated new album, Burning At Both Ends. I’m expecting a high energy, catchy album with plenty of riffs and just a whole lot of fun, and I’m sure Set Your Goals won’t let me down. Finally, I mentioned it last week, but a reminder for all you Canberra folk that the I Exist album launch show is taking place this Saturday in The Basement Belconnen. It is an 18+ show, with Anchors, Disavow and Loveshy also playing. This is the only headlining show the band will be playing; they’re also touring in support of Doomriders this July.
Tones and how I could mix sick tone with thrash. The question of what if Atari Teenage Riot’s eggs were covered in Southern thrash sperm. Also I was inspired to make people break out of their normal rhythm that most of these bands make them swing in. No one should be stuck doing the same dance for this long, it’s fucking 2011 not 2003 – be creative with your movement!
What was it like working with Travis Richter and what did he bring to the table? I have known Travis since around 2005, playing in different bands with him, so working on the album with him was second nature. Travis, Matt [Mehana, vocals] and I have a lot of the same musical influences and we see on the same wavelength, so sculpting together was a great experience.
You had a lineup change between the last album and this one. What changes did that bring about in the musicmaking process? We basically knew we needed to combine our efforts to make something we were incredibly stoked on. Matt and I tried to kick the music into overdrive and try new formulae, for example writing a song just from the flow of percussive electronics and how they would interact with drums (erectangles). We were able to use our tone-bones a lot after the departure of Nabil [Moo], because it was all on us to bring the sonics to fruition. There are songs on the record that the three of us wrote before Nabil left… So if a fan says they miss the old ISMFOF, they can just listen to those.
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THE DRUM MEDIA 21 JUNE 2011 • 49 •
HIP HOP WITH VIKTOR KRUM There is some awesome news for the young heavy music fans out there. This Saturday Captain Cleanoff plays Black Wire Records. Captain Cleanoff is one of the best grind bands in Australia, and their drummer used to play in Conation, who are also awesome. The show is only $12 and Burning Servant, Death Cult Jock, Battle Pope (who also have an awesome drummer) and the second best grind band in the country, Michael Crafter, are also playing. I just sorted your Saturday.
New Wu Tang Clan! Fun times, you guys. It’s going to be out through Shock on 29 July. The title is Legendary Weapons. It promises to be Ghostface Killah heavy, which is always good news. Could be yawnsters. It could be great. Most likely, it will be solid. Enough for us all to get excited/nostalgic about anyway. Oh! Plus! Wu Tang are coming out. They’re going to play the Enmore on Friday 5 August. “Great,” I hear you think. “But how many and – more important – which Wu-Tangers are coming?” Well, that’s a good question. The press for the show explains that we get seven: Ghostface, Method Man, Raekwon, Inspectah Deck, GZA, U-God and Masta Killa. Fine. That’s enough to make a documentary about at least. We’re also getting DJs Allah Mathematics and Street Life thrown in. Wait! I forgot to tell you the clincher: Young Dirty will be part of the clique too. You don’t know who that is? You want to take a guess? Hmmm. Yeah. That’s Ol’ Dirty Bastard’s son. He’s coming out for the tour. Don’t ask me if that’s a good thing (“name your favourite Young Dirty song” – impossible trivia question), but it is a thing that is happening. It reeks of cynicism and opportunism but life is life and sometimes people go to Wu Tang shows to see members of the Wu Tang Clan and sometimes they go to see descendents of members of the Wu Tang Clan. I’ll be one of the former. Catch you there. (If I die before the show, don’t worry: my son Young Vik will go in my place.) B-B-B-B-B-B-Bingethinkers! Your favourite bingers are playing as part of the FBi Social on Friday 24 June at the Kings Cross Hotel. It’s an album launch for their (aptly named) newie Where Are They Now? After a couple of years away from the spotlight it will be great to see the boys back together with new music. Yes! Supports are solid too. Expert Urthboy impersonator Rainman will be there playing with new LookUp signee Calski. Ology, Morgs and 2Buck will be DJing. And the rapper I have been trying to get you somewhat pumped about, Ellesquire, will be supporting too. Lots of reasons to be there, then, team. Get on it. Remember how there was a time when the typo “Kayne West” existed? Remember how you first heard about a guy from Chicago who makes addictive, immersive rap with Jamie-Foxx-doing-a-Ray-Charles samples? Remember when Kanye said “George Bush doesn’t care about black people” in 2005 and Mike Myers,
ALL AGES WITH DAVE DRAYTON
To travel briefly back in time to Friday, the evening before at the very same venue, Spew Your Guts Up, Thorax, Macho Sandwich and the awesome Yes I’m Leaving play from 7pm. A reminder that ever-impressive The Middle East play The Factory, all ages, on Thursday night with support from The Starry Field and Joseph Liddy & The Skeleton Horse. Their new album, I Want That You Are Always Happy, was superb and well worth checking out live.
WU TANG CLAN standing right next to him at the time, looked impossibly uncomfortable? Classic times, sure, but they feel like a lifetime ago. Two perfect albums and one horrifying, out of control ego later we now have the ugly, perfect, hulking monstrosity that is Kanye West. Excellent music. Shitty guy. Anyway, a track from the My Beautiful Dark Twisted Fantasy sessions leaked last week. It’s called Mama’s Boyfriend and it is amazing. Ye’s delivery didn’t sound totally honed and some of the lyrics were a bit meh but in the main it was just incredible to think that this was a song that was discarded. Go out and look for it. The conceit is great, the beat is pretty good and the delivery is OK. Seven-and-a-half-out-of-ten type shit.
If you don’t believe me about how good Black Wire will be on Saturday or can’t get to Annandale, surf metallers Another Day Remains are playing at Illawarra PCYC from 12.30pm. And up in Newcastle there is a huge lineup at the Leagues Club. The show costs just $12 and Uncorrected, Wake The Giants, Second Opinion, Madison, The Cavalcade, The Asteroids, Soapbox Summer and All In A Year play from 3pm. On Sunday another consistent provider of all ages shows, The Lucky Oz Tavern, dishes up another one, playing host to Your Way Sucks, Sweet Apes, Paradox Park, Aurox, Summer’s Mixtape, Heavy As Fox and Red Alert! playing commencing 1pm.
Do not forget the FBi 94.5FM presented Big Village launch coming up this Saturday. The lineup is packed full of Big Villagers you know with a couple you don’t chucked in for good measure. It goes like this: Tuka, Daily Meds, True Vibenation, the aforementioned Ellesquire, Loose Change, Suburban Dark, DJ Migz, Reverse Polarities and Jeswon. It’s happening at Tone. We’ve spoken before about how this crew/label/collective is an interesting one. If you haven’t listened yet, I’ll repeat my invitation: if you’re bored and staring at your Internet browser, look ‘em up. You’ll probably thank me.
For the budding musicians out there the opportunities just keep coming. On top of all the great band comps there have been in recent weeks, as well as the triple j Unearthed High competition, the Australian Children’s Music Foundation has just opened its 2011 ACMF Songwriting Competition. Entry is free, so you’ve got no excuse for not giving it a crack. Last year Peter Garrett and the significantly less impressive Dicko were judges, so you know the competition has legs. There is over $30,000 up for grabs in the prize pool so head to acmf.com.au and check it out.
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On the topic of great opportunities, there’s another just
CAPTURING THE ZEITGEIST WITH KRIS SWALES White Men Can’t Jump? Dallas Mavericks main man Dirk Nowitzki might have a thing or two to say about that after getting all in your face with LeBron and his buddies a week or so back, but we’re not here to talk about basketball – at least not IRL ball at any rate. No, we’re talking the Wesley Snipes and Woody Harrelson buddy comedy from 1992, specifically a scene where the street hustlers and Rosie Perez are rolling down the streets of LA in Woody’s ride discussing the difference between “listening to” and “hearing” the music of Jimi Hendrix. While that particular exchange was all about the wisecracking African-American putting his clueless white hombre to the sword, the gulf between listening and hearing has grown even wider over the ensuing two decades. When was the last time you really heard a piece of music? Gave an album your undivided attention? Treated music as more than just the background ambiance of your life, much like young clubbers treat nightclubs as the wallpaper of their Facebook photo albums? Hell, it’s my job to know dance music sideways (not the fun kind of sideways these days, more’s the pity) and even I’m more of a passive listener these days as release after release rolls across the desk/through the inbox and onto the stereo/iPod before being consigned to the CD rack/hard drive a day/week/month later. The last record I consumed with my undivided attention was The Chemical Brothers’ 2010 return-to-form Further, sitting in a darkened room with three mates who’d just blazed up chortling away at the majesty of the music combined with the custom visuals which accompanied it. In a world of fast food musical consumption, this was like a degustation, but do you know what’s even better? “Hearing” a track you’ve “listened to” a million times, but really hearing it anew – every hook, every nuance, every memorable moment. The first time I remember this happening was driving up the highway from the Gold Coast to Brisbane in the late ‘90s (I’d love to say the roof of my Mustang was down and the wind was in my hair and my girl was by my side, but I was actually driving my parents in their Magna), and Guns N’ Roses’ Sweet Child O’ Mine came on the radio. Intro lead, verse, chorus, bridge, verse, chorus, bridge, chorus – so far, so bogan. But then Slash’s epic solo kicked in, and even though I could sing every note off by heart an • 50 • THE DRUM MEDIA 21 JUNE 2011
BEASTIE BOYS overwhelming feeling of “OMG!” (and this was long before OMG was even used on the internet, let alone IRL) at the sheer fucking OMG-ness of it all swept over me. They were just notes on a guitar, but they said it all. Then last month, the Beastie Boys’ Shake Your Rump appeared on RAGE (programmed by Art Vs Science in a rare career highlight) – an experience as much about watching (or perhaps “seeing”) as “hearing” admittedly, but the song remains the same. The convergence of beats, rhymes, vignette-style fisheye lens with the NY skyline in the background of the three-camera shoot just captures some indefinable vibe, oozing coolness, freshness and plain old awesome from every pore of its existence without even fucking trying. Capturing the zeitgeist? More like creating it before your eyes, as if they’d flown back to 1989 from a galaxy far, far away after discovering the fountain of youth and preserved a moment in time that still sounds like the future 23 years on. Half an hour earlier, Collette’s Ring My Bell, another from the Class Of ‘89, appeared on my screen. I don’t know if it’s even remotely possible to “hear” anything of substance in this dance-pop special (the sight of fluoro tends to shut my ears down), but it sports one hell of a funky bass line – and it gives me a link, however tenuous, back to Dirk and his championship ring. Result! The Breakdown is currently on holidays and will return soon.
ANOTHER DAY REMAINS announced too. Penshurst RSL will be hosting a band comp throughout August and September that will be open to all ages. First prize wins a fully-produced music video and photography session. Second prize is $1,000 cash and third prize is six hours’ recording time and $300 cash. You’ll also obviously have a chance to play your stuff live on a big professional stage with a great rig, a fantastic opportunity in itself. Get in touch with Nycole at rock_chic@hotmail.com for more details or to apply to enter. Looking ahead there have been some great tour announcements this week, not least alt. rock punks Balance & Composure, who will be touring with Brisbanites Fires Of Waco in August. They’re stopping in for an acoustic all ages performance at Resist Records in Newtown on Sunday 21 August and I get the feeling this show will be packed so mark it down early. And lastly: a call-out. Just as it’s difficult to get under age shows, it’s also difficult to get your music out there as a young band. To remedy that, Young & Restless is working towards including short interviews with young bands each week. If you’re in a band, or a solo artist, and you are still at school or under 18 and playing some shows then get in touch at the email below with some links to your music and we can go from there, hopefully joining young people looking for bands and young bands looking for listeners. But have it be less weird than that sounds. allages@drummedia.com.au
URBAN AND R&B NEWS BY CYCLONE Love or hate him, Tyler, the Creator (aka Tyler Okonma) is the first ‘new’ hip hopper to generate excitement in yonks. He’s the leader of Los Angeles’ super-posse Odd Future Wolf Gang Kill Them All, an MC, producer and skateboard kid. The alt-rap OFWGKTA has been compared to Wu-Tang Clan in ethos, if not sound. Okonma is RZA-smart. OFWGKTA are creatures of the digital age – web-savvy and DIY. But Okonma is profoundly controversial, the lyrics on Goblin (his first album proper, excluding 2009’s Bastard) dealing with such blithe lil’ topics as murder and rape. (In the misogynistic Tron Cat he jokes about raping a pregnant “bitch”.) The hip hop contingent is already suss on OFWGKTA, some dismissing them as a suburban rap novelty act like Insane Clown Posse, Necro and… S.Mouse. Okonma was reportedly irked at the racial homogeneity of his Australian live shows, but what can he expect when OFWGKTA is actively courting rock hipsters over hip hoppers? Even Eminem initially won over the hip hop underground. Okonma encountered racists in Queensland, tweeting about a “weird vibe”. There is a peculiar ignorance, and insensitivity, in Australia – upmarket gift stores are selling gollywogs. But is Okonma really just an emperor in new clothes? NME and Pitchfork are obsessed with OFWGKTA, extolling their political incorrectness, subversiveness and anarchism. Okonma, angry at his absent dad and women generally, expresses dark humour in his emo-hop. Nevertheless, he also relishes playing the enfant terrible (tellingly, Goblin’s cover art depicts the US showman Buffalo Bill). He ain’t about ‘keeping it real’ – dude wants to get on someone’s wick. Eminem’s influence is evident in Okonma’s framing devices, allowing him to distance himself from any ramifications – he shares his troubling fantasies with a fictional shrink. But, like that other uber-sensationalist Lady GaGa, Okonma perceives his fans as fellow misfits. The Notorious BIG soundalike is getting some mainstream love. He was joined by his wolf gang homie Hodgy Beats on Late Night With Jimmy Fallon, performing Sandwitches. Any ol’ skool hip hopper who hears the nihilistic Goblin will immediately be reminded of those horrorcore pioneers the Geto Boys, best remembered for the song Mind Playing Tricks On Me. Okonma (perversely) baulks at being labelled ‘horrorcore’. However, thematically, OFWGKTA is thoroughly horrorcore – and maybe even rap’s answer
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TYLER THE CREATOR to witch house. Okonma does raise issues. Sure, there’s violence in his music, but no one ever takes on television shows like Midsomer Murders, Wire In The Blood or Criminal Minds, which either stylise or fetishise murder. Admittedly, the culprits are usually apprehended, but still… Just don’t listen for morality tales in OFWGKTA. Okonma has attracted criticism for his frequent use of the word ‘faggot’ – not uncommon in hip hop. The term’s usage is homophobic, implicitly, if not explicitly. Eminem was lambasted, too, though he seems to believe that hanging out with fan (and pal) Elton John lets him off the hook. Rap’s latent homophobia stems from historic constructions of black masculinity, or a fear of cultural emasculation, and America’s deep religiosity – and, while, to his credit, Kanye West initiated a dialogue on this, there’s a long way to go. The irony? OFWGKTA has a talented female engineer, Syd “Tha Kid” Bennett, who’s openly lesbian. And yet more contradiction, and hypocrisy, surrounds OFWGKTA. Goblin has been picked up by XL Recordings, label boss Richard Russell paradoxically lauding Adele for challenging pop music’s sexist marketing. So what of Okonma’s music? Well, here the beatmaker, into everyone from Roy Ayers to Washed Out to Toro Y Moi, has something. Yonkers remains his killer (oops) hip hop joint – ominous, minimal and evoking Clipse – but the anti-Twilight rap Transylvania comes close, providing you can filter out the more disturbing lyrics. Okonma’s post-electro eschews samples. And he creates potent Drake-ish illwave in the synthy She, which features OFWGKTA’s in-house R&B singer Frank Ocean. As it happens, Ocean is not only aligned with Def Jam, but he’s also written for… Justin Bieber. Now that’s funny.
COOKE HONOURED BLUES AND ROOTS WITH DAN CONDON vintage instrumentation and recording techniques, but I think it has all felt a little contrived to me. But they’ve just released their latest record Smoking In Heaven and I can see myself coming around to their charms very soon. I think the important element this record has that the last one didn’t is a certain element of swagger, a sexiness – trust me, I use that for want of a better term – that was missing from the last record. Everything here hangs a little looser, swings a little more relaxed and just sounds more mature, more accomplished and like so much more fun. I’m happy to recommend it and I hope that it will finally solidify the relationship I feel should have always existed between this band and myself!
If you don’t like New Orleans boogie-woogie piano music then, well, I feel for you. That rolling piano is the foundation of so much amazing music that comes from the Big Easy and it sounds as fresh, relevant and danceable as ever! The W.C. Handy Awards have seen fit to nominate Henry Butler for their Best Blues Instrumentalist – Pianist on eight separate occasions – there aren’t too many higher accolades in the world of blues music than that – and now Australia gets the chance to see this musical master, who has been blind since birth, this October. He is hoping to get into the studio soon to record his 11th album, so he might even have some fresh material for us to hear for the first time! Get to The Basement Circular Quay on Thursday 27 October to see the man Dr John himself described as a player like Art Tatum and a vocalist like Paul Robeson. Knoxville, Tennessee’s Amazing Rhythm Aces don’t profess to do any more than embody the sound and spirit of down home American roots music. This means there’s no confusion and the legendary band can just get down to business, which they started doing back in 1974. The band is still led by frontman Russell Smith, who has pretty much been there from the start and though it has been a few years since they last released an album (2007’s Midnight Communion being their most recent collection of new material), I think it is okay to be pretty confident that the band is still pretty tidy on the live stage (the fact the band boasts two members of the Muscle Shoals rhythm section helps cement that
KITTY DAISY & LEWIS feeling). If you’re into Americana and you are not yet familiar with the band, their biggest hits, Third Rate Romance, The End Is Not In Sight (The Cowboy Tune) and Amazing Grace (Used to Be Her Favorite Song), are a pretty good beginning point before you delve deeper. The legendary band plays The Basement Circular Quay on Wednesday 17 August. I don’t know why but I’ve never been able to get into Kitty, Daisy & Lewis. It’s bizarre because they have just about everything that gets me off on a blues/roots act; youthful vigour, a genuine appreciation of the old world,
Unfortunately I must finish on a very sad note. On Sunday morning news came through that the legendary Clarence ‘The Big Man’ Clemons, saxophonist for Bruce Springsteen & the E-Street Band, had passed away due to complications arising following a stroke he had a week earlier. Clemons had been by The Boss’ side since he started back in the early ‘70s and his powerful sax playing and larger than life stage presence have always been such a massive part of that band. While he also played sessions with the likes of Aretha Franklin, The Grateful Dead, Ringo Starr, Todd Rundgren and so many others, it will always be his work with the E Street Band that looms largest. My thoughts are with that band as well as all of Big Man’s friends and family. He was 69. rootsdown@drummedia.com.au
One of the best-known purveyors of blues, gospel and soul music, Sam Cooke met an untimely death in 1964, when he was shot dead at the age of just 33. Songs like A Change Is Gonna Come and Wonderful World live on, though, and last weekend he received a posthumous nod from the people of Chicago, Illinois. 36th St at Cottage Grove Avenue was renamed Sam Cooke Way at 2pm last Saturday, with Chicago Blues Museum CEO and founder Greg Cooke taking charge of the proceedings. The neighbourhood is where the Cooke family settled after migrating from Mississippi in the early ‘30s. Throughout his career, Cooke recorded both religious and secular music, beginning as a gospel artist but transitioning in the mid-‘50s to an R&B style. He charted 34 Top 40 R&B hits over his eight-year pop career and was one of the first to be inducted into the Rock and Roll Hall of Fame, sadly posthumously, in 1986. In conjunction with the street naming ceremony, 18 June 2011 has also been proclaimed Sam Cooke Day.
GOODBYE BROTHER Alan Rubin, the trumpeter of The Blues Brothers, has lost his battle with lung cancer. Nicknamed Mr Fabulous, the 68 year old passed away 8 June in New York City. The musician was a member of the Saturday Night Live house band before SNL regulars John Belushi and Dan Aykroyd enlisted him as their band mate for the Blues Brothers film and live show. Other than his role in the band, Rubin also was known as an excellent session player and performed with the likes of James Taylor, Eric Clapton, The Rolling Stones and Billy Joel. He appeared in 1980 film The Blues Brothers and its 1998 sequel, Blues Brothers 2000.
DIG THIS JAZZ/WORLD WITH MICHAEL SMITH Help bass player, composer and bandleader Steve Hunter celebrate his birthday the way he loves best, performing for you in the Sound Lounge, Seymour Centre, Saturday night, his band featuring guitarist James Muller, saxophonist Matt Keegan and drummer James Hauptmann.
3.30pm Lane Cove Plaza
With Geoffrey Gartner conducting and ARIA and APRA Award-winning composer and keyboards player Elena Kats-Chernin the featured soloist, Strathfield Symphony is presenting two concerts, 7pm Friday and Saturday nights at Strathfield Town Hall under the banner Rowing For Rivendell, all proceeds raised going to the mental health for young people facility, Rivendell, at Thomas Walker Hospital, Concord.
Cameron Jones – Vivo Café, City
Tuesday 28 June sees the Leonie Cohen Trio, fronted of course by pianist and composer Leonie with Hugh Fraser on double bass and Simon Barker on drums, launch its second album, Sideshow Pony (ABC Jazztracks), at 505, the evening opening with the Elana Stone/James Muller Duo. Warner has reissued in remastered and expanded deluxe editions the first album that Miles Davis recorded with the label, Tutu, originally released in 1986 and ostensibly a tribute to Desmond Tutu. The deluxe edition includes a whole evening’s performance by the Miles Davis Octet at the 1986 Nice Jazz Festival previously unreleased.
Jonah & The Wailers + The Elementals – Camelot Lounge Evan Lohning – Hernandez Café
Freefall Duo – Jazushi
SATURDAY
ELENA KATS-CHERIN
Lily Dior – 505
John Harkins – Jazushi
Susan Gai Dowling – Jazushi
WEDNESDAY
Pugsley Buzzard Trio – Camelot Lounge
Transit – 505
Paul Sun Quartet – Soup, Jazz & Jesus at Chatswood Presbyterian Church
Paul Sun/Didi Mudigdo - Jazushi
THURSDAY Judy Bailey & Steven Barry – Colbourne Ave, Glebe
Sydney Omega Ensemble with Simon Tedeschi – Springwood Civic Centre
Gerard Masters Band + The Falls – 505
SUNDAY Janet Seidel Quartet – Rocksalt, Menai
Evan Lohning – Hernandez Café Glebe Sandie & Rodric White present Gershwinesque – Lizotte’s Kincumber
FRIDAY
The Swinging Blades – Marrickville Bowling Club The Steve Clisby Band – The Basement Circular Quay The Unity Hall Jazz Band – Unity Hall Hotel, Balmain
TUESDAY
The Bernie McGann Quartet – Sound Lounge
MONDAY
The Waples Brothers Band + Song Fwaa – 505
The Ninth Chapter – 505
The Evan Lohning Quintet – 505
James Valentine Quartet + Nic Jeffreys – Golden Sheaf
Yuki Kumagai/John Mackie + Richard Booth –
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ROCKABILLY/PSYCHOBILLY/ALT.COUNTRY WITH PEDRO MANOY Kristina Olsen was born in San Francisco and raised in Haight-Asbury during the 1960s but now spends much of her time in Australia where she has developed a dedicated following. Renowned as not only a fine instrumentalist on acoustic guitar, steel body slide, saxophone, concertina and piano but also a powerful and soulful singer with a classic bluesy voice, her songbook is very much in the troubadour tradition with some jazz-inspired sounds and powerful bottleneck blues. Combined with her hilarious storytelling and often bawdy lyrics, it makes for a diverse and rewarding musical experience. Kristina joins forces with Russian cellist Anatoli Torjinski and Jim Conway’s Little Wheels at Notes Saturday 2 July. Pat Capocci is one of our most talented young rockabilly artists and recently returned from a successful European tour during which he played the 15th Annual Rockabilly Rave in the UK, a huge five-day event. Pat plays a rockabilly dance party at the Matraville RSL this Saturday. The wonderfully eccentric Pugsley Buzzard is also back in town after a successful ten-date stint in the US. Pugsley plays a special trio show with Anthony Howe on drums and Karl Dunnicliff on double bass this Saturday at Camelot Lounge in Marrickville, the new venture from the former folks at QIRKZ. The Sydney Blues Society is just shy of two decades old and during that time has done a remarkable job promoting and fostering the local blues and roots music
THURSDAY The Musos Club Jam night takes over the Carousel Hotel in Rooty Hill from 8pm while Jonno & The Zilbertones rock the National Press Club in Canberra with a 7pm start.
FRIDAY The Torchsong Country Soul Band combines with Pugsley Buzzard and Beautifully Mad for a great night of heavenly sounds at the Manly Village Church from 7.30pm. Steve Flack’s Guitar Heroes head into The Vault in Windsor.
ANDREA SOLER scene with their regular gigs, ferry cruises, monthly newsletter and up to date web page and gig guide. This Saturday at the Empire Hotel they are celebrating their 19th birthday with a massive bash that features The Foreday Riders and Dr Don’s Double Dose, from 8pm onwards. Northern Rivers-based songstress Andrea Soler is headed south for a string of winter dates along with her band. Andrea has played the Blue Mountains Music Festival and more recently, with her new ensemble, the Mullum Music Festival and the National Folk Festival. Following the release of her debut album, Earth On An Axis, last year she received the 2010 Female Vocal of The Year and World Music Award by the North Coast Music Industry Association and was awarded ABC North Coast Artist of the Week in May. Andrea plays Lizotte’s Newcastle this Wednesday.
SATURDAY Chris Turner & The Cave Men play the aptly named Bald Rock Hotel from 8pm and Pugsley Buzzard Band hosts a regal gathering at the sumptuous Camelot Lounge in Marrickville from 8pm. The historic Old Fitzroy Hotel in Woolloomooloo is home to the rambunctious Slowdowns for the night.
SUNDAY Den Hanrahan returns to the Sandringham Hotel from 4pm with hits from his successful Black Swamp Road album and a crackin’ band to boot! Satellite V also makes a welcome return to the inner west with a huge hillbilly hootenanny at the ever-popular Marrickville Bowlo from 4.30pm onwards. Be early to grab a ticket in the $60 meat tray! swampshack@drummedia.com.au
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Directions In Groove – or DIG – are celebrating 20 years together with a show at Notes on Friday. Keyboardist and singer Scott Saunders fielded some questions from Drum.
While DIG was obviously always about bringing groove back to contemporary jazz, were you surprised to find yourselves embraced by the then emerging movement dubbed acid jazz and did you then see yourselves as pioneers in that movement? It was a pleasant surprise to realise how well we fitted into the scene in the UK and Europe. I suppose we were pioneers in a way; especially in Australia, I think we were definitely the first band to have some success playing that music here, after the first wave in the ‘70s of course! There is a whole scene now but there was nothing much like that happening when we started. The whole acid jazz label became annoying after a while. We were just playing what we liked, not trying to fit in with a style, we’d never heard of acid jazz when we started. The band reunited briefly in June 2008, but this reunion sees a new album in the wings. What sort of shape can we expect this next chapter to take? We’ve actually had a few reunion gigs along the way and it came to the point where we felt like a DIG cover band! We all agreed we didn’t want to do any more shows without some new material so we started writing and jamming in our home studios. We don’t like the idea of repeating ourselves, and we’re always influenced by what’s going on around us. You can expect grooves but with a peculiar twist, more synths and electronics, some great vocals from Laura Stitt.
THE ULTIMATE PACKAGE Aussie country champion Lee Kernaghan has announced the release of his Ultimate Hits album 30 September, a two-CD set comprising a whopping 42 tracks. It marks a milestone in his career, which has produced 30 #1 country chart hits and record sales approaching the two million mark in Australia. The track list was selected with the help of his fans via Facebook. If you pre-order your copy of the album before 14 August, you’ll receive the record in the post on the day of release and your name will be included in the CD booklet in the “Wall of Fame”. It will also be autographed by the man himself – so you’ll be a part of Lee Kernaghan’s own musical history.
