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THE DRUM MEDIA 28 JUNE 2011 • 3 •


PRESENTED BY ELEFANT TRAKS, NEW WORLD ARTISTS, TRIPLE J AND STREET PRESS AUSTRALIA

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• 4 • THE DRUM MEDIA 28 JUNE 2011


THE DRUM MEDIA 28 JUNE 2011 • 5 •


THE DRUM MEDIA 28 JUNE 2011 • 7 •


AUSTRALIAN PREMIERE

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PLAYER PIANO MEMORY TAPES The hyphenate sometimes known as Weird Tapes, Memory Cassette, AdyHawke or plain old Dayve Hawke is set to release his second long-player as Memory Tapes. The former Hail Social leader, and current resident of New Jersey, Hawke follows up his blog-adored Seek Magic debut with the soon-to-be-adored-beyond-the-blogosphere Player Piano. Recorded at home, as always, Player Piano finds Hawke largely eschewing modern beats in favour of influences as far flung as The Kinks, modern R&B, ‘50s doo wop, kosmische and Aphex Twin.

PLAYER PIANO IS OUT JULY 1 THROUGH INERTIA

POWERED BY STREET PRESS AUSTRALIA


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THE DRUM MEDIA 28 JUNE 2011 • 11 •


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• 12 • THE DRUM MEDIA 28 JUNE 2011


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THE DRUM MEDIA 28 JUNE 2011 • 13 •


COMING SOON

WEDNESDAY 29TH JUNE

TIN SPARROW EP LAUNCH + Charlie Mayfair + Boats of Berlin THURSDAY 30TH JUNE

CARAVANA SUN

SINGLE LAUNCH + Andy Kelly + Toys of Counter Culture FRIDAY 1ST JULY

MICAH P HINSON AND THE PIONEER SABOTEURS (USA) + Myles Mayo + Major Chord

SATURDAY 2ND JULY

ROSE OF YORK + PAX + Sarah Paton

SUNDAY 3RD JULY

QUASIMODO + Mississippi Shakedown

WEDNESDAY 6TH JULY

JAMES BLUNDELL & CATHERINE BRITT THURSDAY 7TH JULY

OLD MAN RIVER + Gabrielle & Cameron

(Dead Letter Chorus) + Patrick James

Saturday 8 July Dragon Saturday 9 July Johnny Cash Tribute Tuesday 12 July Little Johnny-The Movie 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 Saturday 30 July The Last Waltz Revival Thursday 4 August Diesel Friday 5 August Kira Puru Saturday 6 August Mr Percival Wednesday 10 August Panda Band Thursday 11 August Matt Corby Friday 12 August Ray Beadle Saturday 13 August James Taylor Tribute

COOGE E SAT JULY 9

TRIPLE SHOT OF ORIGINAL ROCK

3 LOCAL ORIGINAL BANDS FOR $10 @ DOOR

THE REVELLERS + FIRE TO THE HAYSTACK + CROWS FEAT FRI JULY 15

VARIETY BASH FUND RAISER FEATURING:

SOPHIE KATINIS & PLANET GROOVE & NATHAN FOLEY Tix & info at www.planetgroove.biz/band-faq/charity-fundraiser.html SAT JULY 16

SARAH MCLEOD SAT JULY 30 MON AUG 1

‘LITTLE JOHNNY’

ADVANCED FILM SCREENING WITH LIVE INTRODUCTION BY KEVIN ‘BLOODY’ WILSON

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 28 JUNE 2011

Pete Murray Skipping Girl Vinegar (album launch)

Kristina Olsen & Anatoli Torjinski

STEVE KILBEY & RICKY MAYMI

THE SNOWDROPPERS

Band Bookings

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 1ST JULY Fri 22/07 The Strides + Uncle Jed Sat 23/07 The Sins Single Launch + The Glamma Rays + The Pork Collective SAT 2ND JULY Sat 8/08 Café Of The Gate Of Salvation With guest Paul Capsis (US) Fri 29/07 (Cello) Last Waltz Revival + Jim Conway’s Little Wheel Sat 30/07 Sarah McLeod Tue 16/08 THU 7TH JULY Kevin ‘Bloody’ Wilson Fri 19/08 (THE CHURCH) Songlines Thur 25/08 (BRIAN JONESTOWN MASSACRE) After The Goldrush Tribute + JILL & ALSY (THE TRIFFIDS) + RICHARD LANE (THE STEMS) Fri 26/08 Jeff Martin & Terapai Richmond Wed 31/08 SAT 9TH JULY The Amazing Rhythm Aces (US) Fri 9/09 Otis Redding 70th Birthday Celebration + GABRIELLE & CAMERON + PATRICK JAMES w/ Johnny G & The E Types

WED 29TH JUNE

USE ME.

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• 18 • THE DRUM MEDIA 28 JUNE 2011

FRIDAY 29TH JULY

DIESEL

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SATURDAY 13TH AUGUST

DOORS ALIVE THE CONCERT JIM MORRISON’S 40TH ANNIVERSARY SMOKE & SILVER + THE VOLTS

09/07 OURBOROS/SRDL AFTERPARTY 14/07 CROSSROADS LAUNCH NIGHT 16/07 MAJOR RAISER 20/07 THE STUDY + RIOT HOUSE 22/07 LAST NIGHT 23/07 NOWHERE 28/07 FOSTER THE PEOPLE 30/07 VTRIBE + BUD SPELLS

RAY BEADLE

COMING SOON

ALVIN YOUNGBLOOD HART (US)

FRIDAY 8TH JULY

SARAH MCLEOD THURSDAY 28TH JULY

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


- Wed 29th -

Gallery Burlesque Taking Over

OPENING

WEEKEND

SYDNEY'S NEWEST LIVE MUSIC VENUE

- Thur 30th -

Julia Why, Day Ravies (ex Driftwood Drones / Prayer Circle),

Cautious Horses & Shannon Cranko

- Fri 1st -

Twist and Shout Movie Themes

FRI 1ST JULY URTHBOY DJ KATO DJ TONI TONI LEE

$15 on the door, Doors open 8pm

- Sat 2nd -

Rabbit Hole Launch Party feat RUFUS, Hailer and The Khans + Rabbit Hole DJ's

COMING UP

INFUSION THE SNOW DROPPERS STRANGE TALK Be the first to know about upcoming gigs upstairsberesford.com.au/subscribe

www.tone.net.au facebook.com/tonesydney twitter.com/tonevenue

16 Wentworh Avenue, Surry Hills NSW 2010 (02) 9287 6440

level 1, 354 bourke st surry hills upstairs beresford.com.au THE DRUM MEDIA 28 JUNE 2011 • 19 •


Contents Issue No. 1066 Tuesday 28 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 3Things Hip Hop Approach looks to show how you can change the world. 22 Mailbag – your say on what floats your boat or makes the red mist descend, plus Backlash and Frontlash. 24

GOSSLING

The News – just like it says, with tours, releases and more.

26

It’s more fun doing it together for Seeker Lover Keeper.

32

The Black Angels enjoy a more mid-tempo range instead of a rushed situation.

34

Micah P Hinson likes things being big. 36 Everyone loves monkeys according to Skipping Girl Vinegar. Damn straight.

37

It has got to be playful and it’s got to be a risk and it has to feel a little unsafe for Clare Bowditch and Lanie Lane. 38 Syndicate were told to use it if they’ve got it – and they did. 40

GEMINI

GOSSLING MEANS WAR Fresh off a national tour opening for Oh Mercy, Melbourne singer/ songwriter Helen Croome, AKA Gossling, is on the road on her first headlining tour of the year promoting her new single, War, and Wednesday night, that tour brings her to GoodGod, where she’ll be joined by Ryan Meeking and Boy Outside. We have two double passes to the show to give away.

DEREB IS ETHIOPIAN SOUL

40

Fireballs go heavy on the Tabasco.

42

It’s hard for Don Rimini to produce while he’s touring.

42

Dereb The Ambassador does music from the golden era. 42 The Glimmer classify themselves as a real band now. 42 On The Record reviews new release albums and singles from Gillian Welch, Kaiser Chiefs, Wiley 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

He’s been doing a few gigs around town already but this Friday night, Dereb Desalegn, AKA Dereb The Ambassador, finally officially launches his debut self-titled album at GoodGod. You can read all about the making of the album and Desalgn’s own rediscovery of the vibrant legacy of ‘60s Ethiopian soul that led to it in this week’s issue of Drum. Right here we have three double passes to the launch to give away, and winners can pick up a copy each of the album when they get to the venue.