ENTER THE AIADAS Entries for the 2011 Australian Independent Artists’ Development Awards (AIADAs) are now being taken, with $35,000 worth of cash prizes waiting to be won by independent country music artists. Via totalcountry. com.au, budding musicians can submit their entries until midnight on 24 July. Formerly known as the Golden Saddle Awards, the annual AIADAs comprise the Professional Development Award ($20,000), the People’s Choice Award ($10,000) and Music Video of the Year ($5,000). Public voting for People’s Choice opens 25 July and runs until 1 September. The official AIADA concert will be held Saturday 15 October at Rooty Hill RSL, featuring performances from last year’s winners and the announcement of this year’s, as a part of the four-day Total Country Weekend. Tickets are on sale 2 September. The awards are the main fundraising event for the Australian Independent Artists’ Development Organisation’s youth mentoring program, and the full $35 entry fee will go towards the cause. THE DRUM MEDIA 21 JUNE 2011 • 51 •
NEW CURRENTS WITH TIM FINNEY A while back my friend David Drake coined the phrase “frankendance” to describe all the late ‘00s dance music stealing from “world urban” genres like b-more, kuduro et al, mostly reanimating its swag of stolen goods within a turgid indie-electro sound beloved of blogs. “Franken(stein)” captures the mutilated process of assembly, but also the lurching stagger of the resulting music, unable to make its eclectic body parts function together. Not that this is a barrier to greatness: even the most sceptical Grinch should concede that this music’s largest crossover hit, Major Lazer’s Pon De Floor, was pretty fabulous. In 2011, frankendance is virtual orthodoxy: from the siren soca affectations of Dutch house to the juke appropriations of post-dubstep, it seems most everyone recognises the spicy value of otherness. But the limitations of frankendance as a principle are not rooted in its lack of authenticity; rather, the problem resides in patching together a rainbow coalition with no clear centre. In dance music, you can flip the old saw and say it’s a case of the producer (or DJ) who stands for everything falling for nothing: scrupulous eclecticism creates a curiously distancing effect where nothing seems to be of particular value anymore. Conversely, it’s the tension between adhering to tradition and departing from it that forms the warp and weft of dance music’s intensity. The most exciting music still mostly comes from genres with a clear and unwavering sense of self-identity (albeit not too purist or traditionalist). Scenesters would do well to study early ‘00s dancehall, which could successfully steal everything from gangsta rap to Gilbert & Sullivan because it always sounded exactly like itself.
Composer Michael Nyman is best known for his soundtrack work, in particular for the 1993 Jane Campion film, The Piano, but prior to this he had a longstanding relationship with Peter Greenaway and has since worked with Michael Winterbottom, Neil Jordan, Damon Albarn (Ravenous), even Andrew Niccol on the Hollywood sci-fi blockbuster, Gattaca. In recent years he has moved away from film, not by choice, as he illustrated in a recent interview with ABC’s limelight magazine. “I think film music is fashion-oriented and there’s a fashion at the moment for rather anonymous, bland, interchangeable orchestral scores that I’m unable to write. So no one asks me to write them.”
DAVE NADA prioritising all of reggaeton’s most over-the-top sonic qualities. But reggaeton is established enough that the moombahton that apes it too closely mostly feels redundant. Instead the highlights usually are those that expand on moombahton’s most gimmicky component, the act of slowing down records in the first place. If speeding up grooves evokes drug rushes, slowing them down evokes sex, embodied here in compellingly thick, heavy rumpshaker grooves, the stuttering beats and bleary synth riffs suggestive of a rave in a giant honey pot. Dave Nada’s new mix, Blow Your Head 2 (for Diplo’s Mad Decent label), captures many fine moments in this vein, from the lascivious bump of Dillon Francis’ Masta Blasta to the intricate percussive meltdown of Sabo’s refix of Dennis Ferrer’s house anthem Hey Hey. My favourite examples can be found elsewhere, though. On his remix of Toddla T’s Take It Back, Francis winds fractured synth riffs around a torturous stop-start rhythm to create an intensely topographical groove, all vertiginous peaks and valleys. Meanwhile, Nadia Oh’s attempt to turn moombahton into euro-pop, Taking Over The Dancefloor, deploys stadium synths and rolling piano vamps to create a sound vaguely like a gay club on tranquilisers. Crucial to all these tracks is the sense of forgetting their own eclectic beginnings: grooves this good, this singular, no longer resemble frankenstein, but a fully-formed bratty child, with a child’s personality and potential for growth. Even if moombahton doesn’t survive past infancy, it’s worth watching for this reason alone.
Bitchy but concise. As a result he’s been moving increasingly towards theatre, ballet, live performance and even opera. 1986’s The Man Who Mistook His Wife For a Hat, and 2000’s Facing Goya (MN/Select Audio Visual), are prime examples of this shift. Goya’s music is immediately recognisably Nyman; vibrant, hysterical, almost seeming to exist outside the text, still quite melodic and harmonic with ecstatic vocals, a series of suites that operates almost as a mosaic, with hints of themes appearing and reappearing later. The opera stemmed from Nyman’s interest in craniometry, a subsequently disproved notion of the 1860s’ apparently ‘scientific’ study of the size of the brain, where the shape and angle of the face was deemed an indication of the character and the personality of the individual. It’s an opera that takes painter Goya’s missing skull as a starting point, though delves into racial stereotyping, gene therapy and cloning. And apparently it’s a thriller. Nyman’s involvement in the germination and development of Facing Goya also demonstrates an increasing interest in moving beyond being simply a soundtrack composer and reflects his desire in recent years to develop as both a photographer and filmmaker. It’s the central theme of Sylvia Beck’s film, Michael Nyman: Composer In Progress (Arthaus/Select Audio Visual), a film that captures Nyman at a unique moment in time. “Michael often puts himself under pressure,” offers one of his cohorts early on. “If you don’t challenge yourself you don’t progress.” The film charts Nyman’s travels through London, Berlin, Mexico, Poland and the Netherlands, through his daily
"CR EN EA LA TIV RG ITY ES US "
The nascent “Moombahton” scene reveals both frankendance’s pitfalls and its charms. In 2009, US DJ Dave Nada slowed down Dutch house records (specifically, Afrojack’s remix of Silvio Ecomo and DJ Chuckie’s “Moombah”) to 108 beats per minute until the music (already part-Caribbeanised) uncannily resembled the throbbing pulse of Puerto Rico’s reggaeton. To this basic matrix he and other producers added cut-up Latin vocals, “dem bow” offbeats, crisp drum rolls and a bevy of obvious samples. The result, cheerfully uptempo and often comically aggro, bears the same relationship to reggaeton as big beat did to rap, eviscerating the performers while
OTHER MUSIC FROM THE OTHER SIDE WITH BOB BAKER FISH
CREATIVITY MOVES
LIVE MUSIC
routines, photographic exhibitions, rehearsals and also performances with his band. “Playing Michael’s music hurts. It hurts my arm,” his violin player admits. “For the brass players their faces look like they’ll burst and we’ve had trombonists whose lips have bled.” It’s because Nyman wants it louder, more violent than traditional classical music and he keeps pushing his ensemble. Behind those tortoise-shell-rimmed glasses is a sadist. It’s the combination of those repetitive elements with the high intensity of the music that makes his live ensemble so compelling, as they tour the world playing some of his famous scores. When Steve Reich met Nyman he was working as a music critic, feeling unable to compose due to the atonal serialism that was so prevalent at the time. Nyman detested it, though Reich convinced him to follow his own path and we continue to bear witness to the results. Beck’s film is a portrait of a restless creator, constantly attempting to push the boundaries both compositionally and creatively. Even members of his band aren’t always convinced initially when presented with his sheet music. At one point he reflects on the fact that he’s spent a large part of his life putting music to other people’s images. Maybe it’s a good time to take control and offer forth his version of the world. Which may account for Michael Nyman Collections (MN/ Select Audio Visuals), which offers a 20-minute film of his photography and video art, scored of course by him. Whilst it’s clear the elder statesman in the relationship is the truly accomplished music, there’s something about the raw, at times naïve beauty in his photography. He’s also quite self-aware. In the film there’s a great moment when he asks a gallery owner if he’d still be exhibiting his photography if he weren’t Michael Nyman. The owner skips a beat before unconvincingly replying, ‘of course.’ The CD features a hardbound book of his photographs, alongside a 20-minute film titled 50,000 Photographs Can’t Be Wrong put to music, as well as a sampler of the first 16 albums released on his label. The climax of Sylvia Becks’ film is an appearance at the Proms, a symbol of acceptance into the artistic elite for one of London’s most accomplished experimental and at times outsider artists. It seems after all these years, despite being less conventional than ever, Michael Nyman has finally made it.
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• 52 • THE DRUM MEDIA 21 JUNE 2011
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THIS WEEK IN
ARTS
WEDNESDAY 22 Eyes Without A Face — Georges Franju, one of the underrated heroes of French cinema, creates an austerely beautiful horror film about a plastic surgeon who, in systematic experiments, removes the faces of beautiful young women while attempting to graft them onto his daughter, whose own face was ruined in a car accident. Cinematography by Eugen Shuftan and music by Maurice Jarre are unique and outstanding contributions to the suggestive poetry of this elegant masterpiece. Domain Theatre, 2pm and 7:15pm. Story Club: Stories Our Parents Just Told us — storytelling event and good reason for a drink. Tonight’s topic: A story you’ve been told by your parents recently that you never knew before. Seven specially chosen wordsmiths will take to the stage. Hermann’s Bar, 7pm.
ONGOING A Different Time: The Expedition Photographs of Herbert Basedow 1903-1928 — a National Museum of Australia touring exhibition. Photographs by Australia’s first homegrown professional anthropologist, Herbert Basedow, document his expeditions into central and northern Australia in the early decades of the 20th Century. Basedow’s pictures record both people and places, including rare photographs of Indigenous Australians. A qualified medical doctor who pursued many fields of scientific knowledge, Herbert Basedow was one of the few people of his time actively recording traditional Aboriginal life. Cockatoo Island until July 31. 10am-4pm daily. The Coming World — an intimate piece of theatre — a funny, moving and thought provoking thrill ride about love, loss, guilt and forgiveness. Pulitzer Prize-winning playwright, Christopher Shinn’s dialogue is electric. It catapults us from an analogue world into a digital age, following a desperate quest for love and connection. Darlinghurst Theatre until 3 July.
Edward Gant’s Amazing Feats of Loneliness — Over the course of the evening Victorian impresario Edward Gant and his troupe of performers will create ‘a freak show of deformed minds’; they will conjure ‘an array of lonely souls for your fascination and entertainment.’ Sometimes grotesque, sometimes exceptionally beautiful, Edward Gant’s Amazing Feats of Loneliness is an affecting existential play that contemplates our aloneness in the universe. Wharf 1, Sydney Theatre until 23 July. Terminus — From bustling streets to the skies above Dublin, then deep into the bowels of the earth, Terminus whisks us away on an incredible journey through a night of strange and fantastical occurrences. Three people, ripped from their daily lives and catapulted into chaos, narrate their seemingly disconnected tales that will eventually collide in a brutal head-on smash. Presented by Sydney Theatre Company and performed by Ireland’s Abbey Theatre. Drama Theatre, Sydney Opera House until 9 July. The White Guard — Set in the Ukraine, where the Russian Revolution is sweeping towards Kiev, the play follows the Turbin family as they gather in their home to prepare for the Bolsheviks’ arrival. With the city in chaos, the time has come for its residents to fight or flee. Turbin brothers Alexi and Nikolai have resolved to stay and fight for The White Guard but with Russia broken up into pieces, battling to pull it back together will not be a straightforward task. Sydney Theatre until 10 July. #beardtheatre Who’s The Best? — brand new show by acclaimed contemporary performance collective post. post steal from visual art, dramatic theatre, post dramatic theatre, stand-up comedy, contemporary performance, physical theatre, rodeo clowns, video hits and sometimes from each other. In Who’s The Best? post are on a mission to settle an ongoing debate — which one of them actually is the best? Wharf 2, Sydney Theatre until 2 July.
GIVEAWAYS TRANSFORMERS: DARK OF THE MOON
Melbourne stand-up comedian and Big Issue/Australian writer Fiona ScottNorman is bringing not one but two music-related comedy shows to play out for Sydney audiences: The Needle And The Damage Done (as first performed at Melbourne International Comedy Festival in 2007) and Disco: The Vinyl Solution (MICF 2011). Scott-Norman will perform The Needle And The Damage Done at The Basement Tuesday 28 June and Disco: The Vinyl Solution at the same venue the following night, Wednesday 29. We’ve two double passes to each show up to give away, so head to facebook.com/drummedia for your chance to win one. Filmmaker Michael Winterbottom (The Killer Inside Me, 24 Hour Party People) and actors Rob Brydon (Gavin & Stacey) and Steve Coogan (I’m Alan Partridge) first teamed up together for the 2005 film, Tristram Shandy: A Cock And Bull Story, which documented the filming of the unfilmable book of the same name, its mockumentary style allowing the audience to go behind the scenes of the (fictional) recreation of the novel, with Coogan and Brydon playing heightened versions of themselves. In The Trip,
the two once again play fictionalised versions of themselves, this time Coogan taking a writing gig for The Observer newspaper to review restaurants in the Lakes District in northern England. After his girlfriend decides to return to her native US, Brydon is invited along for the journey. Hilarity and haute cuisine ensues. The Trip opens 30 June, and thanks to Madman Entertainment we’ve ten in-season double passes to give away. For your chance to win one head to facebook.com/drummedia. With the impending release of the third film in Michael Bay’s Transformers saga, Transformers: Dark Of The Moon, which is in 3D and IMAX, the good folks at IMAX Darling Harbour have given us five in-season double passes to giveaway so you can experience the film in the best possible way. This time, a spacecraft is discovered on the moon and a battle commences between the Autobots and Decepticons to get to it first. Transformers: Dark Of The Moon opens in cinemas 30 June. For your chance to win a double pass head to facebook.com/drummedia.
DRIVE
UNDERBELLY ARTS FEST MOVES TO COCKATOO ISLAND The Underbelly Arts festival is back for 2011, with some very exciting news: they’re relocating to Cockatoo Island, a glorious piece of land on the harbour that also houses the Biennale of Sydney and once hosted the best music festival ever, All Tomorrow’s Parties. On Saturday 16 July, 150 artists across theatre, interactive performance, aerial work, installation, inflatable sculpture, music and sound will descend upon the island for one of the most unique one-day festivals in the country. Of course, Underbelly’s signature feature is The Lab, the week-long event that leads up to the festival allowing the public to witness the creation of the works that’ll feature on the Big Day. Artists involved include Biljana Jancic, whose installation, built from wooden boxes, will create shafts of light in a darkened
room; Triage Live Art Collective and their performance installation event, Joan Of Arc Is Alive And Well And Living On Cockatoo Island; Strings Attached and their large-scale physical theatre, Ojo; electro-acoustic improvisation ensemble Splinter Orchestra; Sexy Tales Comedy Collective and their mish-mash of sketch and song, 100 Years Of Lizards; robot installation Complicit; the incredible-sounding Case Study, in which five artists — Erran Costi, Jesse Cox, Emily McDaniel, Adam Parsons and Damian Martin — will migrate to Cockatoo Island for the duration of The Lab and festival in an attempt to build a new society; Nick Wishart and FMGrande’s Spatio-Temporal Anomalies, Spatial Distortion And The Persistence Of Vision; Ngoc Nguyen’s exploration of being from two different cultures, Xuan; Neil Brandhorst’s environment-aware sensory installation Horizon; Swanbero’s video and live performance work, Inflate My Heart With
1000 Gushes Of Wind, which transports Parramatta Rd to Cockatoo Island; and Murasaki Penguin’s site-specific work, Shima. The Lab begins Sunday 3 July and runs until Tuesday 12. Tickets to the festival are on sale now; head to underbellyarts.com.au for more information.
Marlene and psychological thriller, Take Shelter (both fresh from screening at Sydney Film Festival) and… well, a lot more. Best get online to book flights now. Tickets go on sale Friday 8 July. Melbourne International Film Festival runs 21 July to 7 August. Head to miff. com.au for further information.
MELBOURNE FILM FEST NABS 25 CANNES TITLES
FIONA SCOTT-NORMAN PLAYS BASEMENT
Melbourne International Film Festival doesn’t announce their full programme until 5 July, but they couldn’t wait until then to boast that the festival will be screening 25 titles from the recent Festival de Cannes. That’s right, 25. Headlining the list is Lars von Trier’s vision of the Apocalypse, Melancholia, with its ensemble cast of Kirsten Dunst, Charlotte Gainsbourg, Kiefer Surtherland, Charlotte Rampling, John Hurt, Alexander Skarsgård, Stellan Skarsgård, Udo Kier and Brady Corbet. Other selected titles include Nicolas Refn’s Drive, starring Ryan Gosling as a Hollywood stunt driver by day, getaway driver by night (also stars Carey Mulligan); Jury Prize winner Polisse, which looks at officers at a Parisian Child Protection Unit; Michael, an Austrian film documenting five months in the life of a man who keeps a child locked in his basement; the Dardenne brothers’ return, The Kid With The Bike; the haunting Martha Marcy May
Melbourne comedian and writer Fiona Scott-Norman is bringing her two acclaimed shows, The Needle And The Damage Done (Melbourne International Comedy Festival 2007) and Disco: The Vinyl Solution (MICF 2011), to The Basement Circular Quay next week. Catch Fiona with The Needle And The Damage Done Tuesday 28 June and in Disco: The Vinyl Solution Wednesday 29. Head to thebasement.com.au for tickets and further info.
MENDES DIRECTS SPACEY IN SYDNEY It has been announced that Sam Mendes will direct Kevin Spacey as Richard III in Shakespeare’s epic play of the same name in an exclusive season at Star City’s Lyric Theatre in December. The two Hollywood stars famously worked together in the 1999 Oscar winner American Beauty. Tickets go on sale July 25.
THERE AND BACK AGAIN AUSTRALIAN CHARITY SOUNDSCHOOL BROUGHT THE GIFT OF MUSIC TO AN INDIAN ORPHANAGE IN NOVEMBER 2010. SYDNEY PHOTOGRAPHER JULIAN MAY WAS THERE BEHIND THE LENS EVERY STEP OF THE WAY, AND, IN THE LEAD-UP TO HIS SOLO EXHIBITION, SPEAKS TO ALEKSIA BARRON. In November 2010, a group of musically-inclined guys from Australia headed to Delhi, India, to undertake a very special charitable project. Three of the men — Oli Mistry, Jay Hemsworth and Jarrod Paul — were there as the founders of SoundSchool, a charitable foundation set up with the aim of bringing musical education to underprivileged children around the world. A fourth member of the party was there in a slightly different capacity. Julian May, a young Sydneybased photographer, had become involved in the project as their official ‘snapper’. After being inducted into the SoundSchool crew in rather odd circumstances (he took on the task after his two older brothers, also photographers, had to turn down the job), May started documenting the project from its inception. First came photos of the initial planning sessions. Then May shot the first major fundraiser at the Beach Road Hotel in Bondi. The next stop would be India, but a tight budget and the need to spend the funds on
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the charity meant no room to pay a photographer. “I told them I was happy to come along to India and shoot the whole thing for them,” explains May. “I paid my way.” It was a gutsy move from a young photographer, but May insists that he gained far more from the trip than he spent. “It was an amazing trip. The hustle of Delhi was non-stop.” The purpose of the trip was to set up a SoundSchool teaching establishment at the Salaam Baak Trust, where the children would have access to instruments and music teachers. “As many times as they’d been told, they still didn’t realise why we were there,” May recalls the reactions of the children. “When Jay and Oli explained to them that we were going to teach them music, one of the little kids was saying, ‘Well, how much is it going to cost us?’” May also recalls the strength that the children would find in each other. “One day when we were there, there was this kid who’d been found on the
street. He was little, only about three or so, and he was brought into the orphanage. He was crying his eyes out and wouldn’t leave the guy who found him. All the boys from the shelter came over and were trying to calm him down.” May was heartened by how the other children looked after the new arrival. “We came back two days later for the SoundSchool concert that we’d organised for the kids and we saw that same little boy and he had so many friends.” Excitingly, the SoundSchool idea proved successful at Salaam Baak, where many of the children are continuing to pursue an interest in music. “They had absolutely nothing over there, music-wise, and now they’ve got studying guitar, drums, traditional Indian instruments. It was great to see, once they understood what was happening, how much enjoyment it all brought to them.” May, of course, has documented the entire journey from behind the
lens — from the initial meetings over a couple of beers to the fruits of SoundSchool’s labours in Delhi. “Jay had the idea of doing a timeline on SoundSchool with my stuff,” May explains, adding that his work with the project has formed the basis of his first ever solo exhibition, the upcoming SoundSchool by Julian May. One would think he’d be bragging, but the guy who thought nothing of paying his way to India to photograph a charity project is nonchalant. “It’s finally getting there,” he says, sounding relieved, before admitting, “I’m looking forward to it, actually.”
A broad and silly affair aimed squarely at the school holiday crowd, Kung Fu Panda 2 is a mildly amusing excuse for plush toys and lunch boxes. It is also the only children’s movie of the season to dabble in the weighty theme of genocide — an issue which is much more colourful when done with talking animals. A glut of Hollywood stars, including Angelina Jolie and Jean-Claude Van Damme, lend their uncharismatic throats to an assortment of uninteresting characters that are as forgettable as those of Bee Movie.
baby food, there is definite skill to the visually dynamic action set pieces that are littered throughout. The evil-doing peacock is the film’s standout character, with Oldman’s complex reading giving dimension to the character’s animated nuances. While far from the greatness of Pixar, Kung Fu Panda 2 is mostly devoid of the obnoxious pop post-modernism that has marred legions of Dreamworks animations (“Hey, let’s put Smashmouth in this!”) and is possibly the best remake of Beverly Hills Ninja thus far.
WHAT: SoundSchool by Julian May WHERE & WHEN: The Camera Club at Beach Road Hotel until 20 July (special events every Thursday night)
REVIEW
KUNG FU PANDA 2 Jack Black voices the oafish and guileless panda Po, a working-class hero who fights evil-doers with a high kick and fart joke. As the formula for sequels dictates, the film sees Po wade into darker territory, struggling to come to terms with his adoption and the slaughter of his species. Backed by a long-suffering collective of arse-kicking animals, the Furious Five, Po sets out to find inner peace, discover his true identity and stop Gary Oldman’s maniacal peacock.
While the story is told in broad strokes that are as easy to swallow as mashed
WHERE & WHEN: Screening in cinemas from 23 June JOSH WHEATLEY THE DRUM MEDIA 21 JUNE 2011 • 53 •
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CRINGE
MINI MANILA
C U LT U R A L
CO-CREATOR PASCHAL DAANTOS BERRY TELLS DAVE DRAYTON ABOUT PUTTING THE CAPITAL CITY OF THE PHILIPPINES IN BLACKTOWN ARTS CENTRE.
WITH JAMELLE WELLS
Part installation, part performance Within & Without is, if nothing else, immersive; a mini city constructed from recycled cardboard boxes is enough to engulf the audience who navigate a city with history, culture, and a pulse of it own. A collaboration between Berry, his sister Valerie, Deborah Pollard, and the Filipino Anino Shadowplay Collective the scope of the project is both impressive and entirely understandable in its cross-discipline approach. Like the city itself, the nature of the production is inherently intricate, sprawling, encompassing surround-sound environments and shadowplay too. “We’ve been working together since about 2004, 2005, and we’re working towards a collaborative relationship where you blur the lines between your roles in a project. When we started the work was pretty much driven by the writing,” Berry explains of the first collaboration between the parties, 2007’s The Folding Wife. “But we found everyone was really active in the editing process as well as the art-
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making process so it has really blurred. Now in terms of what every one does; I’m a writer but I’m also performing in the work, Deborah is a theatre maker and she’s also in the work and Valerie is a performer but she’s also a devisor and she’s helped create a lot of the material. And the Anino guys, we feed off them and they feed off us, so it’s a really symbiotic relationship really,” Berry says of changing nature of the collective creative process. While Berry wasn’t born in Manila, growing up in the country’s south, he did visit the city as a child. Return trips as he got older inspired the new work. “The idea came from my shock. I had this really extreme reaction, and considering I’m Filipino I’m amazed at how culture shocked I was. It’s a pretty heavy place. It’s Asian, but yet it isn’t, it’s very different to other Asian cities in that it’s got such a heavy Spanish influence with the Catholicism. Also the gap between the really wealthy and the really poor is absolutely shocking to witness.”
This disparity and the seemingly contradictory aspects of the city are brought to life in its Blacktown recreation. The architecturally impressive churches spawned from the aforementioned Catholicism are rendered by scraps of cardboard, the scraps more truly scrappy for the homes of the poor that call the streets of Manila home. “You’re reminded of it daily, it’s one of those cities that doesn’t really hide its poor,” says Berry. “At one point I was walking past a big road in the old part of Manila and there was this baby in a box that was just sitting on the footpath. I couldn’t figure out where its parents were and then I realised that they weren’t anywhere near the box. And then everyone just crossed the road.”
From these small moments the city, and eventually the project, continued to unfold. A rough draft presented last year Carriageworks as part of the TransLab Initiative saw the first construction of the city, Berry says the rest of the play was then built around it. “It’s definitely an installation. The thing that is really fascinating about this project is that it’s not quite theatre, nor is it visual arts it purely sits in between, which is exciting for us. It’s exactly where we want to be.” WHAT: Within & Without WHERE & WHEN: Blacktown Arts Centre Wednesday 22 June to Saturday 2 July
REVIEW
SLEEPING BEAUTY This Sydney production — the directorial debut of novelist Julia Leigh — was barely a blip on anyone’s radar until an announcement of its spot in Cannes’ exalted Official Competition and a knockout trailer got cinephile pulses racing a few months ago. Now the cat’s out of the bag, and it’s… well, the kind of dime-a-dozen slab of festival-circuit filler that’d pass by unnoticed if it didn’t star a frequently naked It-girl (Emily Browning, playing a young medical student inducted into the world of high-class prostitution).