With The Breakdown on holidays, Kris Swales captures the zeitgeist in Paradigm Shift. 50

YOU WANNA BE DUBSTEP INSPECTED?

Cyclone gives you urban and R&B news in OG Flavas.

50

Saturday night, SubterrAgency is proud to present an Inspected Records Night at The Gaelic in Surry Hills, featuring exclusive sets from two of the label’s most respected international artists – the label’s boss Inspector Dubplate, who began his career as the middle man between artists and their potential audience, promoting tracks through his YouTube channel and introducing the public to artists such as Datsik and Borgore; and Gemini AKA Thomas Slinger, who made his mark on the dubstep scene with his debut EP, Blue, on – where else? – Inspected Recordings. Supported by some of Sydney’s best up and coming acts, including Doctor Werewolf, Creeptown, Bruxism and more, the night kicks off 11pm and goes till all hours, and we have three double passes to give away.

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

DOWN THE RABBIT HOLE Saturday night sees Tone in Surry Hills play host to a new monthly club night. To be held the first Saturday of every month, Rabbit Hole will be bringing punters the best up and coming bands, among them on launch night a band called Rufus, fused with the grooves of its resident and guest DJs. Rabbit Hole will also feature Sydney’s only late show, with the headliner kicking off at 2am, so while all the other clubs will be slowing down and shutting their doors Rabbit Hole will just be kicking in. We have two double passes to the opening night launch party to give away.

SHANIA: IN HER OWN WORDS The world may know Shania Twain as a country pop hit-making singer/ songwriter who’s sold millions of records, and a crossover artist whose image and independent approach to marketing her music has made her one of the best-selling female artists across half a dozen genres. There’s a whole other story though about the woman all this stuff happened to, and in her autobiography, From This Moment On, Twain takes readers through the events that have made her who she is. We have four Shania Twain packs, each including a copy of her memoir and a greatest hits CD, to give away.

BIG ROCK, BIG HAIR Funny how, despite the fact that hair in rock bands began to descend towards the floor or out to the skies in the 1960s, it’s the ‘80s that became forever known as the days of big hair rock. It was the time of Poison and Winger, Extreme and Survivor, Queen and Warrant, and Warner has gathered together 34 examples of hair rock’s finest, the aforementioned among them, in a two-CD set of big rock anthems titled Big Hair Rox, and we have four copies, with accompanying bandana in which you can wrap your own big hair, to give away. 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 28 JUNE 2011

Thievery Corporation are able to look into a whole other universe.

twitter.com/drummedia

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

Go south as you enter Pedro Manoy’s Swamp Shack. 51 James McGalliard gives us tales from the mother country in London Fields. 52 The electronica’s a little leftfield and the soul’s futuristic with Huwston giving us Bebop & Rocksteady. 52

FRONT ROW This Week In Arts plans your u pcoming days; Cultural Cringe looks at the week’s arts news and whispers; Darryn Weller prepares to step into Julian Assange’s shoes in the new play Stainless Steel Rat. 53 Ben Winspear discusses his role in Bell Shakespeare’s Faustus; Made You Look talks Picasso and Sydney Uni. 54 Playwright Dorian Mode attacks the current crop of reality TV series with Feedem Fighters. 55 Novelist Julia Leigh talks about her much admired debut film, Sleeping Beauty.

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


OPENING

WEEKEND

SYDNEY'S NEWEST LIVE MUSIC VENUE

SAT 2ND JULY WORLD'S END PRESS DJ MAGIC HAPPENS DJ CASSETTE

$15 on the door, Doors open 7pm

COMING UP KATALYST VAN SHE

Be the first to know about upcoming gigs upstairsberesford.com.au/subscribe

level 1, 354 bourke st surry hills upstairs beresford.com.au THE DRUM MEDIA 28 JUNE 2011 • 21 •


front

LINE

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

STONE SIBLINGS DO IT AGAIN AT APRAS

NEWS FROM THE INDUSTRY WITH SCOTT FITZSIMONS

The APRA Awards were held last week, with Angus & Julia Stone completing the trifecta of acknowledgement alongside the industry-voted ARIA Awards and fan-voted Hottest 100. The sibling duo took out Song of the Year and Songwriters of the Year in a night which saw the standing ovation reserved for Paul Kelly after he received the Ted Albert Award for outstanding achievement. Performances were of emerging (usually) artists covering Song of the Year nominations, with highlights being Papa vs Pretty’s Big Jet Plane and Clare Bowditch’s Little Bird. The full list of winners:

BERESFORD OPENS, ANNOUNCED FULL DETAILS Full details of the Beresford Hotel have been revealed after it was announced through music newsletter Your Daily SPA that the venue would be becoming a music venue, essentially replacing the Surry Hills Excelsior Hotel in the process. With the venue – called Upstairs Beresford – modelled on “iconic New York City venues” and opening this Thursday (despite reports of flooding from the sprinkler systems last week), Urthboy is set to perform Friday, Olsen Vs LC Friday 8 July and Katalyst Saturday 9. Judging by these first bands it’s a step up in capacity and a shift towards dance/hip hop. With a capacity of 600 for live bands and 750 for a club or DJ night, Jam Music’s Director Jane English commented to The Front Line, “There will always be a mix of events available to us, the mix will change during the course of each year, but our focus is to establish Upstairs Beresford as a stomping ground in Sydney’s live music scene.” Jam Music is part of the Merivale group which, alongside this venture, has music interests in the form of the Good Vibrations festival and Ivy. The venue will be used for functions and clubs as well as live music, but English says the latter is the focus. “This is a new live music venue in Sydney and the calendar will be filled with live bands. As with any similar venue, other types of events will be held but essentially the focus is on live music. Every characteristic of the venue supports this, from the state of the art audio and lighting, to the stage and room set out, which is perfect for watching live performance, and of course, the artists’ dressing rooms offering creature comforts and ambience that outclass any comparable venue.” Much has been made of the venue’s sound system, stemming from Your Daily SPA’s interview with Merivale’s owner Justin Hemmes, who purchased the venue for $14 million last year. The system uses products sourced from “the most reputable and professional production manufacturers including D&B and Digidesign. The installation and tuning is overseen by Bruce Johnson, Oasis’s FOH audio operator among others… It’s the most important component of any live music venue. Sonically, bands need to feel good on stage and be confident that their fans are hearing them exactly how they intended.” The quality of amenities has been a big selling point for the room, with Hemmes stressing the improvement compared to the Excelsior. The initial press releases for the venue also follow this line, claiming, “Tiered booths overlooking a large stage and a dance floor designed for up-close viewing of artists. A den-like lounge at the rear features a stunning green onyx bar, a DJ booth and large sofas.” As far as the New York design goes, Beresford Upstairs claims “oversized herringbone timber panelling, black terrazzo stone floors and a striking colour palette”. Also in Surry Hills, the 150-capacity Excelsior Hotel, which Hemmes purchased earlier this year, after the Beresford’s development was under way, had become a staple most-nights-of-the-week venue in Sydney, picking up a lot of the trade the Hopetoun had left behind. That has since been converted into a Mexican restaurant and the music has ceased. Moving live music up the street to the Beresford, the room is quite obviously more state-of-the art with better amenities, but artists that may have headlined the 50/100 punter shows at the Excelsior will have to settle for support slots. “We want to support these bands as much as possible,” said English, “and the venue will provide a broader audience for these bands to be exposed to as supports on a larger bill so yes, we will be looking for bands that can pull 50-100 people as well as the headline acts.”

ANGUS & JULIA STONE. PIC: TONY MOTT

COLD CHISEL IN MASS RELEASE OF ARCHIVED MATERIAL Cold Chisel is claiming the “biggest archival release in Australian music history”, which will see 56 new and rare recordings and three hours of previously unreleased video footage available to fans 22 July. Deluxe remastered editions of all their albums are also included in the release. In a statement Jimmy Barnes said, “Listening to all of this music and watching all of this footage from the past has been amazing. There are songs and performances we’d completely forgotten about; there were times we said, ‘Did we really play that?’ Some tracks here we only ever played once or twice and there are demos of songs that turned into something else. It’s been a real trip through our past and reminded us that we were okay for a rock and roll band.” The unreleased material includes live tracks, B-sides and outtakes and will be released digitally only. The deluxe editions of the albums (studio and live) will be available physically.