THEATRE CLOSER District 01 In a barely-converted basement space beneath Oxford St 75 white plastic chairs are lining the walls. Starkly white and lit in parts with blue, they give the feeling of an Eastern European disco. It’s the first time the space has hosted live theatre and the unique seating arrangement and minimalist chic of the set - a few lamps, sharp-edged tables and two-wheeled piles of pallets - has a superb effect. The space acts as an apartment, an art gallery, a waiting room or a strip club, we less an audience than uncomfortable bystanders. As the love-square of Larry (Michael Cullen), Anna (Cat Martin), Alice (Katrina Rautenberg) and Dan (Tim Wardell) unfolds we watch them bicker and bang, fight and fuck. It’s as though the passion with which they live is so strong these incredibly private moments cannot be contained, publicly displayed public, their pertinence destroying any consideration of embarrassment. Director Dino Dimitriadis’ gamble on the venue proved successful as an integral part of the production’s in-your-face delivery. Cullen is unapologetic in his selfishness and sexuality, Wardell too a strong • 54 • THE DRUM MEDIA 21 JUNE 2011
With its exquisite tableau framing and an anti-naturalistic approach to performance that evokes masters of chilly exactitude (Kubrick, Greenaway, Haneke, et al.), Sleeping Beauty is an immersive mood piece and Browning gives it her all, often suggesting a life beyond the parameters of her cipher character. But Leigh’s elliptical storytelling eventually tips over from admirably un-spoonfed to lazy. It’s not an easy film by any means and has been given some fairly glib dismissals since its Cannes premiere, a kneejerk reaction to its po-faced depiction of the subjugation of female bodies. But it’s understandable, considering that Leigh’s vision rarely strays beyond surface provocations and shopworn artistic gestures —
conveying alienation, de-eroticising sex, implicating the audience as voyeurszzzzz... The film opens with Browning’s gag reflex being tested during a medical operation, and it’s an image that embodies Leigh’s dubious aspirations. In theory, I can commend getting the Richard Wilkinses of the world up in arms. But until Leigh sets her sights higher than showing withered elderly penises and having her actors theatrically enunciate dialogue like “make sure the lipstick matches your labia”, her status as a major new voice in Australian cinema remains in check. WHERE & WHEN: Screening in cinemas from 23 June IAN BARR
REVIEWS performance impressively immersed in a nuanced character. Martin and Rautenberg perform with suitable sexuality, each fleetingly flirting with vulnerability but sizzling with power. Until 26 June DAVE DRAYTON
THE WHITE GUARD Sydney Theatre It’s a Saturday evening and on the other side of the city crowds of thousands get drunk and sing, arm in arm, filling sporting venues. With comparable vigour, camaraderie and a much sounder knowledge of pitch, a cast of 14 matches their efforts. They too are at war, though not on the simple scale of suburban rivalries. Here a country and its way of life at stake. Mid-strength beer is replaced with vodka and club anthems with Russian poetry, Eastern European chants and traditional songs. The songs bind a vast cast, blanket beautifully choreographed set changes and add to an earnestly masculine production. It works best when the stage is packed and director Andrew Upton’s boisterous vision is bustled into life, the
Wendy Blacklock has stepped down as head of Performing Lines, the organisation she founded 21 years ago to develop new Australian work. Wesley Enoch and Deborah Mailman’s The Seven Stages Of Grieving, Hillary Bell’s Wolf Lullaby and Kate Champion’s Same, Same But Different are among the works the 79-year-old has helped launch. She worked with Meryl Tankard on her first piece as a choreographer and commissioned Jack Davis’ landmark play, No Sugar. Blacklock is also known for her role in the 1970s soap opera, Number 96, in which she played a housewife with a taste for gin and analgesics. In a significant move to improve accessibility of Australian feature films for the hearing and visually impaired, Screen Australia has announced that as a condition of funding it requires films to be captioned and audio described. The initiative will help an estimated 600,000 blind or visually impaired people. The Federal Government is funding a national upgrade of cinemas to be caption and audio description compliant by 2013. The estimated average cost to provide both captioning and audio description is up to $8,000 per film. Aussie designers Lizzy Gardiner and Tim Chappel are still celebrating their Tony Award for best costume in a musical for Priscilla, Queen Of the Desert. The former E Street wardrobe designers added the award to a collection that includes a Helpmann, an Olivier, a BAFTA and an Oscar for the stage and film versions of the musical. Aussie Tony
MADE YOU
MUM’S IN (Secret location) I can’t remember the last time I saw characters like these, but then that’s probably because I wasn’t alive in the 1930s and even if I had been I definitely wouldn’t have been allowed to go to Guido Coletti’s funeral. But madam extraordinaire Tilly Devine, sly-grog shop magnate Kate Leigh, gangster Frank
Green and, um, very friendly girl Nellie Cameron had no such limitations and were all present in force in Mum’s In. Writer and performer Vashti Hughes incarnated the four characters in a mix of song and dance, confessional monologues and outright tirades, switching between characters through stance and voice. It was fascinating to watch one character strike an attitude as they reached a critical point, say with a hand flung up dramatically and a head turned away, then face the audience again as another person completely, fascinating, but also potentially a little disorienting. Hughes differentiates them well, and manages to pack a great deal of historical detail into her characterisations, but getting this done did make the show a little slow getting started. With the who/what/when/ wheres established, though, Mum’s In provided a fun and immersive audience experience, with a secret venue and password on the door, a nightclubcabaret floor layout, singalongs and a simulated police raid. Straight outta Razorhurst, with a real sense of the characters as people with stories, not figures who are ‘legendary’. Season finished BETHANY SMALL
The Australian Ballet has for the first time live-streamed online the final performance of its provocative Bodytorque.Muses. The company is also trying to cultivate thousands of new fans using social media. American comedian Tracy Morgan is urging gay rights leaders to invite him to a pride rally so he can prove he’s sorry for homophobic comments. The 30 Rock star recently made headlines after saying he would stab his son if he were gay during a stand-up show in Nashville. Morgan apologised and asked rapper Russell Simmons to invite him to the next gay rights demonstration he’s planning to urge US politicians to legalise same-sex marriage. Minister for Small Business Nick Sherry has predicted online shopping will wipe out general bookstores within five years. In a recent speech he said only specialist players in capital cities will survive. His comments follow online competition helping to trigger this year’s collapse of Australia’s biggest bookselling chain, Angus & Robertson. Actor Rose Byrne has made a quick visit home to Sydney for the premiere of her latest film, Bridesmaids. Mainly known for dramatic roles, Byrne gets to show her comedic side in the movie which has already raked in over $100 million in the US box office.
LOOK
AELITA ANDRE - DINOSAUR ISLANDS actors talking over one another, fighting for attention (and, more often than not, the affection of Miranda Otto’s Lena) and at these times - above all - looking incredibly human. A man of the match is hard to pick; early on Darren Gilshenan’s Alexei - stern and striving for stoicism - requests of Lena: “Can you deal with dinner and everything?” A mother, lover and object of unrequited affection she weathers war in an impressive performance. Cameron Goodall is erratic as White Guard soldier Viktor, the fire burning inside fuelled by spirits as he declares (and performs to prove), “That is the point of vodka, son, general whole-heartedness.” The White Guard has a similar, hearty effect. Until 10 July DAVE DRAYTON
Sheldon missed out for his role as drag queen Bernadette. The Book Of Mormon won nine Tonys from 14 nominations. Created by Trey Parker and Matt Stone (South Park), the show has jokes about AIDS and lyrics so rude many of its songs couldn’t be televised.
WITH BETHANY SMALL Step right up, ladies and gentlemen! Come see the show! For my next trick, I will be ragging on a small child. Tiny and exceptionally cherubic Melbourne four-year-old Aelita Andre, I am coming at you. Okay, not actually you, but the hype surrounding you as a painter. The girl is four, you guys, and paints as play. There is nothing wrong with that. But hyping her as a genius and exhibiting her work all over the place is pretty irresponsible. If the news segment that called her a “playgroup Picasso” didn’t quite manage to totally snap my brain, the made in more than one place suggestion that she is “the next Jackson Pollock” sure did. Backing up though, what is the story here? When the kid was around 18 months old her mother, who is a photographer, submitted one of her daughter’s paintings to a gallery as the work of an anonymous artist. The gallery exhibited it. The identity of the painter was revealed. Nauseating coverage ensued. Andre’s works were created and exhibited and sold locally and internationally. Her prices topped out somewhere in the mid-twentythousands. She has a solo show on at
a gallery in New York. Sounds like a pretty legit place to be for an emerging artist as an adult, right, let alone for a four year old? So what is so wrong with this picture? First up, the gallery itself: it’s a place in Chelsea (tick: lots of art happens there) called Agora (a bit dodgy: technically it’s Greek for a public space with commercial and political functions but it basically translates to ‘marketplace’). The website for Agora Gallery explains that it was founded to help artists break into the New York scene, which is nice and admirable and all, and also politely positions them as a ‘representational gallery’ that charges the artists it exhibits an annual fee. Were I as discreet as that website I’d say that was a somewhat unusual arrangement for a commercial gallery to have with its artists. But I am not, so I will say “DANGER WILL ROBINSON”, that is a big red flag right there. The other thing wrong with the Aelita Andre picture is, well, the pictures. They are big splotchy, gestural, textural abstracts with elements of collage, executed in a drip-painting style. Proponents of Andre’s artistry cite emotive force and the presence of innate colour sensibility. I concede on the latter point, but I think they’re hell ugly and show no sign of the conceptual sophistication that makes ugliness a decent quality in some art. I think there is a problem with calling a four year old an abstract painter. Abstraction as a technique emerges from analytical processes that a four year old doesn’t possess. Yes, artists working in these modes employ chance effects, but they have articulable reasons for doing so. Using a painting technique that’s similar to the one Jackson Pollock “invented” is not being “the next Jackson Pollock”; being “the next Jackson Pollock” is fucking with painting itself as thoroughly as he did.
frontrow@drummedia.com.au
male in the early ’60s, was not. It was one of many cases of Mad Men’s socio-time-travel, where the amber clouds of lazy, hazy nostalgia are swept away to reveal the clear bigotry, prejudice and oppression of the past.
HE MIGHT BE BEST KNOWN TO AUDIENCES FOR HIS ROLE IN MAD MEN, BUT BRYAN BATT’S LIFE HAS LARGELY BEEN DEDICATED TO THE STAGE. ANTHONY CAREW TALKS TO THE LOUISIANIAN ACTOR.
“I’ve always enjoyed that period aesthetically; I’ve always thought mid-century modern furniture was just a really beautiful look,” Batt explains. “But what the show does is take that rarefied aesthetic and look at it closer, right up, and see the ugliness that comes with the beauty; the way this progressive period of time, design-wise, was repressive socially. If you were a white, Anglo-Saxon, Protestant, heterosexual male, you had it made. If you weren’t, you either had to bluff that you were those things or learn to swim with the sharks without getting bitten.
THE LIFE OF
BRYAN
Bryan Batt knows what you know about him. To you and anyone else, possibly for the rest of his earthly days, Batt is going to be renowned not for being some kind of renaissance man — actor of stage and screen, Broadway song-and-dance man, memoirist, interior designer, owner of a furniture design store — but as television’s Salvatore Romano, the closeted art
designer on the unendingly-acclaimed series Mad Men. “It’s crazy, and it keeps getting crazier. I now get recognised everywhere I go. I’ve been on Broadway for many, many years, but all people want to talk to me about is that character. ‘What’s happening to Sal?’” the 48-year-old says, laughing. “It just shows to me the immense power of television. We’re,
in many ways, a small show. We were the first series on this small network that wasn’t really known for producing television. It felt quite small, to us, at the beginning. And, from that, it just grew and grew and grew.” Batt is openly gay — a biography steeped in musicals and interior design almost speaks that aloud — but his character, a closeted Italian
may return to the narrative. Getting written out of the show — even if just for purely dramatic reasons — was painful for Batt. “It’s very difficult. I was there from the beginning, from the pilot,” Batt admits. “It’s hard for me to watch the show going on without me, to be very honest. But, y’know, storylines change, and for different reasons some characters come and go. And I think I appreciated, in a way, how fantastically brutal and abrupt it was, in the story: that final scene, in that last episode, when Sal is suddenly just fired. I think it had a big impact. People always keep asking me when I’m coming back on the show and I just have to say I don’t know. The one thing I have in my favour is that Sal has not been killed. So I can always hope.”
“When I read the breakdown on the character, it said: ‘Salvatore Romano is the art director at Sterling Cooper. He is clearly gay to a modern audience, but the world of 1960 does not detect it whatsoever.’ It was an interesting challenge to play that, this man trying to fit into that world, trying to be these things he’s not.”
Of course, Batt’s been plenty busy since being sent packing from Sterling Cooper. He’s done turns on TV shows like Ugly Betty and Law & Order, written a familial memoir (She Ain’t Heavy, She’s My Mother) and primed an interior décor hardcover called Big Easy Style. Its title refers to Batt’s hometown of New Orleans, where he was born, raised and continues to live (when not, y’know, at work in New York or Los Angeles).
Batt’s time on Mad Men came to a dramatic end, though, when his character was abruptly fired from his post and completely disappeared from the drama. Yet, there’s a sense — even though he’s been unseen for a season and a half, that Salvatore is still alive in the Mad Men universe and that, like characters played by Christina Hendricks and Aaron Staton, he
When Hurricane Katrina hit Batt’s hometown in 2005 he was on vacation in Northern California, “stuck watching this heartbreaking horror on television.” The actor spares any pleasantries when talking about the infamous response of the Bush-era government to the crisis. “It was a real clusterfuck,” he sighs. “It was just a mess, all the way down from the president. The president, the
government, the mayor: people were just not on their game. And, in the aftermath, everyone was fingerpointing, when the main thing was that they should’ve been helping people. Regular people were the real casualties of all this. Forget those who were not insured, who lost everything. People had to just fight with insurance companies to get anything back; it was horrific.” The tragedy provided a peculiar impetus for Batt; he staged his first-ever one-man show, a cabaret revue initially staged for charity. He’s spent the past five years honing and performing the show, where he tells his own life’s tale — “the little crazy Southern Gothic story” of coming-ofage and coming out “in a big Steel Magnolias family” — amidst songs by Cole Porter, Burt Bacharach and Billy Joel. “To be honest, it’s kind of scary,” Batt says, of performing the painfully-titled Batt On A Hot Tin Roof. “You do a Broadway show and you work with all these other people, people who are on stage with you, who sing songs with you, people who pick the songs, people who write the story. But, in this case, there’s just you. It’s scary at times, because it’s just me up there with my friend Michael Levine playing piano. Forget about the fourth wall, there are no walls. There’s nowhere to hide, no character to hide behind. You just have to be yourself, and let people see the real you.” WHAT: Bryan Batt in Batt On A Hot Tin Roof WHERE & WHEN: The Basement Thursday 30 June to Saturday 2 July
THE DRUM MEDIA 21 JUNE 2011 • 55 •
frontrow@drummedia.com.au
THE BLAME
GAME
On either side of the table sit a contrast of characters. The intensity of close conversation is amplified by the fact that they both are well-versed in the art. The whirr of the projectors in the background failed to impact the well-oiled voices of home-grown Australian talents destined for the silver screen. Damian De Montemas is already well-known to Australian audiences thanks to roles on The
• 56 • THE DRUM MEDIA 21 JUNE 2011
Secret Life Of Us and Underbelly. To his right is Rush star Ashley Zukerman, a VCA graduate who looks a little too young to be armed with the aura of quiet intelligence that he radiates. “Blame,” explains Zukerman, “is about five friends that seek retribution for the suicide of their friend by attacking and faking the suicide of the guy they believe is responsible. That’s
essentially how we enter the film and then we explore the hidden agendas behind all of that. What was true is now not true and all of that.” A feature film debutant (although he’s credit on IMDb as ‘Thug #2’ in 2004’s Tom White), Zukerman formed a talented supporting ensemble led by the comparatively seasoned De Montemas in the lead role. The haunting gravity of the situation echoes
WITH THE BUSTLE OF LOCAL GLITTERAZZI GATHERING BELOW, DAMIAN DE MONTEMAS AND ASHLEY ZUKERMAN ARE USHERED INTO THE PROJECTOR ROOM AT PERTH’S ACE CINEMAS TO TALK TO SIMON HOLLAND ABOUT THE NEW AUSTRALIAN THRILLER, BLAME.
from the portrayal of a man seeking to escape his demons. “Essentially I play a piano teacher at a girls high school and got a little too familiar with one of the students,” recounts De Montemas. “As a result he lost his house and his wife and he’s moved away to try and put all that behind him, to start afresh and anew. The easiest way for him to do that is to go away to somewhere
isolated where no one really knows his past to hopefully escape anyone that does know his back story.” Filmed in only 20 days, Blame is the latest feature in a string of local indie hits that have made international audiences sit up and take notice. Festival screenings in Melbourne, Toronto, Chicago and Cannes have all been met with critical acclaim. De Montemas’ eyes light up at the suggestion that the film could be an international success. “The feedback has been really positive,” he says. “Audiences have really loved it. It’s now been picked up on worldwide distribution so for a boutique, low-budget Australian film, it’s done extremely well. It’s not a film that’s full of images of kookaburras and parrots and dingos scratching themselves and stuff. It’s just a really universal, good little story.” Zukerman nods in agreement. “It’s a film that could be anywhere, it just happens to be in Australia.” His weight adjusts on his chair. “This is something that has come up a lot, a sense of ‘Go and see this film to support Australian cinema,’ rather than actually saying, ‘See this film because it’s a great film.’ That’s what we have here, a great film.” The international success has not come as a surprise to industry professionals, for the small corner of the world that Australia occupies the ripples created by the impact of home-baked feature films such as Blame and Animal Kingdom are beginning to gather momentum. “Australia,” explains De Montemas, “has some of the best film crew in
the world. Some of the first projects I worked on had crew that were here on Blame. Australian film crews are phenomenally good.” “And renowned for their professionalism.” adds Zuckerman. “That’s why we get a lot of Hollywood projects come over here. That’s why the States would trust projects like Star Wars and big Spielberg stuff. A film works best when everyone is doing their jobs to capacity. I think that we were able to do our jobs because everyone else did their jobs. I still don’t know how we pulled off in twenty [shooting] days what we pulled off. I think it had something to do with the ambition of the producers and the director. Everyone was working at the top of their game. When that happens you end up with a product that like people see and enjoy, and respond to in a favourable way. “For me, the beauty in the film is quite accidental. It’s written as a classic thriller and it’s pitched as a classic thriller, but I think when people go to see it they’ll experience something else completely. There’s no violence — well there is a little violence but it is definitely more psychologically driven than just for the purpose of sound and movement and blood and guts and that sort of stuff. This is a thriller because of the ideas behind it and that’s a beautiful beautiful way to make a movie.” WHAT: Blame WHERE & WHEN: Screening in cinemas now
live@drummedia.com.au TEX PERKINS @ FACTORY THEATRE. PIC: LINDA HELLER-SALVADOR
NATIONAL
TEX PERKINS & THE DARK HORSES ADALITA Factory Theatre 16/06/11
Whether in the psychosexual scream therapy of The Beasts Of Bourbon, The Cruel Sea’s highway cruises with gun on the passenger seat or The Dark Horses’ reflections of love gone sometimes very wrong, in the live domain Tex Perkins still flicks the switch to ‘showbiz’ – or somewhere near it – as you watch lives collapse and regather. Compare and contrast with Adalita’s current stage style. Stripped of the guitar she often uses as shield or sword – due to her catching her hand in a blender, Tex informed later – her songs of loss seemed all the more wounded. She almost nonchalantly pounded a drum, each beat a fading heartbeat as The Repairer pulled the plug to end the ache. She picked up her glass, thanked us and went back into the dark. Adalita was and always will be rock chick incarnate, but the rawness of her solo record and performances are making her something more. After a suitable pause to join the bar queue, or olfactory evidence suggesting the use of certain flammable relaxants, places were taken – we’re older now and Tex Perkins & The Dark Horses are now for seated viewing, apparently. They shamble on and despite his relaxed demeanour (cross-reference with previous sentence), his Texness announced they were ‘shitting themselves’ for the first show of new(ish) band and new(ish) material. There was little reason to worry. The new album’s songs, such as the grumpy reply to demands of What Do You Want Now? and the perfect fit of Looking At You But Seeing Her, have the right attitude of shrugged regret. The band shuffled around, swapping instruments as necessary. Charlie Owen and James Cruikshank were the anchoring twangs, with the diminutive and hobbit-bearded Joel Silbersher often Tex’s echoing Mini-me. “Thank you for enduring our new obscurities,” Perkins intoned. “We have some old obscurities as well.” And so it flowed, with then Things Don’t Seem So Bad After All and the final Everything Is Gonna Be Alright. Take those titles as statements of fact – or near enough and good enough – which pretty much fitted the mood as well. Ross Clelland
NINE SONS OF DAN: Jun 22 Cambridge Hotel ANDREA SOLER: Jun 22 Lizotte’s Newcastle THE GIN CLUB: Jun 22 Great Northern Newcastle, Jun 23 Heritage Hotel, Jun 24 Brass Monkey THE MIDDLE EAST: Jun 23 The Factory MUSHU: Jun 23 Lansdowne Hotel, Jul 22 Oxford Art Factory CARUS THOMPSON: Jun 23 Notes JOSH PYKE: Jun 23 GoodGod 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 SYDONIA, CONTRIVE: Jun 23 The Basement Belconnen, Jun 24 Bald Faced Stag, Jun 25 The Patch THIRSTY MERC: Jun 23 Southern Cross Club, Jun 24 Taren Point Hotel, Jun 25 Rooty Hill RSL, Jun 26 Australian Brewery Hotel GANGA GIRI: Jun 24 Wickham Park, Jun 25 Transit Bar, Jun 26 Tone NATALIE GAUCI: Jun 24 El Rocco, Jun 25 Coogee Diggers, Jun 26 Brass Monkey THE GRATES: Jun 24 Oxford Art Factory ROSE TATTOO: Jun 24 & 25 Sandringham Hotel TIJUANA CARTEL: Jun 25 Buddha Bar, Jul 14 Beach Road Hotel SURECUT KIDS: Jun 25 Chinese Laundry, Jul 9 Onefiveone THE HOLY SOUL: Jun 26 Annandale 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, Jul 3 Lizotte’s Dee Why FAIT ACCOMPLI*: Jun 29 Beach Road Hotel, Jul 16 Spectrum, Jul 22 The Patch RICK BREWSTER’S ANGELS: Jun 30 Annandale Hotel GHOSTWOOD: Jun 30 The Harp SKIPPING GIRL VINEGAR: Jun 30 Clarendon Guesthouse, Jul 1 Notes, Jul 2 Lizotte’s Newcastle, Jul 3 Lizotte’s Kincumber, Jul 8 Street Theatre SARAH MCLEOD: 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
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THE GRATES
FEATURE TOUR
After a couple of years off the map and a line up change, with drummer Alana Skyring up and leaving first to pursue a career in baking and then to rock out with Neil Finn and his wife in Pajama Party, Queensland’s The Grates are back, now a two-piece and kookier than ever. Their new album Secret Rituals dropped last week, and this Friday they’re heading to Oxford Art Factory to show everyone what it’s made of. Up and comers Big Scary and Guineafowl join the party. It’s sold out but if you’ve got a ticket, you’re bound to have a ball.
THE MESS HALL: Jul 1 Annandale Hotel RED INK: Jul 1 The Gaelic DEREB THE AMBASSADOR: Jul 1 GoodGod THE SCIENTISTS OF MODERN MUSIC*: Jul 1 World Bar, Jul 2 CBD Hotel FIREBALLS: Jul 1 Sandringham Hotel, Jul 2 Great Northern Newcastle STEVE TYSON & THE INDUSTRIOUS FELONS: Jul 1 Illawarra Folk Club, Jul 2 The Roxbury Glebe, Jul 3 The Artist’s Shed JACK CARTY: Jul 1 Front Gallery, Jul 13 Otis Bar, Jul 14 Kings Cross Hotel ANGELAS DISH*: Jul 1 Oxford Art Factory, Jul 23 Woolloomooloo Bay Hotel, Aug 14 Bateau Hotel SHORT STACK: Jul 1 Enmore Theatre, Jul 23 Royal Theatre National Convention Centre, Jul 30 Newcastle Panthers THE POTBELLEEZ: Jul 1 Southern Cross Club, Aug 11 The Cube, Aug 12 Mounties, Aug 13 Penrith Panthers SYNTHETIC BREED*: Jul 1 The Basement Belconnen, Jul 2 Venom, Aug 13 The Basement Belconnen, Aug 19 Bald Faced Stag, Aug 20 Hamilton Station Hotel SNEAKY SOUND SYSTEM: Jul 2 The Metro PHATCHANCE & COPTIC SOLDIER: Jul 2 Oxford Art Factory GEORGIA FAIR, DANIEL LEE KENDALL: Jul 6 Front Gallery JAMES BLUNDELL: Jul 6 Brass Monkey, Jul 7 The Basement Circular Quay, Jul 8 Milton Theatre CILLA JANE: Jul 6 The Vanguard, Jul 9 The Front SEEKER LOVER KEEPER: Jul 6 & 7 Heritage Hotel, Jul 8 & 9 The Factory, Jul 11 Lizotte’s Dee Why, Jul 14 Lizotte’s Newcastle, Jul 18 & 19 Clarendon Guesthouse STEVE KILBEY & RICKY MAYMI: Jul 6 Beach Road Hotel, Jul 7 Notes, Aug 5 Lizotte’s Kincumber, Aug 6 Lizotte’s Dee Why, Aug 7 Lizotte’s Newcastle GREENTHIEF: Jul 7
Hamilton Station Hotel, Jul 8 The Basement Belconnen, Jul 9 Lansdowne Hotel TRANSCRIPTION OF ORGAN MUSIC, SASKIA SANSOM: Jul 7 Front Gallery, Jul 8 Petersham Bowling Club, Jul 9 Yours & Owls ART VS SCIENCE: Jul 8 Enmore Theatre THE PANICS: Jul 8 Oxford Art Factory JEBEDIAH: Jul 8 Waves THE MERCY BEAT*: Jul 8 Town Hall Hotel, Jul 10 Hamilton Station Hotel THE PAPER SCISSORS: Jul 8 Clarendon, Jul 13 Beach Road Hotel, Jul 15 Great Northern Newcastle, Jul 16 Brass Monkey KING GIZZARD & THE LIZARD WIZARD: Jul 8 World Bar, Jul 9 Oxford Art Factory DARKER HALF*: Jul 8 Hamilton Station Hotel, Jul 9 The Basement Belconnen, Jul 23 Harp Hotel, Jul 30 Venom LEO SAYER: Jul 8 South Sydney Juniors Club, Jul 29 Rooty Hill RSL, Sep 17 Smithfield RSL, Oct 22 Bankstown Sports Club, Nov 11 Shoalhaven Entertainment Centre, Nov 12 Belmont 16ft Sailing Club THOUSAND NEEDLES IN RED, FLOATING ME: Jul 9 The Metro HANDS LIKE HOUSES*: Jul 9 St James Hotel, Jul 10 Valve LOREN*: Jul 9 Northern Star, Jul 10 Grand Junction Hotel JAYTECH: Jul 9 Chinese Laundry, Jul 15 Trinity Bar DAMIEN LEITH: Jul 9 Canberra Theatre, Jul 16 Enmore Theatre PENNY & THE MYSTICS*: Jul 13 Notes TONIGHT ALIVE: Jul 13 The Harp, Jul 15 & 16 Annandale Hotel ALPINE: Jul 14 Oxford Art Factory VENTS: Jul 14 Transit Bar, Jul 15 CBD Hotel,
Jul 16 Beach Road Hotel DOUBLE DRAGON: Jul 15 Valve SIX FT HICK: Jul 15 Sandringham Hotel BALL PARK MUSIC: Jul 15 The Gaelic DAN SULTAN & ALEXANDER GOW: Jul 15 Brass Monkey, Jul 16 The Basement Circular Quay BELLES WILL RING: Jul 15 Clarendon, Jul 16 GoodGod JINJA SAFARI: Jul 15 Northern Star, Jul 16 Oxford Art Factory MIAMI HORROR: Jul 16 The Metro NEW EMPIRE: Jul 16 The Lair THE IMMIGRANT: Jul 16 Chinese Laundry, Jul 22 Academy, Aug 4 OneFiveOne LEE KERNAGHAN: Jul 20 Wests Leagues Club, Jul 21 Cessnock Supporters Club, Jul 22 Nelson Bay RSL, Jul 23 North Sydney Leagues Club, Jul 29 Dapto Leagues Club, Jul 30 Castle Hill RSL SLEEPMAKESWAVES: Jul 21 Tone DAMN DOGS*: Jul 21 Oxford Art Factory BUSBY MAROU: Jul 21 Heritage Hotel, Jun 22 CBD Hotel, Jul 23 34B JAMES CRUICKSHANK: Jul 22 Camelot Lounge CATHERINE TRAICOS & THE STARRY NIGHT*: Jul 23 Phoenix Bar, Jul 29 Heritage Hotel, Jul 30 Hermanns Bar, Aug 6 Grand Junction Hotel PAUL KELLY & PAUL GRABOWSKY: Jul 24 Sydney Opera House Concert Hall, Jul 29 Canberra Theatre PNAU: Jul 27 Enmore Theatre, Jul 28 Waves, Jul 29 Newcastle Panthers BACHELOR GIRL*: Jul 26 Lizotte’s Newcastle, Jul 28 Vault 146, Jul 29 Brass Monkey, Jul 30 Lizotte’s Kincumber, Jul 31 Lizotte’s Dee Why SOUNDS AFTER DARK feat. TUMBLEWEED, MY DISCO: Jul 28 Sandringham Hotel JORDIE LANE: Jul 27 Front Gallery, Jul 28 Wickham Park Hotel, Jul 29 The Vanguard, Jul 30 Grand Junction Hotel, Jul 31 Lizotte’s Kincumber THE DRUM MEDIA 21 JUNE 2011 • 57 •
live@drummedia.com.au
KARNIVOOL
SHOCKONE OVER-REACTOR
DIESEL: Jul 29 Vault 146, Aug 4 Brass Monkey, Aug 26 & 27 The Basement Circular Quay, Sep 2 Clarendon Guesthouse, Sep 3 Milton Theatre, Sep 9 Canberra Southern Cross Club, Sep 10 Rooty Hill RSL, Oct 21, 22 & 23 Brass Monkey FRENZAL RHOMB: Jul 29 ANU Bar MOVING PICTURES: Jul 30 State Theatre SINGLE TWIN*: Aug 2 Street Theatre, Aug 3 Lass O’Gowrie, Aug 4 Low 302, Aug 6 Yours & Owls FELIX RIEBL: Aug 3 Lizotte’s Newcastle, Aug 5 Oxford Art Factory THE OWLS: Aug 6 The Gaelic THE PANDA BAND*: Aug 10 Brass Monkey, Aug 11 Vault 146, Aug 12 Northern Star, Aug 13 The Gaelic, Aug 17 ANU Bar REGURGITATOR: Aug 11 CBD Hotel, Aug 12 Wollongong Uni, Aug 13 Manning Bar, Aug 14 ANU Bar ASH GRUNWALD: Aug 11 ANU Bar, Aug 12 Oxford Art Factory, Aug 13 Waves, Aug 14 Cambridge Hotel, Aug 16 Beachcomber Hotel CHILDREN COLLIDE: Aug 12 Manning Bar
INTERNATIONAL JOSHUA RADIN: Jun 21 Enmore Theatre JIMMY WEBB: Jun 22 The Basement Circular Quay, Jul 6 Street Theatre, Jul 7 Sutherland Entertainment Centre CRUEL HAND: Jun 22 Bar 32 KATCHAFIRE: Jun 23 Wollongong Uni, Jun 24 Enmore Theatre DON RIMINI: Jun 24 Academy, Jul 2 Chinese Laundry HELMET: Jun 24 Manning Bar, Jun 30 ANU, Jul 1 Wollongong Uni, Jul 2 Newcastle Leagues BRIAN MCKNIGHT: Jun 25 & 29 The Metro TITTSWORTH: Jun 25 Chinese Laundry 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 MICHAEL FEINSTEIN: Jul 4 Sydney Opera House Concert Hall TY SEGALL: Jul 8 GoodGod BOY 8-BIT: Jul 8 Fake Club FUNTCASE: Jul 9 Eleven Nightclub, Jul 10 OneFiveOne LADY GAGA: Jul 13 Sydney Town Hall EMALKAY: Jul 15 Fake Club RISE AGAINST: Jul 16 Sydney Entertainment Centre JASON HERD*: Jul 16 • 58 • THE DRUM MEDIA 21 JUNE 2011
UNSW Roundhouse 18/06/11
Sydney’s Karnivool fans weren’t going to miss their one chance this year to see the band play a headlining show, especially with the promise of new material whispered on the breeze.