POLITICIAN DIES AT GLASTONBURY A man found dead in a VIP toilet at British festival Glastonbury has been identified as Christopher Shale, the chairman of West Oxfordshire Conservative Association and friend of current Prime Minister David Cameron. Commenting on behalf of himself and his wife Samantha, Cameron said, “Sam and I were devastated to hear the news about Christopher. He was a great friend and has been a huge support over the last decade in West Oxfordshire. A big rock in my life has suddenly been rolled away. Christopher was one of the most truly generous people I’ve ever met – he was always giving to others, his time, his help, his enthusiasm and above all his love of life.” Police were investigating the cause of death but at time of deadline, it not had been revealed.

STUBHUB LOOKING TO LAUNCH IN AUSTRALIA Senior director of eBay-owned ticket on-selling website StubHub Glenn Lehrman has told music newsletter Your Daily SPA that they see Australia as an “attractive” market and will look to launch a presence here in the future. After the American company, which allows ticket holders to sporting and concert events to list their tickets for sale on the website, opened up their purchases to international buyers, he said that Australian customers were the biggest purchasers of tickets to American events. Saying “Australia is something we’re looking at”, they hope to have a presence here in the next two or three years. He said, “Australia is very attractive because like the States it is sport heavy and has a good concert base… and it has less regulation than other countries.” StubHub has had its fair share of disputes with Ticketmaster in the United States, but a secondary ticket market seems to have solidified its space. “I think they understand now that the secondary market will be there and have even purchases secondary sites themselves… It was a long process to get there,” said Lehrman. “Primary sellers have the right to sell tickets at whatever price… and we think you have the right to sell it at whatever price too.” He is likely to face competition

Song of the Year: Big Jet Plane, Angus & Julia Stone (Angus Stone/Julia Stone) Songwriter(s) of the Year: Angus & Julia Stone Breakthrough Songwriter: Megan Washington Most Played Australian Work: Seventeen, Jet (Chris Cester/Nic Cester/Cameron Muncey) International Work of the Year: Hey, Soul Sister, Train (Patrick Monahan/Amund Bjorklund/Espen Lind) Country Work of the Year: Little Bird, Kasey Chambers (Kasey Chambers) Blues & Roots Work of the Year: Close To You, John Butler Trio (John Butler) Urban Work of the Year: Who’s That Girl, Guy Sebastian feat. Eve (Guy Sebastian/Eve Jeffers) Dance Work of the Year: Free Fallin, Zoe Badwi (Amy Pearson/Cameron Denny/Paul Zala) Rock Work of the Year: Seventeen, Jet (Chris Cester/Nic Cester/Cameron Muncey) Most Played Australian Work Overseas: Highway To Hell, AC/DC (Angus Young/Malcolm Young/Ronald Scott) Ted Albert Award: Paul Kelly

in Australia, as the Moshtix CEO, Adam McArthur, has already commented to this column with regards to ticket on-selling websites, “Officially it’s not illegal, but in a lot of cases it contravenes the terms of sale” – that is, tickets are not allowed to be resold. “What we’re trying to stop is ticket buyers getting illegitimate tickets… What these sites can do is sell tickets that aren’t valid.” Lehrman admitted that invalid tickets are sometimes circulated, but according to their statistics it was .02 percent of cases. They also have systems to compensate fans for this. “We know that it takes times for consumer mindset to change,” he said. “Prices were high initially because of the low inventory… [but] when more people got interested there was more inventory and it means that tickets dropped… [It’s] what we call choice and access, at least you have that option.”

FRESHLY INKED Shock Records has scored a license to release the new record from Howling Bells. The label has an existing distribution deal with the label Cooking Vinyl but as is often seen on priority releases (The Prodigy, Groove Armada), Shock has brokered a deal with a proper license for the release and subsequently own the rights. Produced by The Killers’ Mark Stoermer, the record will be released 9 September. Last week Shock also announced that they’d inked a deal with cult indie-punk label No Sleep Records to be their exclusive Australian and New Zealand partner. The label is home to acts such as No Trigger and La Dispute. In a press release, No Sleep founder Chris Hansen said, “Australia comes in at number two in the most visited from territories on our webstore’s stats. Finally being able to expand the reach of our releases in Australia/New Zealand is an obvious decision and I am excited for our future together.” Metalcore favourites, who seem to grow in stature with every release, The Devil Wears Prada have signed a new worldwide deal (bar North America) with Roadrunner Records. Their fourth full-length record will also be released 9 September. Ball Park Music has signed to Stop Start Records (who’ve distribution through EMI) and also finished their album last week. The band’s management told The Front Line that the band has received offers from a number of labels, including majors. Tim Finn has signed with ABC Music for his new album due 26 August, The View Is Worth The Climb, ending a long partnership with EMI. Brisbane four-piece Holland, who have a deal with Sony, have released their debut single, No Control. Recoil v.o.r has signed a sponsorship deal with Peavey Amplifiers and Sennheiser in a worldwide deal. On the back of 2010 album, Will To Sin, the band has dates planned throughout August/September.

ADELE DOMINATES, LEADS INDIE CHARGE Not even the hype of Bon Iver’s self-titled second record (which debuted second while predecessor For Emma, Forever Ago re-entered at 48) could topple the highselling Adele this week, whose album 21 went triple platinum in the process. She took a clean sweep of the charts this week with her second single, Someone Like You, knocking LMFAO’s Party Rock Anthem off the number one spot after its ten-week run there. Adele’s also leading the independent charge into the top ten

music

• 22 • THE DRUM MEDIA 28 JUNE 2011

twitter.com/drummedia

albums, with Inertia distributing three of the titles. They distribute Remote Control (Adele first with 21 and ninth with 19) and Jagjaguwar (Bon Iver, second). City & Colour (Dine Alone through Shock) also held onto a top ten spot this week in sixth with Little Hell. Other album debuts this week came from Eminem’s new project Bad Meets Evil, whose album, Hell: The Sequel, is listed third and Pitbull’s Planet Pit, which managed fifth. They both beat The Grates who just missed out on a top ten spot with Secret Rituals claiming 11th. Simple Plan’s Get Your Heart On! (13) was ahead of Wynter Gordon’s With The Music I Die (25) and Owl City’s All Things Bright And Beautiful (33).

HOMEBAKE IMMORTALISE ROWLAND S HOWARD In announcing that 2011 will be dubbed ‘The Classic Edition’, Homebake organisers have announced that they will honour Rowland S Howard (who died shortly after cancelling his appearance at the 2009 festival due to ill health) by renaming the Hopetoun stage after him.

BIGSOUND ROLLS OUT THE ACTS The second announcement for Brisbane’s BigSound conference and showcase has been made, with a lineup of emerging and hype-ridden acts. The Getaway Plan, Horrorshow, Calling All Cars, Emma Louise, Eagle & The Worm, Busby Marou, Trial Kennedy, Evil Eddie, Last Dinosaurs, Adalita, Big Scary, The Adults (NZ), The Sheepdogs (Canada), Jonathan Boulet, DZ Deathrays, Bleeding Knees Club, Ball Park Music, The Medics, Avalanche City (NZ), Stonefield, Jinja Safari, Owl Eyes, Boy In A Box and Damn Dogs will perform while newly announced speakers include ARIA/PPCA’s Dan Rosen, BBC’s Jen Long (UK), Brian Winton of Foundations Mgt (US), Dave Shapiro of The Agency Group (US) and many more. The conference will take place Wednesday 7 to Friday 9 September across Brisbane’s Fortitude Valley. Tickets for BigSound Live will be available from 27 June.

SULTAN LEADS INDIGENOUS AWARDS Dan Sultan has been announced as the headliner for this year’s inaugural National Indigenous Music Awards, while Warumpi, Coloured Stone and No Fixed Address will also perform. This is the first year that the Darwin-based awards have taken a national focus under the guidance of MusicNT. MusicNT’s manager Mark Smith said in a statement, “MusicNT is excited to begin the transition to a national Indigenous music awards. It’s the opportunity to make this amazing event open and accessible to Indigenous musicians from across the country and we are grateful to have the support of the NT government behind us.” Nominations, open only to the industry, are open until 22 July through nima.musicnt. com.au. The awards will take place Friday 19 August.

INDUSTRY APP RELEASED The iPhone app for the Australasian Music Industry Directory (published by Street Press Australia, publishers of The Drum Media) has been released. Costing $24.99 through the iTunes store, the print edition is available through streetpress.com.au/store.


A YOUTH MOVEMENT FOR GLOBAL GOODNESS

A UGANDAN REFUGEE THAT FOUND HIP HOP IN HER NEW HOME, KILLAQUEENZ MC AND HOST OF 3THINGS’ HIP HOP APPROACH, KWEEN G, AND OXFAM YOUTH ENGAGEMENT COORDINATOR JESSICA BOYDEN SHOW CYCLONE HOW LITTLE THINGS CAN MAKE A BIG DIFFERENCE.