CATHERINE TRAICOS & THE STARRY NIGHT
DRUM PRESENTS THE MIDDLE EAST: Jun 23 The Factory WAGONS: Jun 23 Transit Bar, Jun 24 Clarendon Guesthouse, Jun 25 Annandale Hotel THE GRATES: Jun 24 Oxford Art Factory 3THINGS’ HIP HOP APPROACH: Jun 30 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 & 9 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 SYDNEY ROLLER DERBY LEAGUE: Jul 9 Sydney Olympic Park Sports Centre VENTS: Jul 14 Transit Bar, Jul 15 CBD Hotel, Jul 16 Beach Road Hotel BELLES WILL RING: Jul 15 Clarendon, Jul 16 GoodGod MIAMI HORROR: Jul 16 The Metro CATHERINE TRAICOS & THE STARRY NIGHT: Jul 23 Phoenix Bar, Jul 29 Heritage Hotel, Jul 30 Hermanns Bar, Aug 6 Grand Junction Hotel SOUNDS AFTER DARK feat. TUMBLEWEED, MY DISCO: Jul 28 Sandringham Hotel THE HIVES: Jul 28 Hordern Pavilion MONA: Jul 28 Annandale Hotel JAMES BLAKE: Jul 28 The Factory, Jul 30 The Metro FOSTER THE PEOPLE: Jul 28 The Gaelic, Jul 29 The Metro THE VACCINES: Aug 2 The Metro KELE: Aug 3 The Metro JESUS JONES, THE WONDER STUFF, THE CLOUDS: Aug 20 Enmore Theatre CALLING ALL CARS: Sep 1 Transit Bar, Sep 2 Oxford Art Factory, Sep 3 Waves BONJAH: Sep 2 Great Northern Newcastle, Sep 3 Oxford Art Factory, Sep 4 Brass Monkey FUNK N GROOVES: Sep 10 Pokolbin COASTER: Sep 17 Gosford Showground SEBADOH: Sep 21 The Metro
Fake Club, Jul 22 Academy TINY RUINS: Jul 21 Notes TOKIMONSTA, NOSAJ THING*: Jul 22 Oxford Art Factory TOMMIE SUNSHINE: Jul 23 Fake Club HENRY SAIZ: Jul 23 Chinese Laundry REVEREND BEAT MAN: Jul 23 The Vanguard ENRIQUE IGLESIAS: Jul 23 Acer Arena ROGER SHAH: Jul 23 Space Nightclub DOOMRIDERS: Jul 23 Annandale Hotel, Jul 24 Cambridge Hotel, Jul 25 ANU Bar DEL THE FUNKY HOMOSAPIEN: Jul 24 Oxford Art Factory GLASVEGAS: Jul 24 The Metro MODEST MOUSE: Jul 25 Enmore Theatre THE KILLS: Jul 25 & 26 The Metro FITZ & THE TANTRUMS: Jul 27 The Basement Circular Quay PULP: Jul 27 Hordern Pavilion DEVENDRA BANHART: Jul 27 The Metro NO USE FOR A NAME: Jul 27 Cambridge Hotel, Jul 28 Wollongong Uni, Jul 29 ANU Bar, Aug 7 Annandale Hotel FRIENDLY FIRES: Jul 28 The Metro JAMES BLAKE: Jul 28 The Factory, Jul 30 The Metro THE HIVES: Jul 28 Hordern Pavilion MONA: Jul 28 Annandale Hotel WARPAINT: Jul 28 Manning Bar
BRITISH SEA POWER: Jul 28 Oxford Art Factory DON MCGLASHAN*: Jul 28 Lizotte’s Dee Why, Jul 31 The Basement Circular Quay ISOBEL CAMPBELL & MARK LANEGAN: Jul 29 The Factory DANANANANAYKROYD: Jul 29 Annandale Hotel FOSTER THE PEOPLE*: Jul 28 The Gaelic, Jul 29 The Metro ELBOW: Jul 29 Enmore Theatre DJ SHADOW: Jul 30 Hordern Pavilion PERIPHERY, TESSERACT: Jul 30 Annandale Hotel AVENGED SEVENFOLD: Jul 31 Sydney Entertainment Centre THIEVERY CORPORATION: Aug 1 Enmore Theatre GOMEZ: Aug 1 The Metro, Aug 3 The Factory THE VACCINES: Aug 2 The Metro NOAH & THE WHALE: Aug 2 The Factory NEON TREES: Aug 3 Manning Bar THE MARS VOLTA: Aug 3 Enmore Theatre GROUPLOVE: Aug 3 Oxford Art Factory KELE: Aug 3 The Metro DOES IT OFFEND YOU, YEAH?: Aug 4 The Metro FUNERAL PARTY: Aug 5 The Metro
WU-TANG CLAN: Aug 5 Enmore Theatre FORBIDDEN: Aug 5 Bald Faced Stag KAISER CHIEFS: Aug 6 Enmore Theatre JOHN 00 FLEMING: Aug 6 Chinese Laundry THE GET UP KIDS: Aug 6 The Metro YELLE: Aug 6 Oxford Art Factory
FESTIVALS 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 COASTER: Sep 17 Gosford Showground SOUNDWAVE REVOLUTION: Sep 25 Old Kings Park PARKLIFE: Oct 2 Kippax Lake FAT AS BUTTER*: Oct 22 Camp Shortland SYDNEY BLUES & ROOTS: Oct 28 – 30 Windsor NEWTOWN FESTIVAL: Nov 13 Camperdown Memorial Rest Park CMC ROCKS THE HUNTER: Mar 16 – 18 Hope Estate * indicates new or amended listing this week
First, though, former Mammal frontman Ezekiel Ox and Dukes Of Windsor drummer Cory Blight (aka Over-Reactor) proved that you don’t need a band, but it probably doesn’t hurt to have one. With Ox prowling and shimmying his way around the stage and more often than not performing on a stool sitting in the middle of the crowd and Blight powering an array of instruments via samples and drumming live, the band played what they called death-hop – really just big riffed, crunchy rock with Ox’s spitting vocals over the top. While it’s true Ox had a great voice, he needs more people on stage to balance his more theatrical side. Otherwise it seems too much like he’s performing at being a frontman instead of just being one.
through a set thick with bottom end. Usually one of the main selling points about the band, singer Ian Kenny was mixed quite low, allowing the thundering, epic soundscapes this band writes to really shake the room. The new song the band dropped into the set was heavy and frenetic, a real powerhouse that promises good things to come when they finally finish album number three. At times the density of the sound made moments of this show seem almost impenetrable, but when the band played songs like Themata, New Day and the ever-changing and aweinspiring Change, there was no question that the crowd owned this set just as much as the five very talented musicians on stage. Danielle O’Donohue
While Shockone was perfectly capable, it seemed an odd choice to include a drum’n’bass and dubstep DJ between the acts, especially considering that when he finished 45 minutes later most of the stage still needed to be set up. Surely the point of a DJ support is that the roadies can get things ready around him. Starting with Goliath and Simple Boy from most recent album Sound Awake, Karnivool powered
KARNIVOOL @ UNSW ROUNDHOUSE. PIC: JOSH GROOM
FALLING JOYS
musical equivalent of the odd couple presented a very old fashioned show that was one part old music hall, complete with the bad jokes care of Friedman, one part piano bar and one part book reading.
Oxford Art Factory 10/06/11
Van Dyke Parks made use of The Basement’s grand piano, singing charming alternative pop. Though the 68-year-old’s voice wasn’t honey smooth, it had an edge to it that made it easy to see where more modern offbeat pop artists like Eels and Clem Snide have gotten plenty of inspiration. In between songs Parks dropped names such as Brian Wilson and Elvis (“and I’m not talking about Costello, baby”), just in case audience members weren’t already aware they were in the presence of musical royalty.
THE GLOOMCHASERS THE MOMOS
There can be an objectivity problem with the reformation/resurrection show. Is nostalgia colouring your observation? Did Lock It always make you this misty back in 1991, or is it just fogging up the glasses you now have to wear? Joys’ bassist Pat Hayes was doing double duty tonight with his current thing, The Momos, a different kind of pop. Melodic meanderings collapse into louder chunks of noise. There’s angst and humour shouted at you. It somehow works, in its ramshackle way. Then, The Gloomchasers. Quieter, with violin giving songs of the 50 ways your lover left a slightly country accent. As ever, Nic Dalton’s heart was on his sleeve in just about every song. There was time to slip across to the OAF’s other bar – where the skinnier jeans were being corralled tonight – for some classicist pop noise from Melbourne’s The Coincidents. Girl-group harmonies cut across ringing guitars. “Let’s rock and fuckin’ roll!” Danna Simmons half-joked. They kinda did, and quite well. Such distinct tangents made Falling Joys’ individuality more obvious. From the moody but still swinging XYZ, the Joys always had more than just the typical guitar jangle of the era, although songs like Jennifer and You’re In A Mess both appeared correctly shiny in that style. Hayes still makes bass playing look wonderfully nonchalant, damn him. Pete Velzen flailed around the drums and Stuart Robertson’s guitar shifted from the chop of Breakaway, to unfurling through the ‘we only just learnt this one again’ Fiesta. While they all seemed clear-eyed and undamaged from their years of rock – unlike many watching – Suzie Higgie remains indie girl incarnate. She laughed, grinned, thanked just about everyone for everything – including The Clouds’ Jodi Phillis and Trish Young, who added backing vocals and further generational cachet. Her voice still sweet, her mangling of The Star Spangled Banner still no threat to Hendrix, though Black Bandages’ fuzzy roar showed they could “rockand-fucking-roll” as the saying goes. A final joyous You Oughta Know, more smiles and waves and bows. It won’t be another decade to see them again.
Kinky Friedman also told plenty of stories but his tended to end in disappointingly obvious, slightly offensive and cheesy punchlines. His music also bordered on the offensive but songs with choruses like “Get your biscuits in the oven and your buns in the bed” were balanced out by songs that were moving and political; The Ballad Of Ira Hayes and Sold American. The most affecting moment of the night came though when Friedman read a chapter from his book – Heroes Of A Texas Childhood. The chapter he read, titled The Navigator, was all about Friedman’s father and showed that the singer and writer is a lot more eloquent and intelligent than his leery jokes would suggest. Then just to remind the audience how much of an odd couple the pair really was, The Basement was treated to a collaboration between the two, with local musician Robert Davidson on upright bass. Parks’ subtle and gentle piano accompaniment to Friedman’s acoustic strum on a couple of the Texan’s more tender songs, Ramblin’ Boy and Marilyn And Joe was a musical treat. Friedman will never be everyone’s cup of tea, but live music wasn’t just made for large arenas and note perfect shows – odd little nights like this have their place too. Danielle O’Donohue
AIRBOURNE
THE CASANOVAS TONK
Wollongong UniBar 10/06/11
VAN DYKE PARKS
Although battling technical difficulties and being short of enough memorable songs to maintain a 45-minute set, Canberra crew Tonk worked mighty hard to earn a response from a crowd of likeminded individuals. Vocalist Jinks stomped about the stage as if marking his territory and use of a voice synthesiser endeared them to the ‘80s rock heads in the room.
On paper it seemed like a very unlikely pairing. Kinky Friedman is a Texas country singer and satirist who often skirts the boundaries of good taste. Van Dyke Parks is a bow-tie wearing, American songbook-inspired composer who has worked with more iconic artists than most people see in a lifetime of gig going. But the
The Casanovas’ selection as main support was appropriate, if slightly ironic. Initially taking their musical cues from similar sources as the headliner, the Melbournian trio appeared on the cusp of major things circa 2004. After somewhat of a stylistic shift, they’ve been rather quiet since, guitarist Tommy Boyce remarking, “This is from the latest record – five years ago”. Irrespective, they’re now well positioned to benefit
Ross Clelland
KINKY FRIEDMAN
The Basement Circular Quay 11/06/11
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from the success of acts such as Airbourne and this tour was the ideal reintroduction to audiences. They enthusiastically aired Shake It, Keep It Hot and new single The Most Hated Man In Melbourne. Airbourne don’t do subdued. Frontman Joel O’Keeffe’s livewire reputation preceded him and, while he didn’t do much gallivanting about the crowd or undertake a life-threatening climb this time, you’d never describe anything the Warrnambool quartet does on stage as lowkey. They aren’t always an amazingly tight live outfit and O’Keeffe’s banter was familiar to the initiated. That mattered little though, because their copious amounts of exuberance, more energy than a Red Bull factory approach and everyman attitude was again infectious. The band has literally lived on the road for more than a year since the release of latest album No Guts. No Glory – and it showed. That’s not to imply they were on autopilot; they just know how to best deliver their message to crowds salivating at the prospect of their distinctly Australian rock. Their crossover appeal is considerable too – if you’d thrown a cup of beer across the room you’d have been just as likely to hit a twentysomething in a Slayer shirt as you would a grizzled veteran in an AC/DC jacket or neatly dressed office folk. Opening with the double-shot of Raise The Flag and Born To Kill, all parties were on board. Opting not to roadtest new material, they blisteringly trekked through the usual fan favourites (Runnin’ Wild, Diamond In The Rough, Blackjack, No Way But The Hard Way) to a fanatical response. Those who continually dismiss Airbourne as needless revivalists or copycats almost certainly haven’t seen them live lately. Brendan Crabb
PAJAMA PARTY
GLASS TOWERS
Oxford Art Factory 13/06/11
The latest chapter in the mercurial Neil Finn’s life is Pajama Party, based primarily around himself and his wife Sharon and the music they created together at home once the kids had left. Ahead of the release of their debut album, Sydney was treated to a preview in the form of the entire record plus a few extra surprises. Glass Towers supported and at first glance they looked like a high school band – fresh faced and as yet untainted by rock’n’roll. In fact they turned out to be a highly proficient quartet with hook laden songs aplenty. They are firmly in the mould of The Strokes and Arctic Monkeys with an infectious, bottomless bag of catchy riffs, a great drummer and, in Ben Hannam,
COME TOGETHER
Big Top Luna Park 11/06/11
Anyone doubting the incredible growth of Australian hip hop in recent years would have been silenced by the massive turnout at Come Together. Daily Meds kicked of the show with their special blend of futuristically fresh rhymes and beats. The vocal trio proved to be more than capable of rocking the massive venue. The perpetually charming MC Mantra hit the stage next, energising the room. Mantra’s captivating flow and intelligent lyrical work are first class, making it clear to see why he is so highly respected by artists and fans alike. Standout tracks included I Hereby Stand and the M-Phazes produced hit The Freak Show. A talented showman, Mantra proved to be the perfect crowd warmer and certainly raised the bar for acts to follow. With the venue filling out, Sydney rapper The Tongue appeared on stage in full force. A boundarypushing artist with the ability to rock minds as well as bodies, The Tongue had the audience in the palm of his hand performing electrifying tracks. Mega talented producer M-Phazes followed for a highly anticipated DJ set. He was on his A game as the crowd went wild for various tunes off his highly successful solo album Good Gracious.
a frontman with the poise and voice to melt hearts and ears. Glass Towers will be strong players in the next wave of Australian guitar pop. Neil and Sharon Finn were joined onstage by drummer Alana Skyring (ex-Grates) and keyboardist/guitarist/ vocalist Sean Donnelly (SJD) and proceeded to confuse those merely expecting a married couple’s pop dalliance. Pajama Party sounded like a fully-fledged band, albeit with some multiple personality issues – in a good way. From the outset it became clear that Sharon’s bass was locking everything down with her rock solid and measured approach. Neil was able to indulge in some post rock guitar textures while the couple exchanged vocal lines and intermingled harmonies. A strong funk element ran through many of the songs, bringing to mind INXS and even Duran Duran during their Notorious phase, especially on These Are Conditions. Elsewhere there were hints of ‘60s Beatles and girl groups in Sharon’s whispered singing and Neil’s aching falsetto that sounded so effortless. Two covers also betrayed strong influences with ESG’s It’s Alright providing some brittle and stark funk and Gary Numan’s Are ‘Friends’ Electric? hinting at the electronic pop feel characterising much of their sound. Finn’s sole allusions to his past glories were when he thanked the audience for being nice by refraining from yelling out requests for Weather With You and when he treated us to Suffer Never from his collaborative work with brother Tim. Pajama Party showed they are the real deal and that Sharon is a wonderful foil and balance to what we all know Neil does so well. Though theirs isn’t a music that sits within any current trend or even convenient label, it is undeniably original, highly creative and played with a sense of fun. Chris Familton
THE PAPER SCISSORS
PLUTO JONZE GUERRE
LEADER CHEETAH GRAND SALVO
Metro Theatre 17/06/11
Grand Salvo made use of the sizable crowd that was gathered early and despite some heavy conversation greeting his solo performance, his accompanying parlour guitar and crooning folk pancakes gave off that classic sound of a man and his guitar singing songs. Although probably more suited to an intimate venue, his awkward charm and massive beard, although lost on the majority, managed to win over the important few. Leader Cheetah looks like a band that have some mileage behind them on the road and on the live circuit and their folk-western meets rock offerings were seemingly enjoyed by many in an ever-increasing crowd. The playing was faultless and lead person Dan Crannitch’s voice is a dead ringer for Neil Young, particularly in Crawling Up A Landslide and even moreso in the superbly executed Bloodlines. Despite some promising sounds early on, there’s an issue with the drum sound, which felt like it was way too hectic for simple country tunes. However, the audience surprisingly didn’t seem to notice or care (if someone can also explain the reason the other Dan wore some not so inconspicuous looking headphones through most of the set, it’d be interesting to know if he was plugged into the fold or his iPod). The Middle East continue to astound people with their live show, which has grown more ambitious since their early days. Having increased in numbers, the collaborative effort from Townsville was greeted warmly by the capacity crowd, who voiced a lot
were soundtracking a 22nd century nightclub in space. Truly impressive stuff.
Oxford Art Factory 17/06/11 Guerre set the scene for a night that was high on artful ventures into electronica, pop and indie music. His approach consisted of electronic samples and backing tracks and some astounding vocals all woven together with a healthy dose of reverb and delay. Guerre didn’t seem phased by a sparse, early crowd. Instead, he seemed to be revelling in the performance. He patiently layered stately R&B vocals with a loop pedal, building a ghostly wall of choral harmonies that sound like they
Where Is My Mind. By the time Urthboy emerged alongside the lovely Jane Tyrell and El Gusto, spirits were soaring. The trio launched into the catchy Hellsong and give a shout out to the pioneers of Australian hip hop including Bias B and Def Wish Cast before inviting Hau from Koolism and Muph to the stage for a track. A remix of The Eurhythmics’ Sweet Dreams by El Gusto was a huge crowd-pleasing surprise, before the crew rounded out their set with upbeat tunes Ready To Go, Shruggin and The Signal. With the concert now up to its fifth hour the venue, now packed to capacity, went insane as Drapht bounded on stage alongside a full band and hypeman Bitter Belief, opening with Sing It. Sprinting across the stage and jumping off the drums, he boldly stage dived into the crowd, delighting fans whilst alarming management and security. Evidently the appeal of Drapht is as much in his music as it is his spirited, good-natured character. Down and Where Yah From proved to be highlights, as did We Own The Night, which saw Urthboy and Mantra return to the stage. Concluding with popular tracks Rapunzel and the infamous Jimmy Recard, Drapht’s energetic and inspiring set was nothing short of remarkable.
Pluto Jonze took the standard set by Guerre and added a wonderful pop sheen to songs that were for the most part upbeat and full of energy. Jonze even tackled a cover of Sting’s Fields Of Gold, beyond all expectations transforming it into a tumbling rush of percussion and melody. He has a voice made for catchy hooks and showed his range from the slowburn electro sounds of single Meet You Under Neon to more frenetic pop sounds. The Paper Scissors have been hard at work finetuning their new album In Loving Memory and Friday signalled its official launch. The attention to detail has resulted in an album brimming with edgy rhythms, pop melodies aplenty and in singer Jai Pyne a unique voice that gives the band its individual sound. It was great to see bands paying attention to the visual aesthetic of their live shows with Pluto Jonze syncing video across old TV sets and The Paper Scissors displaying three giant orbs comprising coloured balloons. The new album naturally made up the bulk of their set and hearing it live, it was the drumming of Ivan Lisyak that impressed most. He was the busiest of the trio, adding jerky, intricate hi-hat twitches one moment and then launching into rapid-fire fills and drum patterns the next. It enhanced the songs’ dimensionality and impact to great effect. The album opener Disco Connect set the mood as a set opener, the single Lung Sum sounded as gloriously anthemic as it does on radio, Soft Pig was both grandiose and detailed while Over There was as good as anything Phoenix has done in a similar vein. The new album should take The Paper Scissors to another level, especially with its songs sounding this good live. Chris Familton
KISSES
BETTY AIRS THE RUBENS
The Gaelic 10/06/11
The Rubens kicked off the night with a set of blues injected rock that sounded heavily influenced by the likes of The Black Keys, Gomez and older ‘60s references. Thankfully they keep their sound nice and simple without trying to get too tricky. The rhythms were solid, the solos succinct and in songs like the superb My Gun they showed they have some pop hooks to burn.
Much loved duo Muph & Plutonic got the party started with the bangin’ tunes Today, Leave Your Shoes At The Door and Moment Of Clarity. With the venue now at capacity and the mosh pit getting hectic at the front, Muph & Plutonic unleashed killer tracks Filthy Rich and Beautiful Ugly to conclude their set. Young Melbourne MC Illy soon followed, accompanied by M-Phazes on the decks and tattooed drummer Cam. The MC struck a chord particularly with younger female fans down front as he kicked off his set with songs My Way, On The Bus and Diamonds – dedicated to “the ladies”. A mash up of tracks Put Em In The Air and Dumb It Down proved to be a big winner, as did his triple j Like A Version contribution,
THE MIDDLE EAST
Amber McCormick
ILLY @ COME TOGETHER. PIC: AMBER MCCORMICK
Betty Airs features ex-Gerling man Darren Cross, this time exercising his right to rock in a decidedly ‘60s garage/surf manner. There is no messing around, shuffling between guitar pedals or lack of confidence with Betty Airs. They just set to kicking out a killer set of tunes with gang choruses, tumbling drums and a healthy dose of self-deprecating humour. Singer Cristian Campano, with his retro mic and lurching stage presence, kept the energy going through some brilliant songs like the uber catchy Reverse Now and She’s The Juan, which had punters’ arms flailing in glee on the dance floor.
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of appreciation for the band’s triumphant return to our coastline. Opening with the building Black Death 1349, it was a set that not only went well as a showing of songs off most recent album I Want That You Are Always Happy, but a showing of a band well beyond its years as a live machine; all members on stage a mechanism in creating sound that was all manner of the heavy and the soft, the comprehensive and the simple. Whether you are or were a believer, atheist or agnostic, Jesus Came To My Birthday Party was a standout along with The Darkest Side and Hunger Song. Returning to the stage for their indie anthem and their most accessible song Blood and closing everything in a combined effort with the Leader Cheetah boys, it was a fine night of live music, courtesy of a Brit with a goatee. Adam Wilding
THE MIDDLE EAST @ METRO THEATRE. PIC: LINDA HELLER-SALVADOR
Kisses balanced out the evening with their take on retro pop, but with a more electronic downbeat swooning sound that conjured up a mood of teen romances and youthful nostalgia. They possessed little in the way of stage presence but made up for it with infectious pop melodies and twisted indie disco beats. Songs like Kisses and People Can Do The Most Amazing Things showed a debt to bands like New Order and The Cure, ensuring their ‘80s tinged sound didn’t regress into tacky chart territory. Bermuda was another highlight, keeping a constant sea of bobbing heads moving on the dance floor. In a way they make sad music for happy feet. With only one album to their name they resorted to a cover for their encore and tackled a dead-set pop classic in Human League’s Don’t You Want Me. They added some extra desperation to the chorus and honoured the rhythmic essence of the original, leaving the audience on a high and proving that this type of music can be as effective live as on CD. Chris Familton
JASON MORAN & THE BANDWAGON
The Basement Circular Quay 13/06/11
Kudos to Jason Moran & The Bandwagon, because here we had a trio of artists working hard intellectually to devise new shapes and patterns of sound, whilst at the same time applying humour, melodic skills and a passion to their peregrinations. Another characteristic of this gig was its cool. Tracks were introduced by recorded snippets of sound ranging from hip hop to Billie Holiday, spoken and sung voice, polyrhythms to punctiliousness. There was a riot going on. Elements of the pre-records were used as a prompt for improvisation and extrapolation; maybe even for political statements. It was a lot of fun, that’s for sure. Inherent within this approach was a clear sense of respect for Moran’s musical forebears (especially his jazz heritage), a statement of intent that unless jazz grows and progresses, it dies, plus this is entertainment (let’s put on a show, folks, not perform behind a miserycurtain). Pianist Moran, bassist Tarus Mateen and drummer Nasheet Waits played some of the freshest, most engaging jazz you are ever likely to hear. It was ‘band jazz’; not unintegrated end-to-end solos. The three provided an errant set of gypsy pulses, all keeping parallel time then coming together in both straight ahead and lateral, head-bending ways – but always rhythm and melody-fixated. They turned melody into rhythm and vice versa, interlocking for the funk of it when the groove armadas called for fat bottom end, then interweaving with great delicacy. No cats copying here. These were pretty songs, packed with tunes. Post-modern in some senses, sure, but essentially we heard songs with drama and devilry, taut with intent yet beguiling with imperatives that used a wide array of sonic flashes. continued pg.60 THE DRUM MEDIA 21 JUNE 2011 • 59 •
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STORM IN A TEACUP
Factory Theatre 17/06/11
It’s not every day you get a collaborative performance with 11 musicians and a smorgasbord of folk music. From beginning to end the group of performers were like family, which is as genuine as it sounds – some shared high schools, others were long-time friends and there was even a married couple in their midst. Harry James Angus (Cat Empire) stepped out of his field to open the show on acoustic guitar, singing a comedic and very Aussie-classic-sounding number The Batsman. It was only minutes until Emily Lubitz (Tinpan Orange) and Jen Cloher took over to perform a song that they had co-written. Their husky vocal timbres melded together to further evoke the warmth on stage, adding to the singer/ songwriter feel of the evening.
ferocious guitar pickings and dramatic trumpet additions. Liz Martin and her darker vocals scattered the evening with some haunting folk. But it was Tinpan Orange’s gypsy folk explosions that saw a bangin’ end to the first half of the evening and even more fun scattered throughout.
SYDNEY ROLLER DERBY LEAGUE TASTE TEST
CAPTAIN RATZ #916 (CO-CAPTAIN)
This integrated performance kept the evening entertaining up until the second half, when it began to lag a little with a couple of consecutive slower songs that were not as vibrant or as musically engaging as the first half. It seemed like ‘second half fever’, which some performances usually fall victim to, had struck. It finished, however, on a high note with group covers of Memphis Slim’s Every Day I Have The Blues and The Band’s The Weight, which brought the seated audience up and dancing.
WHERE’S MOWGLI
HEY ROSCOE Having just released their clip for Roscoe’s Boogie, Stormcellar next boogie into the Royal Hotel this Saturday.
TEAM: TEAM UNICORN What’s the soundtrack to your championship win? Magic – B.O.B ft Rivers Cuomo.
The evening continued to cover a wide spectrum of folk. Cloher, an undiscovered gem of Australian folk, bore similarities to Missy Higgins but was fiercer and rougher in style. Jordie Lane’s country-folk numbers resonated with a Western essence, enhanced by his
STORM IN A TEACUP @ FACTORY THEATRE PIC: ANGELA PADOVAN
Craig N Pearce
GUY J
NEON STEREO SASHA LE MONNIER ATHSON KING LEE MARKY MARK
Chinese Laundry 11/06/11
The Cave was a pulsing mass of bodies as Israel’s progressive house rising star, Guy J, let loose on an ecstatic Sydney crowd, returning to our shores for what is becoming an annual winter catch-up. Chinese Laundry regulars Marky Mark and King Lee kicked off the night in the Sand Bar with a steady roll of funky party tunes while things began to heat up downstairs. Adelaide’s Athson wasted no time in working up a sweaty dancefloor. Cranking rampant techno beats with driving melodies that cut away to soaring vocals, before dropping into dirty bass lines, he knew how to please the crowd. In stark contrast, UK DJ/producer Sasha Le Monnier kept things relatively relaxed and laidback with a set of cruisy chill house, warming up the progressive crowd. She borrowed elements from ambient and deep house, mixing lots of atmospheric synth and while her beats were enticing and made for excellent easy listening, they rarely rose beyond a café groove until the end of her set. Guy J, on the other hand, was electric from the get-go, satisfying the untrained ear as much as the die-hard fan with his subtle progressions and driving beats, which were joyfully melodic and yet maintained a surprisingly smooth edge. He performed material from his recent second album 1000 Words and while some critics claim the album doesn’t really kick into pounding dance floor mode until the second disc, performing live his set was captivating. Blending elements of trance, ambient and tech house, it was obvious the man is a master of his art. He wove through textured waves of ambient synth before seamlessly shifting into heavier basslines and funky percussion, and the dance floor never stopped moving. Each new song was met with an appreciative cheer from a crowd intent on losing themselves in the music. Heliscope and Easy As Can Be proved themselves as crowd favourites, with the dance floor radically intensifying. Across in the Laundry, Neon Stereo too was ruling his room. Mixing pumping beats and infectious hooks, it was just as difficult to stand still. But while his music was fun for a wild, dizzy dance, it was the persistent, • 60 • THE DRUM MEDIA 21 JUNE 2011
dreamy pulse from The Cave and its international guests that seduced this reviewer.
UNCOMPLICATED
My Hero – Foo Fighters.
CarriageWorks’ next Unplugged & Uncomplicated show is this Saturday and they’re having Gerard Masters, Lincoln Davis Trio, Elle Kennard, Lois Mares and Sarah-Jane O’Hara for a huge but laid-back day of music. The music starts at noon and it’s cool to bring the kids along for a free craft workshop.
What song’s in your head when you have to pick yourself up after a big hit?
What’s your favourite skate out song? Army Of Me – Bjork.
Alex Hardy
What injuries have you sustained?
BAD MANNERS
BACKY SKANK LOS CAPITANES ROCK STEADY DUB MILITIA EAGER 13 JARRAH ZEN & THE SWITCHBLADES
Annandale Hotel 18/06/11
Ska’d For Life was the name given to the second night of Bad Manners’ Sydney gigs at the Annandale. This one was billed as a whole afternoon/night of ska music, celebrating the original form of reggae and all its various mutations with mods, punks and 2 Tone fans gathering to celebrate ska and one of its longest serving bands, Bad Manners. Late afternoon saw the bands kick off with Jarrah Zen & The Switchblades playing an obnoxious and rudimentary set of punk and rockabilly tunes. It was pretty primitive stuff, made to look all the more unappealing by the vastly superior Eager 13 that followed them. With the only female on stage for the night, they played an authentic set of late ‘70s/early ‘80s punk and ska. Rock Steady Dub Militia stripped things back to a three piece, but delivered some nice dubbed out moments and a great cover of Gregory Isaacs’ Night Nurse amid their more generic ska/rock songs. Los Capitanes was the first band of the night to really ignite the crowd with a mad mix of ska, rock, hip hop and punk that somehow all melded together brilliantly. Their sense of humour, a killer version of In The Summertime and guest spots from Pete Porker added to the feeling of controlled chaos and amplified the party atmosphere. Backy Skank are stalwarts of the local scene, differing from the punk flavoured acts with a clean pop sound clearly modelled on Madness and others. What they did they did well, and the crowd clearly enjoyed their set, especially their closing cover of The Specials’ Nite Klub. Bad Manners has gone through hundreds of line up changes over the years, with frontman Buster Bloodvessel the only constant in the band. They played exactly what the crowd expected and wanted – a set full of hits, singalongs, deep bass and a party atmosphere. The band played with just the right amount of precision and frivolity, with the rotund Bloodvessel keeping the knees-up momentum going for the entire 90 minute set in front of a now jam-packed and sweaty Annandale. My Girl Lollipop, Lip Up Fatty, Lorraine and an exhilarating Special Brew were some of the highlights of their set. UK originators like Bad Manners are keeping the flame alive with integrity, ensuring ska remains as strong as ever both as a heritage movement and one attracting new fans.
PLEASE MUM? MUM at World Bar this Friday has a killer lineup planned across two rooms. The club room has DZ Deathrays, always loving a house party atmosphere, as well as Chicks Who Love Guns, Dolphins and Doc Holliday Takes The Shotgun. The Bordello always has The Future Prehistoric and Johnny Rock & The Limits for your listening pleasure.
What’s the soundtrack to a heartbreaking loss?
Move Bitch – Ludacris. These were mighty arrangements; full of heart and soul, but brain candy too. As a flagship for SIMA’s international jazz season, they rang the bells for all that is compelling and modern about jazz.
LISA COMES TO BOWLO Lisa Richards is down for a visit from Austin, Texas, bringing her music – that’s been compared to the likes of Bic Runga and Joanna Newsom – to the Petersham Bowling Club on Sunday. She’s joined by The 49 Goodbyes and Mark Lucas.
Having enjoyed playing at SXSW a few months back, Wolf & Cub are pulling into the CBD Hotel this Thursday to play a show with mates Dark Bells and The Upskirts. Tickets are $15 on the door.
Celline Narinli
Swapping and changing around like it was musical chairs could have seen a disastrous end for 11 musicians, however they managed themselves quite swiftly and naturally with the changes and line up alterations. Husky moved into the limelight to sing Tidal Wave with Cloher on vocals and Angus on trumpet, which heightened the song with a liberating and empowering end. This is what was great about this collaborative effort – ranging from solo, duo and full band performances, the artists supported each other, making their performances more accessible and stylistically complete.
from pg.59
this Friday at 8pm as well as the Blue Cattle Dog Hotel on Saturday at 7.30pm. Head down for a taste of their hard-edged blues-rock.
Knee hyperextension, whiplash. Next bout: Saturday 9 July vs The D’viants, Sydney Olympic Park Sports Centre
LIVE AND LOCAL We’re bringing four talented artists to Live & Local at Lizotte’s Dee Why this Wednesday with Hunter & King, Shane Flew, Ella Freestone and Caitlin Harnett all geared up to take the stage.
TAKE A LOOK Old and young alike will dig Old Man Crow’s Excelsior Glebe gig on Saturday night, no doubt.
BUST THIS
TITS WORTH IT
Check out Chartbusters at the Marly on Saturday night, covering tunes from the likes of Avril Lavigne to Sneaky Sound System, Van Morrison to Fleetwood Mac.
Do your washing this Saturday at Chinese Laundry as four huge headliners will be helping you hang it all up. America’s Tittsworth plays, as well as Kid Kenobi, Surecut Kids, Canyons and more.
GREENER ON THE OTHER SIDE The Green Park Hotel is hosting Live At The Park this Thursday, with singer/songwriter Mandi Jarry slated to play. Then on Saturday, the Park is having their Saturday Sound Systems night at 9pm, featuring DJ Tikki Tembo and Ross Middleton on sax.
JE SUIS EXCITE Paris Club takes you “across the seas” at the Excelsior Glebe on Friday.
POISON Blue Venom sink their teeth into the Blaxland Tavern
MITTEN KITTENS Glovecats are heading into Chinese Laundry with their Dubstep Invasion compilation in hand this Friday. Supporting them will be Murda 1, Typhonic, A-Tonez, Detecktives and Detnum.
FLAMIN’ FINN Jim Finn has four gigs lined up this week, starting with the Muso’s Club Jam Night on Wednesday and Thursday at the Bald Faced Stag and the Carousel Hotel respectively. On Saturday he plays with the Flamin’ Beauties at Home Tavern, then on Sunday he plays as Finn, also at the Home Tavern.
39-year-old woman Karen McNeil, the mmunicate with him telepathically, , 00 20 ne Ju 21 That on uld co DID YOU KNOW… e wife of Axl Rose and that she co N’ Roses singer. th be to stalking the Guns of ed s m ai ge ar ch who cl on ar ye e r on was imprisoned fo
LOS SKELETONE BLUES
EX-TRENDY
SPANISH SKELETONS
NOT ANY MORE
Los Skeletone Blues and The Blindfolds are performing at The Gaelic this Sunday, the latter playing a bunch of cool covers. Entry is free and the gig starts at 6pm.
Another big night at the Lewisham Hotel on Thursday, with Luchi, Ex-Trendy, Constant Project and Chris Gillespie throwing in a set each. Things get started from 7pm and entry is $10.
Chris Familton
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Crack open a
DARK ALE for a crack at tickets to our exclusive gig.
kwp!CPR10778
Visit coopers.com.au for all details.
Doors Alive
The concert commemorating
JIM MORRISON‘s 40th anniversary
$10
Sunday 3rd July 2011 7.00pm
supported by
tickets from
and
moshtix.com.au or at the door THE DRUM MEDIA 21 JUNE 2011 • 61 •
live@drummedia.com.au
single FOCUS
THE MEDICS Jhindu-Pedro Lawrie, drums/backing vocals
What do you think is your act’s greatest strength? Our energy and not seriously injuring ourselves on stage.
If you could time travel back to any gig in history which would it be and why? I think I’d go back to Woodstock and see Hendrix make history and also see The Who.
What movie do you think your music would best accompany and why? I’m not too sure really, maybe an intense, sad, journey movie.
What is your favourite song lyric and why? “There’s a battle outside and it is ragin’, it’ll soon shake your windows and rattle your walls for the times they are a-changin’” - Change affects anyone anywhere, it’s just a matter of time.
Favourite “pick me up for a big night” drink? Tequila shot bam!
Favourite hangover cure? Maccas.
For more info see: themedics.com.au
When and where are your next gigs? Thursday – The Gaelic
single FOCUS
ADAM PRINGLE BAND
ELK BELL
ONCE YOU POP…
GIVE ME A BELL
Adam Pringle Band takes to the stage at the Rose Of Australia on Friday, the trio playing blues, soul and funk for your listening pleasure.
Perth songstress Elk Bell takes to the stage at the Excelsior Glebe on Thursday to share her delicate tunes, with special guests also playing on the night.
LUKE ESCOMBE
Drop Tha Bomb
What’s the song about?
entino ear-old Keith Sorr d nightmares and bed-wetting -y 13 , 90 19 ne Ju he suffere That on 23 to the ground. DID YOU KNOW… uit against Madonna claiming that allegedly flung him e sh ws e la er 00 wh ,0 e, 00 m ho filed a $5 tside the singer’s after an incident ou
DOUBLE TROUBLE
THE MASTER
The irrepressible Kinky Friedman and Van Dyke Parks continue their run of incredible shows tonight at The Brass Monkey, supported by Spookyland.
Gerard Masters and his new band, consisting of Miles Thomas, Nick Garbett, Simon Rudston-Brown and ‘The Owner’ Cameron Undy, are rocking at 505 this Thursday. They also have special guests The Falls playing.
THE TUDORS This Sunday, Wards Xpress is celebrating a year of their every-second-Sunday residency at the Tudor Hall Hotel.
MERCY AND GRACE Thirsty Merc and We Are Grace are playing a few shows this week, starting with Friday at the Taren Point Hotel, Saturday at Rooty Hill RSL and finally Sunday at the Australian Brewery Hotel.
BLUES BIRTHDAY Sydney Blues Society celebrates 19 years at the Empire Hotel on Saturday and Botany View Hotel on Sunday, so come say happy birthday.
STEVE AT SPRINGWOOD Blues/rockers Steve Edmonds Band are heading to Springwood Sports Club this Friday. They also play Dicey Riley’s Saturday and the Towradgi Beach Hotel Sunday.
It’s about an encounter with airport security. I don’t want to get into specifics.
Is this track from a forthcoming/existing release? The song is part of my live show, Chronic, which premiered at this year’s Melbourne Comedy Fest and is heading to Melbourne Cabaret Festival, Edinburgh Fringe and Sydney Fringe over the next few months. Expect the full album early next year.
How long did it take to write/record? It was written and recorded very quickly. The lyrics came out in a single burst of rock fury.
NOT A CRIME
Was anything in particular inspiring you during the making?
New Sydney band Dreamer’s Crime makes its mark at the Lewisham Hotel on Friday, with Lasue, Run The Avalanche, Kids With Kids and Hivemind.
The wolf on the front cover of Grinderman’s second album.
MIX IT UP Doug Williams & The Mix are playing at the Macquarie Hotel this Friday. The free show will start at 8.30pm.
GLAMMA PUSS Harness your inner retro glamour with The Glamma Rays, who are performing original retro jazz and pop songs as a vocal quartet at Slide Bar this Wednesday.
TROBES VS THE BANDS
What’s your favourite part of the song? When the riff kicks back in on the upstroke after the breakdown. I need to adopt a wide stance for that bit or else the surge of demonic rock and roll energy will knock me off my feet.
Do you play it differently live? Only if I fuck up the tempo at the start.
Will you be launching it? Thursday – The Vanguard
For more info see: ukeescombe.com
The Trobes, who just won the 2011 BLU-FM Blue Mountains Battle Of The Bands, are playing Lily’s Thursday.
haveYOUbeenTO 3THINGS’ HIP HOP APPROACH (AN INITIATIVE OF OXFAM AUSTRALIA) Basically we’re bringing together some of the best Aussie hip hop acts who are going to be jamming on global issues and the small things that we can all do to make a difference.
SOUND OF SEASONS
All Over Me
What’s the song about? It is about being head over heels for a girl to the point where she is all you think about. And instead of telling her how you feel you decide you’re gonna sing it to her. The main story is ‘preparing’ yourself to sing to this girl and all the thoughts and feelings leading up to it.
How many releases do you have now?
THE STARRY FIELD BENJALU
STUCK IN THE MIDDLE
HOME TURF Newcastle roots band Benjalu takes the tunes to Lizotte’s Newcastle on Thursday night for a night of musical goodness.
Due to popular demand, Townsville’s The Middle East is playing an all ages show on Thursday at The Factory, with The Starry Field and Joseph Liddy & The Skeleton Horse in support. Doors open 7pm.
Why should punters visit you? What’s great about this event is that it’s as much about the music as it is about the issues. So even if you’re not really into politics or Oxfam’s work – just come along for an awesome night and you might be surprised!
What’s the best thing about the event?
Yes, an EP in future.
The best thing about the event is that it’s not your standard gig – we’ve got a jam-packed lineup of hip hop, beatboxers, DJs, interactive artwork and some other little surprises that you’ll find out about on the night!
How long did it take to write/record?
What’s the history of the event?
The song came together the quickest of any of our tunes. It was written and road-tested not too long before we recorded it over a couple of days in the studio.
3things’ Hip Hop Approach was held for the first time last year at Oxford Art Factory. We had an overwhelming, positive response to it, so much that this year we’re expanding to Melbourne as well.
Was anything in particular inspiring you during the making?
What are some of the highlights?
This will be our first official release.
Is this track from a forthcoming release?
The whole hip hop community has really got behind us with this initiative; they get what 3things is all about and are equally as passionate about using hip hop to start conversations about issues that are bigger than ‘me’.
Swing bass lines.
What’s your favourite part of the song? Jayson writes a mean chorus lead riff.
Do you play it differently live? No. What you hear on the record is what you can expect live.
Will you be launching it? Friday – Killer @ St James Hotel
For more info see: soundofseasons.com.au facebook.com/soundofseasons • 62 • THE DRUM MEDIA 21 JUNE 2011
ANDY BULL PANGAEA
ALL AROUND THE WORLD Pangaea steps into the support slot for hard rockers Helmet at Manning Bar on Friday, in the latter’s first Australian tour in three years.
ROCKING THE ENMORE Bringing the tunes from his new album, The Rock And The Tide, to the stage, US singer/songwriter Joshua Radin plays the Enmore Theatre tonight, supported by fellow US troubadour Jim Bianco and our very own Andy Bull.
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Do you have any plans for the event in the future? We love to mix it up at 3things. So we’ll keep on working with emerging artists in a range of areas, but in the future you might see 3things’ Hip Hop Approach evolve into something more. Keep an eye on 3things.org.au.
Coming up: Thursday 30 June – Oxford Art Factory
Ro
ck’n’Roll
30 JUNE JUNE
ANNANDALE A NNA NNANDALE LE HOTEL HOT HO OTEL OTEL Supporting Rick Brewsters Angels
2 JULY
THE WALL - LEICHHARDT with T.H.U.G & the Dirty Little Secrets
16 JULY
SOUTH HURSTVILLE R.S.L.
22 JULY
THE HIGH BAR, PENRITH HOTEL with T.H.U.G.
30 JULY
THE BASEMENT, CIRCULAR QUAY with T.H.U.G. & Lucy Desoto & the Handsome Devils
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single FOCUS VILLAGE PEOPLE
B
ig Village is an independent record label representing the new wave of Sydney’s finest hip hop artists. Launching the label compilation, Big Things Volume One, which contains new and exclusive tracks from the entire BV family, on Saturday at Tone, Drum grabbed Rapaport (Loose Change), Daily Meds, Tuka and Verbaleyes (True Vibenation) to talk all things hip hop, Big Village and, erm, The Village People.
JON REICHARDT
Story Untold
What’s the song about? It’s a bit of a cheesy love song for the girl I haven’t met yet. Rather than being about a particular person, I tried to capture ‘the longing’ I think most people feel for ‘the one’.
Is this track from a forthcoming/existing release? Forthcoming – I’m working on getting an EP done by mid-spring this year, co-producing it with an old friend, Steve Iuliano. I’m quite excited about it as it’s kind of a snapshot of a bunch of songs that have been floating around my head for the past several years.
How long did it take to write/record? It was one of those tracks that literally took less than 30 minutes to write the crux of – the writing process wasn’t particularly planned or logical. I’ve been recording it along with the rest of the EP, which has been strung out over the last few months.
Was anything in particular inspiring you during the making? I was sort of seeing a girl when I wrote it – that funny stage of trying to work out if there’s potential or not. Somehow, I ended up writing about the notion of finding ‘the one’ rather than her.
What’s your favourite part of the song? Probably the end, after the chorus, where the Museesque tremolo guitars kick in.
Do you play it differently live? I’m hoping to capture its essential ingredients, but I’m happy for it to take its own shape. I’ve played the majority of the instruments on the EP, so it’s always enjoyable handing it over to other musicians and watching how they interpret their parts.
For more info see: myspace.com/jonreichardt
How do you find the local hip hop scene at the moment? Rapaport: There is a strong sense of unity and mutual respect between different crews and labels. The quality of hip hop coming out in Australia has been really top notch for a couple years now in production and rhymes. If anything it lacks the diversity and variety of the States and UK/Europe. I’d like to hear more hip hop with new sounds, whether that’s experimental electronic beats or laid-back early ‘90s vibe or classic boom bap style. I’m personally really excited about the local grime scene starting to build, thanks to new club nights Reload in Sydney and 5050 about to kick off in Melbourne. I reckon Aussies are gonna come around to grime’s dark, heavy, raw, beats and rhythmically frenetic raps. Bluku bluku! Daily Meds: Fully sick apart from all them chat crews like Herb and Thundamentals kats, mountain ringins… Who wants beef? Bring it on! I’m calling out that dog from the Wiggles! Tuka: From my perspective, the last two or so years have never been better as far as Sydney hip hop is concerned, heaps of crews, releases and gigs popping up everywhere.
XCORE
PAPA DON’T PREACH
BOGGED DOWN
SUPERHEAVYWEIGHTS
TRIBE OF SQUID
UP CLOSE AND TATTOOED
If you’re weedy and small, stay away. Kidding!
Melbourne’s Squid Squad, Captain Kickarse & The Awesomes, Ungus Ungus Ungus and Sicaria are heading to the Lansdowne Sunday from 6.30pm.
Rose Tattoo is coming to the Sando up close and dangerous, or that at least is what their tour’s called. They’re playing with Melody Black and Nat Cole & The Kings Friday and Hell Crab City and The Lazys Saturday.
THE BANDWAGON Wagons are pulling their, well, wagons along into three gigs this week. First at the Transit Bar on Thursday with Matt Banham, then at the Clarendon Guesthouse Katoomba Friday also with Matt Banham and finally, they play with The Gin Club at the Annandale on Saturday.
VOODOO CHILD Didgeridoo virtuoso and percussionist Ganga Giri is heading into the Wickham Park Hotel this Friday as well as the Transit Bar on Saturday and Tone on Sunday to launch his new album, Good Voodoo.
KUNVUK
OPEN THE MUSIC VALVE
WORDS FOR FANNY
Valve’s metal show this Friday has Dark Order, Teratornis, Kunvuk and Head In A Jar set to take the stage. On Sunday at 4pm, they’re hosting a giant rock show too, with Motionmotive, Disco IS Dead, Foul Hawk, The Sunshine Laundry and The Gilbert Gantry Union.
Fanny Lumsden is launching her debut EP, I Need Words, tonight at the Café Lounge. She’ll be supported by acoustic trio Portable Junk.
WE ARE THE CHAMPIONS
SLOWDANCE The Slowdowns will be speedin’ things up this Saturday at the Old Fitzroy Hotel with a rambunctious live show.
DRUG BUST Tijuana Cartel is going around the east coast for one last time before they record their next album. They’re stopping at the Sound Lounge on Friday and the Buddha Bar on Saturday in support of their single, Letting It Go.
GOODBYE HALAL Thursday night at the Kings Cross Hotel has Halal, How Are You? playing their first 2011 show and also their last, as the band has announced they’ll be splitting to pursue other projects. Also playing are The Fighting League, TV Colours and Sweet Teeth.
World Champion, Day Ravies and Alan Boyle are on stage for your viewing and listening pleasure at Oxford Art Factory’s Gallery Bar on Saturday.
SEE MORE JAZZ The Sound Lounge at the Seymour Centre this week has Bernie McGann Quartet playing on Friday, as well as Steve Hunter Band playing on Saturday.
‘ALLO!
FBI’S FAVOURITE NEW AUSSIE TRACKS
• 64 • THE DRUM MEDIA 21 JUNE 2011
Queensland indie foursome The Medics are heading to The Gaelic this Thursday as part of their first headline tour, supported by The Honey Month and Babaganouj.
Slithering into the Sandringham Hotel this Thursday are Swamp Lizard, Valentiine from Melbourne, General Disarray and The Curse Of Eve.
BRUCE SPRINGSTEEN
Balkan Beach Party MIKELANGELO & THE TIN STAR Sheldon TA-KU MYTH & TROPICS Waikiki ’79 Wild Eyes MAGNETIC HEADS PLUTO JONZE Final Second Of Life THE GENIE Here Come The Scissors River Hymnal GUERRE Dumb Luck BIG DUMB KID Don’t Hold Back DONNY BENET Black Book SUPER WILD HORSES
LADIES AT THE WHARF
DON’T BE LATE
From Fear To Eternity: The Best Of 1990-2010 IRON MAIDEN
Born To Run
CALL A MEDIC
Late Shift will be playing covers at Marly Bar on Friday night. No cover charge from 10.30pm, so you’ve got no excuse if you’re wandering down King St.
Give Me Everything PITBULL FT. NE-YO, AFROJACK & NAYER
BORIS Attention Please The Surf ’N’ Western Sounds Of Mikelangelo And The Tin Star MIKELANGELO & THE TIN STAR Revamped ELITE FORCE DEAN MARTIN Best Of Dean Martin VARIOUS Royal Sapien Presents: Stacked VARIOUS Late Night Tales: Trentemoller MOGWAI Hardcore Will Never Die, But You Will VARIOUS Floorfillers: ‘90s Dancefloor Classics
Which member of the Village People best represents you? R: Construction worker. I’m actually wearing a hard hat as I do this interview. Gotta make paper somehow. DM: That guy was a knob, two sugars and some cookie! T: That’s a cheap shot. To be honest I don’t even know the members of the Village People... No sale. V: That’s a throw up between Alexander Briley (the G.I.) - ‘cause he was born on the same day as the twins from True Vibenation - and Victor Willis (the police officer) because he married Bill Cosby’s on-screen wife Pylicia Rashad – for a bit – before divorcing and marrying an executive lawyer type!
The trio in Papa Vs Pretty is playing at the Cambridge Hotel this Thursday as well as the Annandale this Friday in support of debut album, United In Isolation. The Friday show is in celebration of the Annandale’s 11th birthday week with Redcoats and I Know Leopard.
KATY PERRY
ON THE DRUM STEREO
following, did not have access to release their music on a national scale. BV is the answer to this problem and is Sydney’s next underground hip hop generation. Get ‘em. V: With Big Village our appeal is the fact that it is literally like nothing you’ve ever heard of. We are defining our music in our own directions and all the label’s artists add a unique twist on what has come before. It’s fresher than next week’s lettuce!
Superheavyweights are heading into The Brass Monkey this Saturday for a night of old-school funk and soul.
The Wharf Sessions at the Sydney Theatre Company this week has Ali Hughes, as well as the six sassy women in Lady Sings It Better.