O

xfam Australia has recognised hip hop’s potential to empower and galvanise the young and marginalised globally. KillaQueenz’ Kween G (aka Gladys Namokoyi), herself a hip hop activist, will be hosting 3things’ Hip Hop Approach for Oxfam when it returns to Sydney. And it was hip hop that showed the Ugandan refugee that she could facilitate positive social change. “When I came to a certain age I realised, ‘Hang on a second – who knows what would have happened if my family never came here [to Australia], if we never had an opportunity to leave Uganda at the time?’” Namokoyi recalls. “So I said, ‘I want to do something with this opportunity.’ I don’t wanna just sit here and be like ‘Thanks’ and forget about Africa, forget about Uganda and where I came from.” Oxfam’s 3things campaign – touted as “a youth movement for global goodness” – encourages young people to join a wider dialogue on how to tackle global poverty, social justice and sustainability matters. The core message? Individuals can contribute to global change by committing to three things. Jessica Boyden, Oxfam Australia’s Youth Engagement Coordinator explains, “We’re trying to create this space for young people who wouldn’t really traditionally engage in global development issues.”

For its hip hop event, Oxfam has reached out to MCs, beatboxers, DJs, VJs and visual artists, who’ll all explore the 3things theme. Punters are able to participate by sharing their three things on a live mural or handycam. “At the event we’ll be asking everyone to think about the three things they can do to help change the world,” Boyden explains. “It’s just getting them to think about the small actions that they can take that can collectively make the world a better place.” Oxfam was overwhelmed by the response to the inaugural 3things’ Hip Hop Approach in Sydney last year. “We reached capacity [at the Oxford Art Factory] in the first hour or so that the doors were even open.” The 3things philosophy clearly resonated with the crowd, in addition to performer/ambassadors such as The Tongue. “I think it’s a community that are already quite vocal on social justice issues,” Boyden says, “so, from their perspective, it’s providing another outlet – and audience –

KWEEN G

JESSICA BOYDEN

for them. It’s been win-win.” Namokoyi, whose community work saw her named 2010’s Young Citizen of the Year by Marrickville Council, regards 3things’ Hip Hop Approach as a means for ‘conscious’ acts like her to redress the materialism of mainstream urban music. “It’s really good to see hip hop being used in a useful form for a change. It’s a great way to raise awareness among young people. I myself am very sensitive to social issues around the world – also it deals with poverty and stuff like that. Being a part of this event, I can share my own views and use it as a platform to engage people who wouldn’t normally think twice about the more serious issues that are happening in the world.” Namokoyi lists her three things in a blog on the campaign’s website – the wryest being to “abolish money”. Namokoyi arrived in Australia aged four, her father having been granted political asylum. Since the ‘60s Uganda has struggled with its colonial legacy, political turmoil, civil war and economic collapse. (Westerners often associate the country with the Lord’s Resistance Army and their abducted child soldiers.) Still, Australia meant huge cultural adjustments for little Namokoyi. “I

remember I had issues with the food. I only wanted African food. I didn’t want the McDonalds or anything like that!” She later discovered hip hop through her three older brothers – and began MCing. In 2000 Namokoyi befriended Desiree Lambey (Belizean Bombshell) while both were rehearsing as dancers for the Sydney Olympic Games. KillaQueenz was born. They’d bring an exciting female presence to Aussie hip hop. The duo’s acclaimed debut, Sistahood, a melting pot of hip hop, dancehall and electro, dropped two years ago with production from Katalyst, M-Phazes and Canada’s South Rakkas Crew. In the interim, Namokoyi pursued a broadcasting career, gaining employment at SBS Radio as well as temporarily presenting FBi’s Stolen Records. KillaQueenz are currently on hiatus – or, rather, in Lambey’s case, maternity leave – and so Namokoyi is gigging solo alongside DJ Bad Ezzy. She raps on Katalyst’s single, Ready To Drop, and is plotting a project with DCUP of We No Speak Americano renown. More significantly, Namokoyi recently became the first in her family to visit Uganda. She was amazed, not only by the country’s relative stability, but also its burgeoning music scene. “Things are great!” she enthuses. “I was able to record some tracks with some of the big artists