Party Rock Anthem LMFAO FT. LAUREN BENNETT & GOONROCK
Rolling In The Deep ADELE We Run The Night DJ HAVANA BROWN Jet Lag SIMPLE PLAN FT. NATASHA BEDINGFIELD Judas LADY GAGA All Of The Lights KANYE WEST FT. RIHANNA Someone Like You ADELE Run The World (Girls) BEYONCE
What’s the appeal of Big Village? R: As I see it, its quality, originality and soul. We got a bunch of different crews that have all been doing their thing for quite a few years now, but we’re all focused on developing our own sound and not following what each other is doing or what the rest of the scene is doing. The fact that we’re all pretty good mates and we all support each to the fullest means we got an extra boost to go out on a limb and try new things and push ourselves creatively. Plus we make dope raw hip hop, and that’s never a bad thing. DM: What are looking at, you know what I mean? We got stickers. Word! T: Before BV came about me and most of the roster felt there was a hole in the scene in terms of smaller or mid-level hip hop acts getting their music pushed beyond their own social networks. There are a lot of hungry, passionate, like-minded and socially conscious groups/artists on the label who, although they had been performing live for a few years and had built a healthy
The Ambush Your Prey tour pulls into the Cabbage Tree Hotel for one last night of mathcore, hardcore and deathcore. Inside The Exterior and Nobody Knew They Were Robots are supported by One Time Menace, Heart Set To Fail and Bloodshed Of The Innocent.
[V] SATURDAY 8AM MUSIC VIDEO CHARTS Last Friday Night (T.G.I.F)
Punters seem to be turning up and the shows don’t seem as male dominated as they were in the past. That being said it’s still relatively small compared to our local dance and club scene... Baby steps nah mean?! Verbaleyes: The Australian scene is rapidly changing, along with Australian music in general. We now have more access to more styles of music and with that there is a shift in peoples’ perspectives. I think people are finally getting over the fact that hip hop started in the US and are realising that every genre started somewhere, it just takes time to evolve. Big Village hip hop is evidence of that evolution.
Alloway are bringing the coastal vibes to the Brass Monkey Wednesday with Ruby Blue and Aaron Martin.
EMERGENCY ROOM
MUSHU
BANDIT If ‘70s folk-pop is your Achilles heel, you’re in luck – ‘70s folk-pop is Sydney trio mushu’s forte. They’ll be stopping by Oxford Art Factory this Wednesday, ahead of the Lansdowne this Thursday with special guests to promote their new album, Bandit.
James English and Olivier Savy are English & The Doc, and they’re playing The Brass Monkey this Thursday. Special guests The Blondettes will be performing also.
FANS FIRST Josh Pyke is back for an intimate run of shows this week on his Fans First tour, with profits going to the event he holds annually, Busking For Change. He’ll be playing GoodGod this Thursday.
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SPOOKYLAND
LIKE A WORM FARM The Underground Architect is launching a new EP this Friday at Caringbah Bizzo’s and will be supported by Big Bozza Band, Spookyland and Ray Ray Ray & The Jetsons.
THE DRUM MEDIA 21 JUNE 2011 • 65 •
live@drummedia.com.au
GIG OF THE WEEK
TUKA
BIG SOUNDS The launch night for Big Village’s Big Things Vol. One album is happening Saturday at Tone, featuring label kids Tuka, True Vibenation, Daily Meds, Ellesquire, Loose Change, Suburban Dark, DJ Migz and Reverse Polarities. It kicks off at 8pm and tickets are $15 + bf from Moshtix.
single FOCUS
Tim Rogers, frontman of You Am I, is opening up the Annandale’s 11th birthday week this Thursday at 8pm, with Leena and Diamond Quills in support. Tickets are $25. And don’t forget that there are plenty more festivities happening over the next fortnight at the venue – make sure you get down there and check some of it out and say cheers to a place that’s been the cornerstone of live music in Sydney for over a decade.
NATALIE GAUCI
Best Of Me
What’s the song about?
TIM ROGERS
Best Of Me is about a relationship I was in. I wanted a complete and utter commitment and all he wanted was to see me when he felt like it. It’s about feeling rejected and not wanting to be lonely.
Is this track from a forthcoming/existing release? This song is from an existing release, an EP I recorded and produced in June 2010. It was inspired by a feature film soon to be released (28 July) called Big Mamma’s Boy.
How long did it take to write/record? Six months altogether. The actual recording took four days in the studio and then I got it mixed in the US and mastered in the UK which took a little while. It was fun and I learned a lot about the recording process and got to take charge!
GLENN CARDIER
SISTER JANE SYDONIA
SYDONY, NSW Both from Melbourne, metal bands Sydonia and Contrive are heading up to our windy and rainy state for a few shows this week. They play The Basement Belconnen on Thursday, the Bald Faced Stag on Friday and The Patch on Saturday.
SYDNEY ROLLER DERBY LEAGUE TASTE TEST
WOMB RAIDER #16
BROTHERS AND SISTERS Sister Jane, Mike Noga and The Lovetones’ Matthew J Tow are playing this Sunday at the Annandale to celebrate the venue’s 11th birthday week.
SANDO SUNDAYS Sunday at the Sando there’s a bunch going on, with Captain Cleanoff, Roadside Burial, Death-Cult Jock, Serious Beak and Fat Guy Wears Mystic Wolf Shirt all playing. Entry is $10.
SUPER FAST TUNES Gran Torino headlines the Lewisham Hotel on Saturday, with Second Storey Window also playing.
Ryan & Fi take their original tunes to the Clovelly Hotel on Thursday for a full hour set. Entry is free.
‘TIS THE SEASON Sydney rockers Sound Of Seasons stop in at Killer on Friday night to launch their new single, All Over Me. They’ll be joined by Uncorrected, Soapbox Summer and Beyond December, and entry will set you back $10.
FALL FOR FREE
What’s the soundtrack to your championship win? Any Ratatat album to get in the mood to celebrate! What’s the soundtrack to a heartbreaking loss?
The World In The Basement, presented by ihearmusic.com, is being held tonight, featuring Glenn Cardier, Sean Mackenzie and Merenia Gillies. The roots and world showcase will be at The Basement Circular Quay from 8pm.
My band were very inspiring, really believed in the project, and Frank Lotito (actor from Big Mamma’s Boy) – without him, the EP would never have seen the light of day.
What’s your favourite part of the song? The second verse where I say: “make up your mind”. It’s the most emotional part of the song to me.
Do you play it differently live?
RY & FI PLAY FOR FREE
TEAM: THE D’VIANTS
LOCKED UNDER
Was anything in particular inspiring you during the making?
Enola Fall continue their residency in the Oxford Art Factory’s Gallery Bar this week, with Rockets and Professor joining in the fun Thursday night.
DON’T STOP The Keep On Dancin’s take to Oxford Art Factory’s Gallery Bar on Friday, joined by The Fabergettes.
week too, with Screaming Sunday featuring Kill Appeal, Rose From Ruins, Young Blood and more. It all kicks off at midday and tickets are $12 on the door.
DAMN TECHNOLOGY Friday night, The Gaelic’s Last Night welcomes Computers Want Me Dead from New Zealand, as well as Modular DJ Softwar and locals Big Dumb Kid. Of course, there’ll also be the resident DJs.
SNAGS AND TUNES The Friday Fry Up at GoodGod is happening this week and it’s bound to get your weekend started with a bang. Sydneysiders Gay Paris and La Mancha Negra meet Melburnians The Jacks and Cherrywood, all playing a set each, plus there’ll be a BBQ.
I like to stick to the original form and arrangement keeping it classic. I love singing all the melodies, they’re strong and I get to belt it out at the end without using vocal adlibs all over the place.
Will you be launching it? Friday – El Rocco Saturday – Coogee Diggers Sunday – The Brass Monkey
For more info see: nataliegauci.com.au
night of music to Valve on Wednesday night, along with other special guests.
YO GOODGOD
VALVE WEEKEND
GoodGod’s new Friday night party is called Yo Grito! and is happening every week, free of charge, in the front bar. You’ll find Straight Arrows frontman King OPP, Daniel Darling, Silky Doyle and Jimmy Sing spinning the tracks every week.
Two shows are happening at Valve on Saturday. First, from midday, Dirty Grotto cranks up the volume for a full-blown rock show, and then from 7pm Vera, Venom Eyes, Deadly Visions, Square One and Merryweather step it up for some hardcore action.
KEEP IT UNDERGROUND Underground Tables happens at Valve tonight, for all your hip hopping needs. DJs Myme, ATO, Gee Wiz and more, as well as MCs Benji, BC, One AM and Allstars will be keeping you company, and an open mic is available if you’re feeling daring. Free entry until 10pm.
SCREAM HAPPY BIRTHDAY
BREAK THIS
The all agers get a look in for the Annandale’s birthday
Torana and brOKentoys team up to bring an explosive
The Eraser – Thom Yorke.
GRUN
What song’s in your head when you have to pick yourself up after a big hit?
SO FAB
You’re The Best – Joe “Bean” Esposito (accompanied by the visuals of the Karate Kid montage). It’s just SO inspirational. What’s your favourite skate out song? Boys Wanna Be Her – Peaches. What injuries have you sustained? Bleeding nose on game debut. And too many to name from shenanigans at the after-parties! Next bout: Saturday 9 July vs Team Unicorn, Sydney Olympic Park Sports Centre
• 66 • THE DRUM MEDIA 21 JUNE 2011
CARUS THOMPSON
THE GIN CLUB
WINGS OF CARUS
DRINK UP Supporting Wagons at the Annandale on Saturday, The Gin Club also headlines some shows this week, at the Great Northern Newcastle on Wednesday, Vault 146 on Thursday and The Brass Monkey on Friday.
Carus Thompson is setting aside his new album, Caravan, for a night as he plays a special fan request show at Notes this Thursday. For $20 on the door, you’ll hear two sets in solo-acoustic mode of anything and everything attendees request on a slip of paper.
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Grun, Dave Carr’s Fabulous Contraption, Takadimi and Laura & Susie are playing at the Sandringham Hotel this Wednesday at 8pm. Entry is $5.
GET YOUR SHIT IN ATTN: Local bands! If you have a gig or release in the pipeline that you want to promote, send the details, blurb (no longer than 100 words) and pic (no bigger than 1MB, NO SMALLER THAN 200 DPI and in .JPG or .PDF format) to live@drummedia.com.au. Get in quick, it’s fuckin’ FREE!
THE DRUM MEDIA 21 JUNE 2011 • 67•
• 68 • THE DRUM MEDIA 21 JUNE 2011
THE DRUM MEDIA 21 JUNE 2011 • 69 •
GIG GUIDE TUE 21
AAMAZING ENTERTAINMENT KARAOKE: Penrith Htl ADAM PRINGLE BAND: Sandringham Htl downstairs Brackets & Jam: Bangalow Hotel DAN BOMBINGS, PABLO CALAMARI: World Bar Kings X DAVE WHITE EXPERIENCE: Coogee Bay Htl, Beach Bar FANNY LUMSDEN: Cafe Lounge, Surry Hills IHEARMUSIC PRESENTS, GLENN CARDIER, SEAN MCKENZIE, MERENIA GILLIES: The Basement JMC ACADEMY BAND NIGHT: Sandringham Htl Upstairs John Hill: Dee Why RSL JOSHUA RADIN (USA), JIM BIANCO (USA), ANDY BULL: Enmore Theatre KID FINLEY, JOHNNY B: The Gaff, Darlinghurst KINKY FRIEDMAN (USA), VAN DYKE PARKS: Brass Monkey MARK GORDON: Manhattan Lounge OUTLIER: Scruffy Murphys PETER HEAD: HARBOUR VIEW HOTEL ROB HENRY: Observer Htl ROCK-STEIN TRIVIA: The Gaelic STEVE TONGE: O’Malleys City THEY CALL ME BRUCE: Maloney’s Hotel UNDERGROUND TABLES FEAT, MYME, ATO, GEE WIZZ, + more: Valve Bar and Venue, Tempe
WED 22
ALLOWAY: Brass Monkey ANDY MAMMERS DUO: Maloney’’s Hotel City DAN SPILLANE: Coogee Bay Htl, Beach Bar DARRYL BEATON: CIVIC UNDERGROUND DJ MOUSSA: Marlborough Htl EMME: BANK HOTEL - NEWTOWN GEMMA: Observer Htl GOLDEN FANG, NIKKI THORNTON, TIM FITZ: The Gaelic GOODNIGHT DYNAMITE: O’Malleys Kings X GRUN, DAVE CARR’S FABULOUS CONTRAPTION, TAKADIMI, LAURA & SUSIE: Sandringham Htl Upstairs
JADE GANNON: El Rocco Kings X JAGER UPRISING PRESENTS…, SEED NO EVIL: Annandale Htl JED ZARB: Mean Fiddler Htl JIMMY WEBB (USA): The Basement KINKY FRIEDMAN (USA), VAN DYKE PARKS: Lizottes, Kincumber KYM CAMPBELL: Dee Why RSL LIVE & LOCAL: Lizottes, Dee Why LIVE & LOCAL: Lizottes, Newcastle LUKE DIXON: Summer Hill Htl MAL’S OPEN MIC NIGHT: Royal Htl Bondi MANDI JARRY DUO: Ettamogah Htl MARK WILKES, ANITA LENZO, RUSSELL NEAL: Kogarah Hotel MARTY from RECKLESS: Northies Cronulla HtlSport Bar MICHELLE MARTINEZ: Marble Bar Hilton Htl Miss Freshwater Competition, DJ CHRIS MORRISON: Harbord Beach Htl MUSOS CLUB JAM NIGHT: Bald Faced Stag MUSOS JAM NIGHT: The Wall (The Bald Faced Stag) NICKY KURTA: Optus Centre, Macquarie Park NINE SONS OF DAN: Cambridge Htl Newcastle PAUL SUN, DIDI MUDIGDO: Jazsushi Surry Hills PETER HEAD: HARBOUR VIEW HOTEL RAOUL GRAF, DREW HARRIS, DANIEL COATES, DaNIEL HOPKINS: Taren Point Htl ROBERT SUSZ & THE CONTINENTIAL PLAYBOYS PARTY: The Rose Hotel ROCK SHOW, BROKEN TOYS, + SPECIAL GUESTS: Valve Bar and Venue, Tempe STEVE KULYNYCZ, CAROLYN WOODORTH, + GUESTS: Blaxland Tavern SUPERHEAVYWEIGHTS: Sandringham Htl downstairs TAOS, ALANA-LEE GLOVER, GAVIN FITZGERALD, TIM WALKER: Coach & Horses Hotel, Randwick TED & BAMS, TONGUE IN MOO, GLOVECATS, POP THE HATCH: World Bar Kings X THE GIN CLUB, JIMMY BAZIL: Great Northern Hotel THE GLAMMA RAYS:
21 - 27JUNE 2011 gigs@drummedia.com.au
KINKY FRIEDMAN: TUESDAY 21, BRASS MONKEY, WEDNESDAY 22, LIZOTTE’S Slide Darlinghurst THE SPIRIT OF MOSES: Macquarie Htl - City TOM T TRIO: 3 Wise Monkeys TRANSIT: 505, 280 Cleveland St Surry Hills TRIVIA: Vineyard Htl Trivia To A Tee with The Doctor: Muree Golf Club Twisted Trivia: Wallsend Sporties TWO MINDS: Scruffy Murphys WOLF & CUB: Harp Htl
THU 23
AAMAZING ENTERTAINMENT KARAOKE: Penrith Htl ANDY MAMMERS: Dee Why Hotel ANNA FORBES, MATTY JAY, CAROLYN WOODORTH, + GUESTS: Lone Pine Tavern Rooty Hill BENJALU: Lizottes, Newcastle BNO ROCK SHOW: Scruffy Murphys BOBBY SINGH, SANDY EVANS, SARANGAN SRIRANGANATHAN BAND, BRETT HIRST: CAMELOT LOUNGE CAMBO: O’Malleys Kings X CARUS THOMPSON: Notes, Newtown DEAN STAFFORD, ELK BELL, + GUEST: Excelsior Glebe ENGLISH & THE DOC: Brass Monkey FBI SOCIAL, HALAL HOW ARE YOU, THE FIGHTING LEAGUE, TV COLOURS, SWEET TEETH: Kings Cross Htl - Level 2 G4: Marble Bar Hilton Htl GABY BONELLO, PETER LANZON:
Artichoke Café Manly GERARD MASTERS, THE FALLS: 505, 280 Cleveland St Surry Hills GERSHWINESQUE: Lizottes, Kincumber GLENN WHITEHALL: Edinburgh Castle Htl GREG BYRNE: Harbord Beach Htl HALF SHADY: Northern Star Htl Newcastle JOANNA MELES: Campbelltown Catholic Club JOSH PYKE, JACKSON MCLAREN: Good God Small Club KATCHAFIRE, ALOTTA PRESHA: UniBar, Wollongong LUCHI, CONSTANT PROJECT, EX-TRENDY, CHRIS GILLESPIE: Lewisham Livehouse MANDI JARRY: Green Park Hotel Marty Mulholland: Northies Cronulla HtlSport Bar MATT: Marlborough Htl MATT JONES DUO: Vegas Hotel MICHAEL MCGLYNN: Greengate Htl MURRAY FERGUSON: CLUB BELMORE MUSHU, + SUPPORTS: Landsdowne Hotel MUSOS CLUB JAM NIGHT: Carousel Inn Rooty Hill PANORAMA: 3 Wise Monkeys PAPA VS PRETTY: Cambridge Htl Newcastle PETER HEAD TRIO, + FRIENDS: HARBOUR VIEW HOTEL PROPAGANDA: World Bar Kings X ROCK SHOW, THE LAZIEST MAN ALIVE, ANATTA, AEROBI: Valve Bar and Venue, Tempe ROCK TRIVIA:
Lizottes, Dee Why SAM & JAMIE TRIO: Maloney’’s Hotel City STEVE TONGE: Observer Htl STONE & THE SKY: Kurrajong Htl Erskineville TALK OF THE TOWN: Wallsend Sporties THE GIN CLUB: The Vault, Windsor THE MEDICS, THE HONEY MONTH, BABAGANOUJ: The Gaelic THE POD BROTHERS: Gymea Bay Hotel THIRSTY MERC: Canberra Southern Cross Club - Top Of The Cross TIM ROGERS, LEENA, Diamond Quills: Annandale Htl TOM T DUO: Coogee Bay Htl, Beach Bar TONY WILLIAMS: Pioneer Tavern TRIVIA: The Mark Hotel VALENTINE, SWAMP LIZARD, GENERAL DISARRAY, THE CURSE OF EVE: Sandringham Htl Upstairs WOLF & CUB, DARK BELLS, THE UPSKIRTS: CBD Htl Newcastle ZOLTAN: Balgowlah RSL
FRI 24
2 OF HEARTS: Revesby Workers ALL STAR DUO: Penrith RSL, Castle Lounge AM 2 PM: Colonial Hotel, Werrington AMY MEREDITH, MINOR DELAY, CUNNING HUNTERS, + more: Le Panic Kings X ANGE MURPHY, HANNAH MATYSEK: Mars Hill Café
AT THE HOP: Belmont 16ft Sailing Club BARRY LEEF, PETER NORTHCOTE: Unity Hall Htl BEN FINN: PJ Gallaghers Drummoyne BENN GUNN TRIO: Paddy Maguires Haymarket BERNIE MCGANN QUARTET: SIMA BIG BIZ COMEDY feat., DARREN CARR: Lizottes, Newcastle BIG WAY OUT: Scruffy Murphys BLUE VENOM: Blaxland Tavern Bon Jovi The Show: Croatian Club - Auditorium BOOTY CALL: Kro Bar, East Leagues Club, Bondi Junction CAMBO: Novotel - Brewery Bar, Olympic Park COMPUTER WANTS ME DEAD, SOFTWAR, BIG DUMB KID: The Gaelic CRAIG THOMMO: Panania Htl DAN LISSING DUO: Crows Nest Htl DAVE STEVENS, CARL FIDLER: Observer Htl DAVE WHITE EXPERIENCE: THE RANCH, EASTWOOD DAVID AGIUS: Parramatta RSL DAVID HAACK, EYE TO EYE, ARCANE: Landsdowne Hotel DIG: Notes, Newtown DJ: Mounties Mt Pritchard Terrace Bar DJ MATT ROBERTS: Watershed Htl Darling Harbour DJ SHAMUS, DJ JEDDY ROWLAND, DJ MIKE SILVER: Cohibar
EBONY & IVORY: Crown Htl City ENDLESS SUMMER BEACH PARTY: Commercial Htl Parramatta FABULOUS RHYTHM CATS: North Richmond Hotel FALCONA FRIDAYS, ALISON WONDERLAND, HOBOPHONICS, STARJUMPS, F.R.I.E.N.D.S feat: Kit & kaboodle, Kings Cross FRANKY VALENTYN: Club Five Dock GANGA GIRI: Wickham Park Htl Islington GEOFF RANA: Grand Htl Rockdale GIRLS TALK: Club Umina GTS: CLUB RIVERS GUINEAFOWL: Oxford Art Factory HARBOUR MASTERS: Kings Cross Htl HEATH BURDELL: Northies Cronulla HtlSport Bar HITS AND PIECES: Rooty Hill RSL IGNITION: Maroubra RSL INTIMATE LOUNGE MUSIC: Fairfield RSL, Supper Club JEFF DUFF TRIO: Kirribilli Htl JESSE JAMES DUO: Royal Oak Htl Parramatta JIMEOIN: Club Singleton JJ DUO: Courthouse Htl JOHN FIELD DUO: Brewhouse Pub St Marys JONAH & THE WAILERS, THE ELEMENTALS: CAMELOT LOUNGE JONNY ROCK: Castle Hill RSL JOSH MCIVOR: Mean Fiddler Htl KATCHAFIRE, THIS VERSION: Enmore Theatre KEEP THE FAITH BON JOVI SHOW: Wentworthville Leagues KEITH ARMITAGE: Harbord Beach Htl KEVIN BENNETT & THE FLOOD: Lizottes, Kincumber LATE SHIFT: Marlborough Htl LE COVER BAND: Windsor Castle Htl Newcastle LIQUID SKY feat., VENGEANCE, DISCO VOLANTE, MOO WHO, KYRO & BOMBER, + more: Candys Apartment MACSON DUO: Parramatta Leagues MANDI JARRY DUO: Vegas Hotel MARK DA COSTA: 3 Wise Monkeys
MATCHBOX 20 SHOW: Penrith Htl MATT JONES: Macquarie Htl, Liverpool MENTAL AS ANYTHING, ROCK STEADY: Mounties Club Mt Pritchard MIKE MATHIESON, CHRIS ALEXANDER: St Marys Band Club MOONLIGHT DRIVE: The Mark Hotel MUM, DZ DEATHRAYS, CHICKS WHO LOVE GUNS, DOLPHINS, DOC HOLLIDAY TAKES THE SHOTGUN: World Bar Kings X NATALIE GAUCI: El Rocco Kings X NICKY KURTA: Greengate Htl NOBODY KNEW THEY WERE ROBOTS, INSIDE THE EXTERIOR: Cabbage Tree Hotel OMG!: Warners at the Bay PAPA VS PRETTY, RED COATS, I AM LEOPARD: Annandale Htl PARIS CLUB: Excelsior Glebe PETE HUNT: Collingwood Htl PHASE III: Exchange Htl Newcastle POWDERFINGER SHOW: Engadine Tavern QUEEN - WE ARE THE CHAMPIONS: Taren Point Bowling Club REBECCA JOHNSON BAND: The Kyle, Blakehurst RENAE KEARNEY: Chatswood RSL RESIDENT DJs: Jacksons on George Rolling Stoned: Dural Country Club ROSE TATTOO: Sandringham Htl Upstairs RUBY DUO: Matraville Htl SAM & JAMIE BAND: Crows Nest Htl (Late) SARAH PATON: O’Malleys Kings X SHANE FLEW, GARRY STEEL: THE SPACE BAR, MANLY SINGLED OUT: Coogee Bay Htl, Beach Bar SKYSCRAPER: Customs House Sydney SOLID GOLD PARTY NIGHT: Cessnock Supporters Club SOUND OF SEASONS, SOAPBOX SUMMER, UNCORRECTED, BEYOND DECEMBER: St James Htl Sydney STELLAR: Heathcote Hotel STEVE EDMONDS BAND: Springwood Sports Club STEVE FLACKS GUITAR HEROES: The Vault, Windsor STU & FRIENDS: Artichoke Café Manly SUVI: Quakers Inn
TUMBLEWEED and MY DISCO. kwp!CPR11181
A Dark Ale could be just the ticket. Visit coopers.com.au for all details. •70 • THE DRUM MEDIA 21 JUNE 2011
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WE ARE LOOKING FOR 16-17 YEAR OLDS WHO
DRINK ALCOHOL REGULARLY
THE UNIVERSITY OF NEW SOUTH WALES IS CONDUCTING A STUDY ON THE ADOLESCENT BRAIN. WE ARE LOOKING FOR 16 AND 17 YEAR OLDS WHO DRINK ALCOHOL AT LEAST ONCE A MONTH TO HELP US UNDERSTAND MORE ABOUT THE BRAIN DURING ADOLESCENCE. IF YOU DO PARTICIPATE IN OUR STUDY, YOU WILL BE PAID FOR YOUR TIME. FOR MORE INFORMATION ABOUT THE STUDY PLEASE CONTACT ANDREW LOGGEN ON THE NUMBER OR EMAIL BELOW.
ANDREW LOGGEN
02 9399 1000 E: alcohol.neura@gmail.com THE DRUM MEDIA 21 JUNE 2011 • 71•
GIG GUIDE SWINGSHIFT: Bombaderry Htl TEARATORNIS, KUNVUK, HEAD IN A JAR: Valve Bar and Venue, Tempe TERRY BATU: Grand Central Htl Lithgow THE BEATELS: Panthers Dominiques THE GENERATORS: Vineyard Htl THE LIVING CHAIR: Bull & Bush THE NINTH CHAPTER: 505, 280 Cleveland St Surry Hills THE POD BROTHERS: Stoned Crow, Crows Nest THE REMIXES: Penrith Gaels THE SQUIDS: Mosman RSL THE ZILLERS, DJ SONIC: Belmore Htl Newcastle THIRD TIME LUCKY: Western Suburbs Leagues Club THUNDERSTRUCK-AC/ DC SHOW: Ettamogah Htl TIME MACHINE: Kingswood Sports Club TOM & DAVE SHOW: Hillside Htl Castle Hill TONY TRELAWNY: Hawkesbury Htl TORCH SONG COUNTRY SOUL BAND, PUGSLEY BUZZARD, BEAUTIFULLY MAD: MANLY VILLAGE CHURCH TRIPLE GRIP: Richmond Club WAGONS, MATT BANHAM: Clarendon Guest House WAYNE PEARCE & THE BIG HITTERS: R.G.McGees, Richmond WILDCATZ: Moorebank Sports Club ZOLTAN: PJ’s Irish Pub Parramatta
SAT 25
031 ROCK SHOW: Scruffy Murphys 3 WAY SPLIT: Peachtree Htl Penrith AAMAZING ENTERTAINMENT KARAOKE: Penrith Htl ACHTUNG BABY-U2 SHOW: Dapto Bowling Club ALWAYS NEVER, PRETTY YOUNG THINGS, PASH N HOP, DETEKTIVES, + more: Le Panic Kings X ANDY MAMMERS: Brewhouse Pub Marayong ARMCHAIR TRAVELLERS DUO: Parramatta Leagues AUSTRALIAN PLAYED: Mosman Club AUSTRALIAN PLAYED: Mosman RSL BACK TO THE 80’S: Penrith Panthers BADJANE, RUSSELL NEAL, + GUESTS: Terrey Hills Tavern
• 72 • THE DRUM MEDIA 21JUNE 2011
BEATNIX: North Ryde RSL Club BEN FINN DUO: Ettamogah Htl BLUE MOON QUARTET: Fairfield RSL BLUE MOON QUARTET: Fairfield RSL, Supper Club BLUE VENOM: Blue Cattledog Tavern BOOGIE FEVER: Oatley Hotel CABARET & CIRCUS: The Factory Theatre CALIFORNICATIONRED HOT CHILLI PEPPERS: Richmond Inn CAMBO: Sir Joseph Banks Hotel CHART BUSTERS: Marlborough Htl CHRIS PATON: Harbord Beach Htl CHRIS TURNER & THE CAVEMEN: Bald Rock Htl Rozelle COMEDY & CABARET NIGHT featuring, DARREN CARR: Lizottes, Dee Why DAN SPILLANE: Mean Fiddler Htl DAVE WHITE TRIO: Maloney’’s Hotel City DAVID AGIUS DUO: PANTHERS - TERRACE BAR, PENRITH DES GIBSON: Lansvale Htl DJ: Mounties Mt Pritchard Terrace Bar DJ MARTY: Gymea Bay Hotel DJ MATT ROBERTS, DJ BRYNSTAR: Cohibar DYNAMIC DUO: Courthouse Htl EARTHBOUND: Windsor Castle Htl Newcastle EXTRA HOT: Miranda RSL FABBA: Blacktown RSL FLAMIN’ BEAUTIES: Home Tavern Htl, Wagga Wagga GEMMA: Observer Htl GOODNIGHT DYNAMITE: Novotel - Brewery Bar, Olympic Park GTS: Cabramatta Leagues HARBOUR MASTERS: Engadine Tavern HIT SELECTION: Richmond Club HITS AND PIECES: South Hurstville RSL HOORAY FOR EVERYTHING: Lithgow Workers IGNITION: Wentworthville Leagues IGUANA: Cessnock Supporters Club JAZZ EXPRESS: Penrith RSL JENNY MORRIS, PETER CUPPLES: Wyong District Rugby League Club
21 - 27JUNE 2011 gigs@drummedia.com.au
JOSH PYKE: THURSDAY 23, GOOD GOD SMALL CLUB JEREMY HARRISON, BADJANE, TANYA O’GORMAN, THE OSBORNS, TREV & BAZ, RUSSELL NEAL: TERRY HILLS TAVERN JIMEOIN: Cessnock Supporters Club JIVE BOMBERS: Club Liverpool JJ DUO: Coogee Bay Htl, Beach Bar KEITH ARMITAGE: Castle Hill RSL KIRK BURGESS: Picton Htl KISSCHASY: The Gaelic LATE SHIFT: 3 Wise Monkeys LILY DIOR: 505, 280 Cleveland St Surry Hills LOVE THAT HAT: Warners at the Bay LUKE DIXON: Woolwich Pier Hotel MATT JONES: PJ Gallaghers Drummoyne MERV & WOODY: Club Umina MICHAEL STEWART, RESIDENT DJs: Jacksons on George MICK JONES: The Mark Hotel MISS BURLESQUE AUSTRALIA 2011: Enmore Theatre NATALIE GAUCI: Coogee Diggers Natasha-Eloise Andrade, JAMIE DEAKIN: Mars Hill Café NICKY KURTA DUO: Northies Cronulla Htl NOT LIKE HORSE, + SUPPORTS: Landsdowne Hotel OLD MAN CROW: Excelsior Glebe ONE HIT WONDERS: PJ Gallaghers Parramatta ORGAN IN ROCK, AMBER LAWRENCE, PAUL COSTA: Lizottes, Newcastle
PAUL SUN, ALEX COMPTON, Ian Bloxsom, DIDI MUDIGDO: Chatswood Presbyterian Church PETE GELZINNIS: South Leagues Club PHASE III: Belmont 16ft Sailing Club PINK SHOW, KATY PERRY SHOW: Mt Pritchard Community Club POP FICTION: Canterbury Hurlstone Park RSL POWDERFINGER SHOW: Helensburgh Workers PUGSLEY BUZZARD BAND: CAMELOT LOUNGE RAPTURE: St George Motor Boat Club RATTLE & HUM-U2 SHOW: Penrith RSL, Castle Lounge REBECCA JOHNSON BAND: Dee Why RSL REMIXES: Kingswood Sports Club REPLIKA ROCK TRIO: Kro Bar, East Leagues Club, Bondi Junction RITUAL feat…, TEZZ, SMS, LA DOODA PEEDA, ZOMG! KITTENS!, DISCO VOLANTE, + more: Candys Apartment ROB HENRY: Northies Cronulla HtlSport Bar ROB HENRY: Observer Htl - Afternoon ROCK MONSTER: Carousel Inn Rooty Hill ROCK SHOW, + SPECIAL GUESTS: Valve Bar and Venue, Tempe (Afternoon) Rolling Stoned: Macarthur Tavern Campbelltown RUBBER BULLET: Exchange Htl Newcastle RUNCH & THE VILLES, DJ SONIC: Belmore Htl Newcastle SARAH PATON: Rydges Parramatta
SCOTT DONALDSON: Kirribilli Htl SHANE FLEW, TIM WEDDE: Dee Why RSL SIMPLY THE BEST DUO: Kareela Golf Club SKY BAR: Watershed Htl Darling Harbour SKYSCRAPER: Riverwood Inn SKYZ THE LIMIT: Penrith Gaels SOUNDSTREAM: Brighton RSL STELLAR: Mean Fiddler Htl, Woolshed STEVE EDMONDS BAND: Dicey Rileys STEVE HUNTER BAND: SIMA SUPERHEAVYWEIGHTS, + SPECIAL GUESTS: Brass Monkey TALK IT UP: Crows Nest Htl TERRY BATU: Corrimal Leagues THE AUSTRALIAN PINK SHOW, KATY PERRY SHOW: Mounties Club Mt Pritchard THE BEATELS: East Leagues THE BEATELS: Eastern Suburbs Legion Club THE GOYLES: Wollongong Bowling THE SHIVON DUO: The Belvedere Htl THE SLOWDOWNS: Old Fitzroy Theatre Woolloomooloo THIRSTY MERC: Rooty Hill RSL TOUR DE FORCE: Pittwater RSL TRILOGY: Paddy Maguires Haymarket TWO MINDS TRIO: Mercantile Htl UK COUNTDOWN, DOORS EXPERIENCE
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TRIBUTE SHOW: Gosford RSL VENOM EYES, DEADLY VISIONS, SQUARE ONE, MERRYWEATHER: Valve Bar and Venue, Tempe WAGONS, THE GIN CLUB, MATT BANHAM: Annandale Htl WHAM!, MAT CANT, DJ JAMES TAYLOR, ADAM BOZZETTO: World Bar Kings X WILDCATZ: Bull & Bush
SUN 26
24 STRINGS: Warners at the Bay ACE KARAOKE: Brighton RSL ANDY MAMMERS: Harbord Beach Htl BIG BEN: Richmond Club CAPTAIN OBVIOUS & THE UNPREDICTABLES: Town Hall Htl, Newtown CHARLIE MAYFAIR: The Northern Hotel Byron Bay CHRISTIE LAMB DUO: Campbelltown Catholic Club - Caf‚ Samba DAN CRESTANI, JEREMY HARRISON, SPIKE THOMPSON, TIM WALKER, PAUL B WILDE, RUSSELL NEAL: Sapphire Lounge Kings Cross DAN LAWRENCE: Observer Htl - Afternoon DAVE WHITE DUO: Northies Cronulla Htl DAVID AGIUS DUO: Ettamogah Htl - Afternoon DEEPEND, DJ JAMES TAYLOR, ALLEY OOP, MAN JAZZ: World Bar Kings X DJ BRYNSTAR: Watershed Htl Darling Harbour DOLLSHAY: Mean Fiddler Htl - Sub Bar DRIVE, PETER NORTHCOTE, BRYDON STACE: Bridge Htl Rozelle
ELEVATION-U2 SHOW: Orient Htl EMMA BARLOW, ADAM FISHER, ANDY GRIFFITH, RUSSELL NEAL, + GUESTS: Palm Court Htl EYE OF THE TIGER: Riverstone Sportsman Htl FINN: Home Tavern Htl, Wagga Wagga FRANKY & JOHNNY: Belmont 16ft Sailing Club FUNKSTAR: 3 Wise Monkeys GANGA GIRI: Tone, Sydney GLENN WHITEHALL DUO: Mounties Club Mt Pritchard GORDON: Campbelltown Catholic Club HARBOUR MASTERS: Ravesi’s on Bondi HEATH BURDELL: Ettamogah Htl HELPFUL KITCHEN GODS, BOXING WITH GHOSTS, PARTICLES, HISKE, Dr Delites: Gladstone Htl HORNET: The Mark Hotel JJ DUO: Gymea Bay Hotel KILL APPEAL, ROSE FROM RUINS, YOUNG BLOOD: Annandale Htl (afternoon) KIRK BURGESS: Collaroy Beach Club KIRK BURGESS DUO: Peachtree Htl Penrith LAWRENCE BAKER: Coogee Bay Htl, Beach Bar LISA RICHARDS (USA), 49 GOODBYES, MARK LUCAS: Petersham Bowling Club LJ: Waverley Bowling Club MARK HOPPER: Artichoke Café Manly MARTY STEWART: Hurstville RSL Club MATT JONES DUO: PJ’s Irish Pub Parramatta MICHAEL PETER: The Belvedere Htl MONKS OF COOL: Mars Hill Café NATALIE GAUCI: Brass Monkey NEILL BOURKE: O’Malleys Kings X NICKY KURTA: Novotel - Brewery Bar, Olympic Park PENNY & THE MYSTICS: Heathcote Hotel RAY ALLDRIDGE TRIO: Clarendon Hotel, Surry Hills ROB HENRY, MIKE BENNETT: Observer Htl ROCK SHOW, DISCO IS DEAD, FOUL HAWK, SUNSHINE LAUN-
DRY, GIBERT GANTRY UNION: Valve Bar and Venue, Tempe Rolling Stoned: The Bradford Hotel SAM & JAMIE SHOW: Northies Cronulla HtlSport Bar SATELLITE V: Marrickville Bowling Club SCHOOL OF ROCK: Valve Bar and Venue, Tempe (Afternoon) SHANE FLEW: Kamma Wine Bar, Neutral Bay SISTER JANE, MIKE NOGA, MATTHEW J TOW: Annandale Htl SQUID SQUAD, ALLOTA PRESSURE, THE BOTANICS: Landsdowne Hotel STEVE EDMONDS BAND: Towradgi Beach Htl STORMCELLAR: Royal Htl Bondi SYDNEY BLUES SOCIETY: Botany View Htl TALL TIMBRE: Penrith RSL, Castle Lounge TED NASH: Collingwood Htl THIRSTY MERC: Australian Brewery Hotel TOM T DUO: Opera Bar TWO MINDS: Mosman RSL WARDS XPRESS: Tudor Court Htl, Redfern YUM: Kro Bar, East Leagues Club, Bondi Junction ZOLTAN: Woolloomooloo Bay Htl
MON 27
ANDY MAMMERS: Opera Bar
EVAN LOHNING QUARTET: 505, 280 Cleveland St Surry Hills MATT PRICE: Novotel - Brewery Bar, Olympic Park RENEE JONAS, CHARLI, RUSSELL NEAL, + GUESTS: Orange Grove Htl SARAH PATON: Observer Htl THE BELLE HAVENS, CHRIS BROOKES, MASSIMO PRESTI, HELMUT UHLMANN, + GUESTS: Kellys on King Newtown THE THINGOS: Sandringham Htl downstairs
CLUB GUIDE TUE 21
5@5: The Beresford Hotel A DIFFERENT TIME: THE EXPEDITION PHOTOGRAPHS OF HERBERT BASEDOW: Cockatoo Island DAVE JORY, PETER BERNER, PAUL FRIDGY HANCOCK: Cargo Bar JOSHUA RADIN: The Enmore Theatre POKER TUESDAYS: Soho POP PANIC!: DAN BOMBINGS: World Bar STRIP FEAT EX BNO: The Gaelic TELL ME TELL ME: AUSTRALIAN AND KOREAN ART 1976 - 2011: National Art School TRIVIA TUESDAYS: Royal George Hotel
WED 22
A DIFFERENT TIME: THE EXPEDITION PHOTOGRAPHS OF HERBERT BASEDOW: Cockatoo Island DARRYL BEATON: Civic Underground DICE NIGHT: Green Park Hotel LADIES NIGHTL EMME JAY: Bank Hotel Newtown MENAGE A TROIS: Cargo Bar STUDENT NIGHT: DJ MOUSSA: Marlborough Hotel
TELL ME TELL ME: AUSTRALIAN AND KOREAN ART 1976 - 2011: National Art School THE WALL: GLOVECATS, TONGUE IN MOO, POP THE HATCH: World Bar THE RIOT HOUSE: MOSHPIT COMEDY: The Gaelic THE STUDY FEAT GOLDEN FEAR: The Gaelic
TELL ME TELL ME: AUSTRALIAN AND KOREAN ART 1976 2011: National Art School THURSDAYS I’M IN LOVE: Cargo Bar UNIPACKERS: Home Nightclub VELVET UNDERGROUND: Civic Hotel
THUR 23 FRI 24
A DIFFERENT TIME: THE EXPEDITION PHOTOGRAPHS OF HERBERT BASEDOW: Cockatoo Island BETH YEN: Hugos FLAUNT THURSDAYS: Sapphire Lounge INHALE: Eleven IVY LIVE: The Ivy JOSH PYKE: GoodGod Small Club LIVE @ THE PARK: Green Park Hotel PROPAGANDA: PROPAGANDA DJS: World Bar THE MEDICS: The Gaelic THURSDAYS I’M IN LOVE: Cargo Bar RADIANT LIVE: HALAL, HOW ARE YOU?: FBi Social RICK BALL: THE SIMPLE DIFFICULTY AND THE MOUNT EYRE LANDSCAPE PRIZE: Rex-Livingstone Projects
ADDICTION FRIDAYS: The Bank AFTER DINNER FUNK VIBES: Green Park Hotel A DIFFERENT TIME: THE EXPEDITION PHOTOGRAPHS OF HERBERT BASEDOW: Cockatoo Island BINGETHINKERS ALBUM LAUNCH: FBi Social BRING ON THE WEEKEND!: DJ MATTY ROBERTS: The Watershed Hotel CLUB FUTURE BEAT: Kings Cross Hotel DJ SHAMUS, DJ JEDDY ROWLAND, DJ ANDERS HITCHCOCK: Cohibar FALCONA FRIDAYS: FALCONA AGENCY DJS Kit & Kaboodle FRIDAY FRY UP: GAY PARIS, THE JACKS, CHERRYWOOD, LA MANCHA NEGRA: GoodGod Small Club FLYING HIGH PARTY: Bristol Arms Retro Hotel GAME ON FRIDAYS: Bristol Arms Retro Hotel
21 - 27JUNE 2011 GET DOWN IN THE CLUB: Soho Kings Cross GLOVECATS, MURDA 1, TYPHONIC: Chinese Laundry GOOD FRIDAYS: BANGERS N’ MASH, KID CROOKES, DOCEY DOE: Cargo Bar GRAZ: Hugos JACE DISGRACE, NUKEWOOD, JACK BAILEY AND MORE: Soho Kings Cross JEREMY KIRSCHNER, RICHIE CARTNER: Bank Hotel Newtown JOHNNY VINYL, STRIKE: Cruise Bar KATCHAFIRE: The Enmore Theatre KITTY GLITTER: Civic Hotel LIQUID SKY: VENGEANCE ALBUM LAUNCH Candys Apartment LOVE GUNS: The Ivy MUM: DZ DEATHRAYS, CHICKS WHO LOVE GUNS World Bar OH MY!: WOLF: Home The Venue PLUS ONE: Civic Underground PURPLE SNEAKERS PRESENTS: LAST NIGHT: COMPUTER WANTS ME DEAD The Gaelic SIDEWAYS FRIDAYS: Club 77 SOCIAL NETWORK: DJS AMY MEREDITH, MINOR DELAY, CUNNING HUNTERS: Le Panic
SUBLIME: Home TELL ME TELL ME: AUSTRALIAN AND KOREAN ART 1976 2011: National Art School THE GRATES, GUINEAFOWL, BIG SCARY: Oxford Art Factory ULTIMATE PARTY VENUE: RESIDENTS: Jacksons on George WE GOT SOUL: Tone YO GRITO: RESIDENTS: GoodGod Small Club ZAIA: MC SUGA SHANE, DJ SEFU AND MORE: Space Nightclub
DJ LOK, BEN KELLY: Bank Hotel Newtown DJ MATTY ROBERTS, DJ BRYNSTAR: Cohibar DOLSO: Hugos FAKE: DJs G-WIZARD, TROY T, DEF ROK, EKO, LILO: Establishment FLYING HIGH PARTY: Bristol Arms Retro Hotel HOMEMADE: Home JAMROCK: 202 Broadway KITTY KITTY BANG BANGL MISS T, ALISON WONDERLAND, CASSETTE, GABBY: Kit & Kaboodle MADE IN JAPAN, THE TSARS, THE FUTURE PREHISTORIC: FBi Social MASIF SATURDAYS: TONESHIFTERZ, BIOWEAPON, STEVE HILL AND MORE: Space Nightclub MICHAEL STEWART: Jacksons on George MISS BURLESQUE AUSTRALIA 2011: The Enmore Theatre POOL CLUB SATURDAY NIGHTS: The Ivy PURE HOUSE DJS: Water Bar PURE IVY SATURDAYS: The Ivy RITUAL: DJS TEEZ, SMS, LA DOODA PEEDA, ZOMG! KITTENS!, DISCO VOLANTE: Candy’s Apartment SASHA LE MONNIER: Kings Cross Hotel
SAT 25
A DIFFERENT TIME: THE EXPEDITION PHOTOGRAPHS OF HERBERT BASEDOW: Cockatoo Island ADULT DISCO: Civic Hotel BIG VILLIAGE: BIG THINGS VOLUME ONE ALBUM LAUNCH: TUKA, DAILY MEDS, LOOSE CHANGE AND MORE: Tone BLOW: MDJS ALWAYS NEVER, PRETTY YOUNG THINGS, PASH N HOP, DETEKTIVES: Le Panic BRIAN MCKNIGHT: The Metro Theatre CASA, DANNY PRESTI, SIMON NEAL, BEN VICKERS, THE JACKEL: Cruise Bar DAVE EASTGATE, ERIC HUTTON, DESH: Happy Endings
thurs
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BINGETHINKERS
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ALBUM LAUNCH
8pm $15
23 Jun
satur day
MADE IN JAPAN
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HALAL, HOW ARE YOU? THE FIGHTING LEAGUE TV COLOURS 8pm SWEET TEETH $10
24 Jun
ith
8pm $15
A DIFFERENT TIME: THE EXPEDITION PHOTOGRAPHS OF HERBERT BASEDOW: Cockatoo Island TELL ME TELL ME: AUSTRALIAN AND KOREAN ART 1976 - 2011: National Art School
A DIFFERENT TIME: THE EXPEDITION PHOTOGRAPHS OF HERBERT BASEDOW: Cockatoo Island AFTERNOON DJS: DJ BRYNSTAR: The Watershed Hotel APHRODISIAC INDUSTRY NIGHT: Jacksons on George
VS
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MON 27
SUN 26
LESSTALK RADIANT LIVE DREAM DAMAGE ts
BERESFORD SUNDAY DJS: Beresford Hotel DEEPEND: DJS JAMES TAYLOR, ALLEY OOP!, MAN JAZZ: World Bar DJ SHANE MACKENZIE: Cohibar EASY SUNDAYS: MO HAT MO PLAY, ADAM BOZZETTO, MR BELVEDERE AND MORE: Kit & Kaboodle GANGA GIRI: Tone SAPPHIRE SUNDAYS: DIM SLM, DJ TROY T: Sapphire Lounge SNEAKYS SUNDAYS: Hugos SPICE: Fakeclub SUNDAYS CRUZ LOUNGE: Green Park Hotel SUNDAY LOUNGE SESSIONS: Cargo Bar SUN SETS: DJ STRIKE: Cruise Bar TELL ME TELL ME: AUSTRALIAN AND KOREAN ART 1976 - 2011: National Art School THE SUNDAY CLUB: The Bank
SATURDAY NIGHT DELUXE: Water Bar SATURDAY SOUND SYSTEMS: Green Park Hotel SATURDAYS AT CARGO: INSTITUTE OF MUSIC: Cargo Bar SCOTT PULLEN AND THE GROOVE ACADEMY (LIVE): Water Bar SKYBAR: The Watershed Hotel SWEET TABOO: Civic Underground TEENAGE TERROR SQUAD: Oxford Art Factory TELL ME TELL ME: AUSTRALIAN AND KOREAN ART 1976 2011: National Art School THE SUIT: JO FUNK, STEVE S, CHARLIE BROWN AND MORE: Sapphire Lounge TITTSWORTH, KID KENOBI, SURECUT KIDS: Chinese Laundry ULTIMATE PARTY VENUE: RESIDENTS: Jacksons on George WHAM!: MAT CANT: World Bar
RAINMAN & CALSKI ELLESQUIRE 25 Jun
LATE NIGHT SOCIAL FROM MIDNIGHT
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THE DRUM MEDIA 21 JUNE 2011 • 73 •
BROUGHT TO YOU BY
BEHIND THE LINES WITH MICHAEL SMITH BTL@STREETPRESS.COM.AU
VALE MARTIN RUSHENT 4 June saw British producer Martin Rushent pass away of an as yet unspecified cause, aged 62. Rushent, born in north London in July 1948, learned his trade in the late ‘60s working as a tape operator on tracks by T. Rex and the original Fleetwood Mac among others with producer Tony Visconti, eventually becoming head engineer at Advision Studios before becoming in-house engineer at United Artists Records where he produced the first three albums by both The Stranglers and Buzzcocks. By the end of the ‘70s, Rushent had set up his own studio, Genetic Sound, in Streatley in Berkshire where he was by then living, and it was there he produced albums by everyone from Shirley Bassey to Joy Division, including the Human League’s huge breakthrough album, Dare. He even produced, in 1988, an album for Australia’s Do-Re-Mi, The Happiest Place In Town. Work pressures and clinical depression sadly cost him both his family and studio but by the turn of the millennium he had built another studio in his new home and was producing acts like The Pipettes, Does It Offend You, Yeah? and French band Poney Express. At the time of his death, he was working on the 30th anniversary edition of Dare.
FROM W.A. TO SWEDEN WA metal band Chaos Divine called in Swedish metal guru Jens Borgen to mix and master their latest album, The Human Condition (Firestarter), at Fascination Street Studios in Orebro, Sweden. Drum asked the band what they felt Borgen brought to the table. “We are all big fans of Jens’ work. He has mixed and mastered some truly epic albums (Opeth – Watershed, Katatonia – The Great Cold Distance, Symphony X – Paradise Lost to name a few) that we all note as hugely influential to our sound. When we went out looking for a mix/master engineer we all really wanted to try our luck in asking him to work on our record. After emailing him and showing him the demo material, he really dug our sound and was excited to be working on the record. When we got back his first mix we were all extremely pleased with the result and felt that his treatment on the production really gave the songs the atmosphere and shine that we had previously lacked. The benefit was that we didn’t have to worry about trying to argue over little things ourselves during the mixing stage and we could just let Jens take it and do his thing and we trusted his judgement. It’s always a positive thing to have an outside pair of ears to come in and assess the record from their point of view using their creativity, just so that the songs don’t get over-worked by the band members.” Produced by the band, The Human Condition was engineered and recorded at Underground Studios in Perth by Simon Mitchell.
SOUND BYTES The Living End took themselves into 301 Studios Byron Bay and singer, songwriter and guitarist Chris Cheney’s own Red Door Sounds Studio in Collingwood in Melbourne to record their new album, The Ending Is Just The Beginning Repeated, due late July, with producer Nick DiDia (Bruce Springsteen, Rage Against The Machine), then called in Brendan O’Brien (Pearl Jam, Powderfinger, AC/DC), who of course mixed their 2008 White Noise album, to mix it. The Kooks called in Tony Hoffer (Beck, Air, Belle & Sebastian) to produce their third album, Junk Of The Heart, due for local release September, recording it in The Sound Factory in Los Angeles and Sarm Studios in London.
BY GEORGE, HE’S GOT IT! BRENT BALINSKI SPOKE TO DEATH METAL DRUMMING WIZ GEORGE KOLLIAS ABOUT THE NEED FOR SPEED.
Nicko McBrain from Iron Maiden, I was getting more into fast [drumming] like Igor Cavalera, Paul Bostaph, Dave Lombardo. Then to more extreme [music] like Sean Reinert from Death and Cynic, Richard Christy from Death.”
T
Apart from his major musical endeavours as a clinician and a member of Nile, Kollias is working on an updated exposition of the topics covered on his first instructional DVD, as well as planning a solo record some time in the future. “It’s very close to the old one and the only difference is going to be it’s more updated and the bar’s going to be raised a little bit more,” he explains. “It will be based on the last DVD, but everything’s going to be upgraded, like it’ll be High Definition quality, better sound, four different drum sets, so it’s going to be much better.
here are extreme metal drummers, and then there’s George Kollias. In a genre where fans seem to worship beats per minute as a kind of indicator of a drummer’s talent, Kollias is one of the very quickest, able to squeeze more double bass-drum notes into a bar of music than might seem possible. Drumming nuts who measure prowess by the height of a metronome’s setting worship Kollias, probably the drumming equivalent of a man that can run 100m in under 10 seconds. The Greek guru shot to prominence when he joined South Carolina death metal eccentrics and Egypt enthusiasts Nile, gaining an audience for his fiendish speed on strangely-named tracks such as Chapter Of Obeisance Before Giving Breath To The Inert One In The Presence Of The Crescent Shaped Horns. Kollias is, of course, a musician first, but his impossible briskness as a skinsman is unmissable. For the uneducated, a quick listen to Nile or a clip from his 2008 instructional DVD, Intense Metal Drumming, will make you hear and see what all the fuss is about. “Yeah, unfortunately some people are really focused on speed and everything and my name is also connected to fast drumming. Of course, it doesn’t bother me. It’s a great thing!” says Kollias, his tone raising toward the end of this sentence, possibly in connection to the excitement that the idea of speed can bring. “They watch my DVD and they’re interested in what I’m doing, but again – for speed. So I feel a bit trapped [laughs]. And I think it’s okay... Of course I like to play different styles as well, but this is what I do and I have accepted that years ago.” Kollias – an in-demand educator worldwide and an instructor at Athens’ Modern Music School conservatory – is out here for a run of drum clinics, and will return in August for Melbourne’s Australian Ultimate Drummers Weekend.
And how does one progress as a metal drummer? How did it happen for Kollias? Of course if you ask, he’ll mention – as he does in Intense Metal Drumming – that discipline is a huge part of it. Kollias was introduced to the dark side of rock by more mainstream acts before deciding to go heavier, faster and harder, as he sought greater challenges as a young drummer. “Again, a lot of playing along to albums, that was it. I started practising six or seven years after I first started playing drums,” says Kollias. “When I started playing there were drummers like Lars Ulrich from Metallica,
MOOG – SLIM PHATTY
In 2006, after slightly fading from the limelight for a few years, the company gave the public a look into Little Phatty, their way of once again tipping the scales and shaking the competition. The first limited run had only 1200 units and, coupling hand-built quality with the traditional Moog sound at a very low price, extreme demand was created. The Slim Phatty is nearly identical in every way to the acclaimed Little Phatty. It’s a an analog to the bone, monophonic sound machine featuring two blending, 4 shaped oscillators, a filter envelope generator, a volume envelope generator, a four destination modulation bus, a classic Moog low-pass “ladder” filter, an inbuilt, multiple setting arpeggiator, glide control, a 4 shaped LFO and an overload central with a single control VCA.
Veteran UK prog rockers Yes release their first new studio album in a decade, We Can Fly, in July. The band, now fronted by singer Benoit David, is reuniting with producer Trevor Horn (Jeff Beck, Rod Stewart, Frankie Goes To Hollywood), whose old offsider in The Buggles (and of course Drama-era Yes), Geoff Downes, is back behind the Yes keyboards. Tim Weidner engineered and mixed the album in London. November last year, Italian five-piece belladonna went into Stagg Street Studios in Los Angeles – where some of the classic albums by Patti Smith and Tom Waits have been recorded – set and recorded to tape, totally live, no click tracks, their new album, And There Was Light, with engineer Mike Tacci, who recorded Metallica’s Black Album and producer Alex Elena (ex-Bruce Dickinson drummer).
The biggest selling point, besides the fact that it is so easily affordable and the unit’s history, is the incredibly innovative feature that will allow you to link multiple Slim Phatty units up via MIDI to create an out of this world Poly Chain, unlocking a hidden power within! If this wasn’t enough, it comes with 100 individual presets to get your brain melting faster than staring directly into split atoms flying at your face.
Fans have been enjoying Kollias’ solo compositions and performances on YouTube for some time. What’s his plan for an album’s worth of songs on which he plays everything? “I’ve had this project I’ve been doing for years... Some of them are on demos or I post them online,” says Kollias of cuts such as Aeons Of Burning Galaxies, which is nearly up to 900,000 views on YouTube. “So now I will be recording my first solo album. It’s all for fun anyway. Since I don’t want to compose anything for Nile – because my guitar playing is not high-skilled.” He puts no estimate on an album’s release, but it’ll keep him occupied when he’s not educating other drummers, writing/performing with Nile or working on his two current favourite practice disciplines: grooving along to R and B or working through Ted Reed’s Syncopation. The Athenian prodigy may have made his name in the world of technical death metal, but man can’t survive on blastbeats alone. George Kollias’ drum clinic takes place Monday at The Basement Circular Quay.
The model that was reviewed may not have had an over-the-moon kind of cosmetic appeal, with its bare metal skin showing without any kind of flashy paint job or stylish graphics, but you will find that it really doesn’t matter because the Louder will catch your attention in its own little way.
Moog, quite easily the most recognisable name in the deep, strange world of synthesisers, has been making quality products ever since the 1960s and has quite possibly been the sole initiator of every innovative bit of music due to its innovative nature. In modern times the synthesiser is becoming more and more popular, making its mark more so than ever.
In addition to the sound-creating components, the Phatty series also has an external audio input, two separate outputs (one for headphones), USB connectivity, MIDI inputs and outputs, a fine tuning option which can be turned on and off and CV inputs for filter, volume and pitch control. In short this is one synthesiser that should make rivaling companies shiver in utter fear as if a giant tsunami was moments away from pulverising their factories… And still, the Phatty might have more power.
• 74 • THE DRUM MEDIA 21 JUNE 2011
“I’m really, really excited about these clinics because I’ll have my friend Dave Haley [of Psycroptic] with me also. It will be like most of my clinics: I’m going to be playing songs – some Nile songs, some of my songs – some solos and of course there will be a lot of drum talk!” says Kollias, who becomes excited again, this time at the prospect of sharing a little of his vast knowledge of the mechanics, techniques and dedication required to play extreme metal at the highest level. “I mean everybody’s coming to the clinics, drum geeks, and they’ll ask questions about what we do, how we do it, so it’ll be the educational half of the show.”
“With Hudson music we had some conversations, I think they are ready for January 2012, that’s the plan so far. Maybe another month later, who knows? But I think it will be January 2012.”
MOOG - SLIM PHATTY The Slim Phatty’s connections are all located on the rear of the unit as it also has a rack mountable option to save space in the studio and save effort when transporting, making this the ultimate synthesiser for anybody who is starting out or very serious about their sounds. Ryan Mortimer Supplied by Mortstar; available from awave.com.au.
TOYROOM EFFECTS – THE LOUDER A lot of guitarists are going to find the Louder from Toyroom Effects to be a kind of godsend. This is a completely understandable statement once having been in the presence of the holy grail that is the Louder.
While Toyroom is currently working on graphics for the Louder, they do offer a full customisation of the aesthetics – after all, it is what they do – but in all honesty (in accordance to the reviewer’s personal preference), the pedal doesn’t need to be covered in glitter and be painted with a cute zebra in the top corner. It’s very easy to embrace the custom-shop look of this pedal, which will begin to look even cooler in old age. After all, it is a look that most indie artists or Jack White fans tend to seek. The “rough around the edges” look of this model really adds to the entire experience of using a Toyroom Pedal – they always tend to look as modified as they sound! So what, the Louder doesn’t have a thousand knobs or switches and a million flashing lights that will confuse you with the view from a skyscraper and there’s a very good reason why… The Louder doesn’t need any of that! It is a simple concept that has been turned into a great sounding idea with an intelligent and logical approach. Ryan Mortimer Supplied by Toyroom Effects; available from toyroomguitareffects.com.
The first thing you will notice is that this pedal looks like it could withstand Armageddon singlehandedly. The casing is strong and stable and the footswitch seems as if it could withstand Andre The Giant jumping on it with a horse under each arm! The key points about this pedal are that it is completely hand-wired, features a true-bypass and is incredibly clean sounding, a rarity in any boost pedal. The perfect place for this pedal is in your solo passage and once it’s there, you will immediately see the inner beauty.
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TOYROOM EFFECTS - THE LOUDER
Don Bartley s
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THE DRUM MEDIA 21 JUNE 2011 • 75 •
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• 76 • THE DRUM MEDIA 21 JUNE 2011
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OPEN TUNE/SLIDE GUITAR MASTERCLASS SAT 9th JULY BONDI PAVILION 11am – 1pm with Brendan Gallagher, Karma County front man and author of international best seller The Open Tuning Chord Book For Guitar. In a career spanning over thirty years he has played on recordings for artists like David Bowie, Jimmy Little and Kylie Minogue. Brendan’s class covers aspects of his distinctive guitar style, how open tuning has impacted upon his songwriting and shares some insiders’ tips and insights in to the world of open tune and slide guitar. TIX $27.50 incl GST contact djoldbrendo@mac.com more info at www.brendangallagher.com.au
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Print & Online Classifieds
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$1
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Spaces available now. Specialized tuition from Don Hopkins (Big Wheel, Captain Matchbox). Teaching piano since 1985. Individual sessions. Improvisation, piano technique, theory. Songwriting skills. Beginners to advanced. Get to where you want to be. donhopkins@ me.com 0425201870 iFlogID: 12377
SINGING LESSONS - MODERN VOCAL Singing & Songwriting Lessons - Rock/ Pop/Indie/R’n’B/Punk. Signed artist with 10 years experience. Recorded over 100 times. Pay per lesson - no contracts. Lessons can be either at Gordon music school rooms or in Wahroonga. Beginners through to experienced singers welcome. 1hr lessons only $50. Also open in school/uni holidays. Call AJ on 0448-080-619.
iFlogID: 13593
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iFlogID: 13569
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iFlogID: 13555
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SINGING LESSONS
MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with a variety or artists and strives to offer quality & creative Music Videos. Visit www.immersionimagery. com email info@immersionimagery. com iFlogID: 13825
MUSICIANS AVAILABLE BASS PLAYER
Singing lessons in a positive environment with a highly experienced and professional singer/songwriter. Lessons tailored to suit individual needs. www.realvoice.net.au for more details. Inner West, Rosanna 0431 157 622. iFlogID: 13701
SINGING-LESSONS-THAT>>ROCK<<
Bass player looking for a band and/or regular jam. Have been playing a bit under 18 months. Committed, reliable and keen to learn. Sydney (Hills/West). Email: scather@hotmail.com iFlogID: 13691
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
Your voice has the ability to sing at the Audioslave/ Muse/ Aretha/ YeahYeahYeahs level because of Design. Pick any singer you like and you can sing as good using this relaxed technique. Microphone-recording-songwritingtechniques Beginners to advanced Newtown 0405-044-513 iFlogID: 13846
SLIDE GUITAR TUITION: All styles from Duane Allman and Ben Harper to Blind Willie Johnson and Son House. tel. John 0431953178
POP AND ROCK DRUMMER FOR HIRE! Experienced drummer available for covers work. Pop, Rock and light funk. Good gear and transport. Lets have some fun! Jez- 0414 800 255 iFlogID: 13770
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: 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
VOCAL TUITION for students having problems with pitch, placement and breathing. tel. John 0431953178 iFlogID: 13525
VOICE LESSONS
GUITARIST 18 year old guitar player looking to form Rock N’ Roll band. Influences: Guns N’ Roses, Aerosmith, Led Zeppelin, New York Dolls. Preferably in South. Call Tom on 0401722767. iFlogID: 13358
GUITARIST / DRUMMER / SINGER 10+ yrs experience. I am available for gigs short/long term. age 24. don’t have to be paid gigs. gimme a call. 0402937011. hellojoshgraham @ gmail.com iFlogID: 13950
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
Internationally Acclaimed available for Gigs Session. m: 0431 404 800 w: www.dannyjohn.org e: danny@dannyjohn.org
Guitarist
iFlogID: 13898
Sing with the TONE, POWER, CONTROL and RANGE you’ve always wanted! Achieve natural breath support & dispel vocal mysteries. The Deva Method, developed by Hollywood Celebrity Voice Coach Jeannie Deva, will unlock your voice and develop your unique sound. SPECIAL OFFER: For a limited time, get your initial 30min consultation FREE - valued at $30. Contact - Certified Voice Instructor of The Deva Method® Maureen Longo ph:0402007453 devavoicesydney@optusnet. com.au www.jeanniedeva.com iFlogID: 13875
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 iFlogID: 13215
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 iFlogID: 13368
Kontrol Productions is a highly professional production company that specializes in the production of music video’s. We ensure that our products are of the highest industry standards. For enquiries www.kontrolproductions. com iFlogID: 13827
SONG WRITER singer/songwriter seeks members to collaborate with write songs maybe form an originals band. written over 170 songs check me out on myspace www.myspace.com/1roni all songs by me. contact roni 0468712826 iFlogID: 13910
MUSICIANS WANTED
Guitarist singer songwriter seeks collaborators to form band. Influences: The National, Band of Horses, Arcade Fire, Ryan Adams, Wilco. Prefer age 30+ yrs. Call Charlie: 0404 084 425
Bass player wanted for Jazz trio playing 50’s/60’s bop. Initially wanting to jam with a view to becoming a working trio. Located Inner West. Rob: 0411 291564
guitarists looking to form creative rock band, must want to create originals and play live and begin recording please contact at samheidke@hotmail. com if interested
Bass player wanted for Led Zeppelin covers/originals band. Gosford area. Originals are heavy, melodic & riff orientated. Bass chops, pro rig, transport. Contact: scottm@y7mail.com
iFlogID: 13823
iFlogID: 13709
LEAD SINGER - COVERS/ ROCK
LETS START A BAND!!!
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: 13928
21 yr old multi-instrumentalist seeks serious collaborators in the inner sydney area to write, gig and record original material. I like Radiohead, The Beatles, Pixies, TVOTR, Deerhunter and Neil Young. Text or call Fletcher 0431 722 647. iFlogID: 13882
Passionate lead guitar, bass and drums required to back rock chick AIMEE FRANCIS. She has just moved to Sydney after touring the US & UK and releasing her debut LP. Supported the likes of Pat Benatar & Steel Panther & played venues including The Viper Room and Key Club. Head to www.aimeefrancis.com for songs and more info. Email aimeefrancisbookings@gmail. com with a recent photo & bio. iFlogID: 13806
SECOND GUITARIST/OR SYNTH second guitarist or synth player wanted- guitarist must have sounds and previous band exp we cover tool ,stp ,the cure ,u2, depeche mode ,pink floyd, and many others ,rehearse once a week friendly environment 0417044497 Singer/Guitarist looking for musicians/ singers to jam/play Soft Rock, 70-80s with. Bass, Drums, Keyboard, Guitar, singers etc. I have rehearsal space in Botany and sound sytem. Contact Ian, 0414351100 iFlogID: 13866
SINGER we are looking for a versatile singer male or female that has the confidence to be out front and can handle singing some tool , soundgarden ,the cure ,police ,u2, depeche mode and many others and some originals and add their own flair to the songs so this band would not suit a karoake singer ,we rehearse once a week and enjoy a fun friendly environment while maintaining a proffessional attitude, 0417044497 iFlogID: 13837
SOCIAL MUSO’SWANTED Cronulla. Mature aged musos wanted for regular jams on a social basis (not about the money) but don’t mind the occasional gig if it comes along. Just playing for the love of it ring warren 95440169 iFlogID: 13904
Untalented Libertines/BlocParty/SexPistols inspired singer/songwriter/ guitarist seeks bandmates who are also inspired by these bands, willing to practice, prefer making originals rather than covers & who are easygoing. Inner West/Sydney, How bout it?
BASS PLAYER Bass Guitarist required for pop/rock Band/Show with Album on iTunes. Paid peformances booked. Professional Musician with good gear and professional experience. Mosman area. Phone Geoff at Extraordinary Entertainment on 99691179.
New Dynamic 60’s concept show looking for M/F 35 yr old-45 yr old lead guitarist, bass player and drummer, experience is a must.Must be a fan and appreciate the music & era. Rehersals are in the Eastern Suburbs 1-2 times a week MUST be reliable with OWN transport. Look forward hearing from you please call 0434 435 337 / 0420 511 187 iFlogID: 13952
iFlogID: 13829
iFlogID: 13211
VOODOO NEEDELS Bass Player wanted. 15 songs to completion. Must have good gear and transport. Rock based along the lines of QOTSA, DOORS, BRMC. Please contact Patrice 0421741665 or Alex 0420423219 for more details and demos. myspace.com/voodooneedels iFlogID: 13575
DRUMMER DRUMMER for stoner rock. Infl: Kyuss, Fu manchu, early Sabbath jamming every other weekend. Call: 0409923954. iFlogID: 13673
DRUMMER WANTED
iFlogID: 13605
Bass Player needed for a Punk Rock, 90’s inspired band based in Sydney. We’re loud, dirty and obnoxious - Similar to the likes of Mudhoney & L7. Call Nat - 0406727076 iFlogID: 13759
BASS PLAYER WANTED \M/
New band currently jamming & writing a set, influences metal, punk, hardcore & power groove. White Zombie, The Haunted, Satyricon, Terror, Sepultura etc. But open to ideas. Writing input. Have Guitarist & Drummer already. Based around Lower North Shore & Manly. Jake 0402539280 iFlogID: 13809
SINGER
SINGER WANTED FOR SYDNEY GRUNGE BAND
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
30yr old lead guitarist seeking singer to form Rock band, covers & originals. Hoping to rehearse on a weekly basis and eventually play gigs. Contact Paul, 4774 0085 or 0402746733
Less than 24 years old please. influences: Silverchair, Nirvana, AIC, Sabbath etc Contact Daniel on 0403 885 433 for more info and demos.
iFlogID: 13407
Agent backed working Rock Band www.2 -Shots.com need a guitarist with great rhythm/lead ability. The right person can gig upto twice a weekend and rehearse once a week at hornsby. iFlogID: 13736
DARK SEXY GUITARIST WANTED
For a band that is creating dark sexy ballads very much with a Nick Cave feel. You must have the desire to play differing styles ranging from blues, country, jazz, rock, sea shanties and rock and roll in order to form a truly original sound. Your influences should be varied, BAD SEEDS, Sarah Blasko, Tom Waits, Dresden dolls, Rolling stones, Frank Sinatra, Elvis... the ability to not over play is essential. Rehearsal inner west. tom 0411 874 673 iFlogID: 13902
GUITARIST WANTED ‘2 Rude: A Tribute to Ska Show’.. Think British Beat,Bad Manners,Madness,The Specials. If your 30+yrs want to have some fun play a few shows,rehearse sunday arvo’s. Please call Mark 0432 350 215 iFlogID: 13831
LEAD GUITARIST NEEDED!!! We are an original alternative rock band looking for a lead guitarist. In order to fit in you will need to have an array of effects and also good gear. Professional attitude a must. Must be aged between 25yrs - 35yrs. Rehearsals weekly. Please no time wasters. Serious musicians only. To check some of our stuff go to http://www.myspace. com/yoyodiablotheband or call 0404 267 155 to have a chat. iFlogID: 13753
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: 13839
BANDS WANTED FOR VENUE
BASS,LEAD GUITARIST & DRUMMER
BASS PLAYER WANTED ‘2 Rude: A Tribute to Ska Show’.. Think British Beat,Bad Manners,Madness,The Specials. If your 30+yrs want to have some fun play a few shows,rehearse sunday arvo’s. Please call Mark 0432 350 215
We are currently running original bands in this venue. It is located in the eastern suburbs. We are looking at building up fri and sat nights using local and inner city acts.Excellent room accoustics,engineer and top quailty PA supplied.It does’nt get any better than this! Send contact details with music link to rix@netspace.net.au. iFlogID: 13859
iFlogID: 13755
Covers band with difference. Bon Jovi, Kings of Leon, Pink. Experienced live performer. 2-3 gigs per month. Commitment and strong vocals Email resume to Craig.Dow@syd.com. au Backed by agency with gigs. www. agent69.com.au
iFlogID: 13790
BANDS
iFlogID: 13728
GUITARIST
iFlogID: 13432
Drummer wanted for Sydney rock band. Currently recording and gigging. Music video scheduled for August. Prefer aged from 19 to 25. For info contact Manager, Mark, on 0407 453 466 or at markmontgomery@live.com. au. Listen to the band at: http://www. myspace.com/ramshackleau. iFlogID: 13960
DRUMMER WANTED we are looking for a drummer we play covers from tool .stp .the police ,cure, depeche mode,soundgarden ,u2 ,the pixies,and many others and also do some originals we rehearse weekly ,we are easy go get along with and enjoy having fun but have a profesional attitude to music, 0417044497 iFlogID: 13835
FUNK/SOUL DRUMMER WANTED We have experienced bass, keys, guitar and singer, and need a talented drummer for our original funk/acid jazz/soul band project. Experience and professionalism a must. Rehearsals northern beaches. Influences are Jamiroquai, EWF, B N Heavies, Steely Dan, and similar. Interested ?? email pscottman@yahoo.com.au with your details. 1st audition Sun 26 June. iFlogID: 13977
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 iFlogID: 13483
The Net Of Being post metal ambient instrumental isis inspired band looking for textural guitarist or synth player.rehearse at ashfield,own studio, no costs involved, gigs lined up,call 0401056876 iFlogID: 13720
WANTED GUITARIST & VOCALIST To finish lineup for a new sydney band. no set style, but heavy rock and Funk influences are a plus. our influences include anything from RATM-RHCP. Call either Ed- 0403103906 or Benny0423511750 iFlogID: 13738
KEYBOARD KEYBOARD PLAYER WANTED ‘2 Rude: A Tribute to Ska Show’.. Think British Beat,Bad Manners,Madness,The Specials. If your 30+yrs want to have some fun play a few shows,rehearse sunday arvo’s. Please call Mark 0432 350 215 iFlogID: 13833
INDIE-POP DRUMMER WANTED HI THERE! HOW ARE YOU? WE’RE LOOKING FOR AN EXPERIENCED DRUMMER IN THEIR 20’S FOR SYDNEY BASED (INNER WEST) INDIE POP BAND. THINK THE LATEST METRONOMY ALBUM FOR STYLE REFERENCE. SYNTH CLEAN GUITAR POP. MUST HAVE OWN KIT AND TRANSPORT. WE LOOK FORWARD TO MEETING YOU! CALL 0402937011 OR EMAIL HELLOJOSHGRAHAM @ GMAIL.COM iFlogID: 13947
Tortured Willow seeking innovative Drummer with passion for blues/roots/ rock music. Soon to release E.P. Looking to gig at venues/festivals around sydney and beyond. Experienced, 25-40ish, good gear, easy going, open to ideas. Interested? Contact Jordan 0411 451 976. www.revebnation.com/ torturedwillow iFlogID: 13930
Metal/visual kei band needs keys/ synth player to complete lineup. Influences include Disturbed, Evanescence, the GazettE, and more. Preferred age 18-25, at least intermediate playing level. Contact dragonlugia@hotmail. com for more info. iFlogID: 13906
SYNTH GUY OR GAL WANTED HI, WE NEED A SYNTH PLAYER IN THEIR 20’S FOR OUR SYDNEY BASED INDIE POP PROJECT. STYLE: THINK METRONOMY’S LATEST ALBUM. HOOKY INDIE POP. LETS HAVE A JAM AND A BEER. CALL 0402937011 HELLOJOSHGRAHAM @GMAIL.COM iFlogID: 13956
we need a piano/ keys player big nick cave influence, inner west rehearsal. iFlogID: 13065
iFlogID: 13145
iFlogID: 13646
Attractive Female Backing Vocalist wanted for exciting pop-rock Band/ Show with Album on iTunes. Melodic voice, professional experience, reliable Singer. Phone Geoff now at Extraordinary Entertainment: 99691179 for an Audition. Mosman. iFlogID: 13792
CAN YOU SING?!!
South West Sydney Hard Rock band looking for a lead singer, aged 16-19. Influences include Guns N’ Roses, Skid Row and Motley Crue. Contact Stefan on 0401340314 iFlogID: 13615
The Net Of Being ambient instrumental outfit from sydney needs textrural female vocalist and synth keyboard or synth guitar player. call 0401056876, www.reverbnation. com/thenetofbeing iFlogID: 13886
VOCALIST & GUITARIST To finish lineup for a new sydney band. No set style, but heavy rock and funk influences are a plus. Our influences include anything from RATM to RHCP call either Benny- 0423511750 or Ed0403103906 iFlogID: 13740
The Cleftomaniacs, the enthusiastic 25-member a cappella choir who brought you the most recent Sydney A Cappella Festival, invite new members (especially those lovely tenor & bass blokes). Eclectic repertoire from Sting to classical polyphony to gospel and we love to gig! Rehearsals school term Thursday evenings in Waterloo. Contact Catherine 02 9388 7010 / 0414 517 010 / flittie@iinet.net.au iFlogID: 13239
Female harmony singer Sheryl Crow/ Sharon Corr type to gig originals with singer/songwriter. Album recording in October. Music style Neil Finn - catchy pop songs Ph: Andy 0438648545 Sydney’s North Shore iFlogID: 13783
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
I’m looking for a female singer to collaborate on an electronic project. Influences: The xx, Lia Ices, Gang Gang Dance, Glasser Call Ben on 0420 316 874 or email benlib.is@gmail.com iFlogID: 13842
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
NIRVANA TRIBUTE Sydney based, agent backed NIRVANA TRIBUTE SHOW require a singer. Experience and own transport required, ability to play guitar a bonus but not necassary. All Paid gigs. Must be aged between 18 - 40yrs. Please send your details to brotherbooth@gmail.com iFlogID: 13848
Rock singer wanted. Vocal style: Who, Zeppelin, Purple. High energy, great rock songs. If interested, email: walrusblues@hotmail.com iFlogID: 13634
ROCK SINGERS!!!!!
Sydney Based Rock/Prog rock band auditioning for kick ass front man. Must have incredible vocal abilities, professional attitude & song writing abilities. Email gasentertainment@hotmail.com for further details & audition times. iFlogID: 13958
SINGER SONGWRITER WANTED
Female singer songwriter wanted to complete songs. Electronic down tempo grooves. Along the lines of Dido, Morcheeba, All Saints Email: s_tait@tpg.com.au iFlogID: 13639
VOCALS HEAVY, GROOVE, HARDCORE
New band currently jamming & writing a set, influences metal, punk, hardcore & power groove. Open to ideas for vocals but may suit Rob Zombie/White Zombie, The Haunted, Danzig type stylings. Writing input. Have Guitarist & Drummer already. Based around Manly & Lower North Shore. Jake 0402539280 iFlogID: 13813
VOODOO NEEDELS Male lead vocalist. 15 songs close to completion. Ability to contribute to writing process e plus. Rock based along the lines QOTSA, DOORS, BRMC. Please contact Patrice 0421741665 or Alex 0420423219 for more details and demos myspace.com/voodooneedels iFlogID: 13573
YOUNG MALE R&B SINGERS Looking for male R&B singers, age1830, interested in forming an R&Bgroup in Sydney 0422259451 iFlogID: 13757
SERVICES GRAPHIC DESIGN Full Colour Band Posters @ Amazing Prices 100 A4 full colour on Gloss = $40 100 A3 full colour on Plain = $50 100 A3 full colour on Gloss = $80 Go to WWW.BLACKSTAR.COM.AU for a full price list iFlogID: 13768
Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Logos, Hosting and 5xemail addresses and much more! Contact info@ bizwebsites.com.au or see www. bizwebsites.com.au iFlogID: 13864
Limited Edition mens tees and hoodies with a sense of humour. All hand-screened and numbered. monstrositystore.com iFlogID: 13611
OTHER EARPLUGS FOR MUSICIANS Protect your hearing with custom moulded earplugs designed to reduce the level of sound without adversely affecting the frequency response of the music. Choose between 10,15 and 25dB attenuation. Fitted by professional audiologist, by appointment only. Ph 9387 3599 iFlogID: 11697
Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Hosting and 5xemail addresses and much more! Contact info@bizwebsites.com.au or see www.bizwebsites. com.au. iFlogID: 13862
GIG AND BAND PHOTOGRAPHY Gig photography, tour photography, band publicity & portrait shots. Reasonable rates & friendly service. Robert 0438 02 72 21
OTHER Brand new Band needs musicans and singers iFlogID: 13675
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!
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: 13636
iFlogID: 13743
Free online and print classifieds Book now, visit iflog.com.au
iFlogID: 13011
RISE HIGH COMMUNICATIONS
- Resumes Your Resume is your first impression We insure that your first impression is your best! We assist you to put your best foot forward and to secure that interview leading to the job of your dreams. Using our exclusive process we tailor your resume focusing on the future and what you have to offer your next employer. We will get the best from you to create your professionally written unique resume. We will then prepare your resume and deliver it to your home within 5 working days. Your resume will be professionally printed and ready to be sent to prospective employers or taken to your next interview. Take that next step today and call 043 800 4444 or email us at www.risehighcommunications.com.au www.risehighcommunicatrions. com iFlogID: 13583
TATTOO Monstrosity Dreadlocks, Sydney. Dreads and maintenance special: All service $30 per hour. Professional, guaranteed service. Kings Cross. Call 0421356410 iFlogID: 13613
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
GUITAR TUITION BY MAL EASTICK Guitar tuition customised to the individual-all levels. Blues, rock, theory, equipment & tone my specialities. 37yrs professional experience in Tuition, gigging, recording, production, songwriting, arrangements, the enjoyment of music & improving your best. Central suburban Sydney location. Phone: 0407 461 093 Email: mal@ maleastick.com iFlog: 13988
GUITAR LESSONS BEGINNERS-$25HR 1xFREE-LESSON guarantied guitar playing in days not years taking the frustration out of learning. Music CD’s teaching tools supplied. teaching guitar 10years + SMS 0405 044 513 iFlogID: 13975
SHARE ACCOMMODATION AVAILABLE
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
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SOME ITEMSSOME ARE ONE - OTHERS ARE ONE NOTNOT AVAILABLE ATAT ALL PLEASE CALL STORE AVAILABILITY - ONE ITEM PER CUSTOMER ITEMSPER ARESTORE ONE PER STORE - OTHERS AREONLY! ONE ONLY! AVAILABLE ALLSTORES STORES --PLEASE CALL STORE FORFOR AVAILABILITY - ONE ITEM PER CUSTOMER THE RRP IS THE RECOMMENDED RETAIL PRICE SET BY THE AUSTRALIAN DISTRIBUTOR OF THE PRODUCT AND MAY NOT HAVE NECESSARILY BEEN SOLD AT THIS PRICE POINT IN THE PAST OR SOLD IN THE FUTURE. ALL PRICES WERE CURRENT AT THE TIME OF PRINTING JUNE 2011. WE CANNOT BE HELD RESPONSIBLE FOR PRICE RISES OR REDUCTIONS AFTER THIS DATE. WE RESERVE THE RIGHT TO CORRECT ANY MISPRINTS. STOCK SUBJECT TO AVAILABILITY. SOME STOCKS ARE LIMITED.