front

LINE who are there. There’s peace, there’s no roadblocks, no soldiers running the town... There’s still always political issues in any African country, but it’s very civil. I had a great time. I even plan on moving back there and building some kind of foundation, just with what I’ve been able to do here as well.” In Uganda Namokoyi learnt of The Bavubuka Foundation, established by Canadian hip hopper Babaluku (Silas Balabyekkubo). It runs music and arts programs for youth, with an emphasis on peacemaking. Then an orphanage worker she encountered was arranging for KRS-One to come over to conduct hip hop workshops. “I was just really shocked. I went, ‘What? KRS-One is coming here?’” The rap legend, who refuses to fly, intended to travel by sea, she explains with a laugh. Namokoyi attended some local concerts, too. “I was just surprised. I was like, this is the kind of music I love – maybe this is why I like hip hop so much, ‘cause I’m coming back to my country after twenty years and I’m in tune with the same thing. Nothing’s foreign here to me.” Hip hop has a socially-conscious heritage, dating back to classics like Melle Mel’s The Message. Nevertheless, in the mid-‘90s, bling-bling rap came to the fore. Younger listeners now equate hip hop with party music. “I find in Australia that people like commercial hip hop, [and] commercial R&B music, that doesn’t really have much to say but talk about sex and violence and stuff,” Namokoyi rues. Hip hop needs to rise to the challenges of today’s world. She admires Dead Prez, Nas and Damian Marley, who all instil their music with a message – substance. “It’s not about preaching,” she stresses. The much-hyped Odd Future are merely another “distraction”. “Let’s just stop listening to the bullshit and actually get to the real message now.” That’s 1thing. WHO: Kween G, VJ Spook, OziBatla, Dialectrix with Joe New and Plutonic Lab, Tuka, The Last Kinection, DJ Gabriel Clouston, plus beatboxers Rivals and LC Bea WHAT: 3Things’ Hip Hop Approach WHEN & WHERE: Thursday, Oxford Art Factory

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 28 JUNE 2011 • 23 •


YOUR SAY

LETTERS@DRUMMEDIA.COM.AU

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

WHO WAS THAT?

SSSSSSSSHHHHHH

Dear Drum,

Dear Drum,

What has happened to the good old MC? As in Master of Ceremonies. No, I’m not talking about the idiot with chest covered in bling and mohawk hairdo scratching records that should be thrown in the bin or rapping verbal diarrhoea for three hours. I’m talking about the person at a concert or music show (where there are two or more acts) who comes on stage to say something like, “Welcome to the show tonight, we have a big line up for you”, etc etc, and would actually introduce each act, then run on after the performance and say, “Keep that applause going,” etc and introduce the next act. That was the norm, not so long ago. It was expected and correct.

This is me calling out people who buy tickets to gigs, only to talk incessantly when it comes to show time and/ or stand there flicking through Facebook and Twitter on their phones. The latter is less obnoxious, I suppose, but both make no sense to me. I guess it might be a part of the ‘being seen’ scene - no interest whatsoever in what’s actually going on onstage, but a desire to be spotted at these gigs and considered a part of Sydney’s ever-growing hipster scene? It especially makes me sad when I see these types at sold out shows, because surely there are people who missed out on tickets who would have appreciated it much more. Frankly I just find it incredibly disrespectful to the performers and also other crowd members, who would rather hear their favourite musicians play their favourite songs than listen to your totally inane chatter about what you did on the weekend or what you’re going to do on the weekend or what some totally cute boy wrote on your Facebook status. News flash! No one cares.

Now when you go to a show, not only is there no MC, but in the case of a well-known act with supports, you won’t even know the name of the supports. So these poor bastards come on stage and have to introduce themselves or just start playing. How rude is that for management to do? It’s offensive to the performers and the audience. Both are treated with disrespect and what really gets me going is that no one gives a rat’s arse! Musos etc have no choice but to go on “cold” and the audience? What? Are they so jaded they can’t even see the unfairness of the “no need for introduction” mentality? What would it cost to ask the sound person to do a PA intro? Sweet F.A. is the answer. Isn’t it just common decency to introduce someone to a stranger when you first meet? So imagine facing an audience of strangers with no one to introduce you to them. Get your act together! Rex Havoc

STFU

Earlwood Can the MC wear a comedy bow tie, say that he’s here all week and encourage us to try the veal? – Ed

FRONTLASH

Epping People have been using Facebook and Twitter during gigs since live music existed? My god, how did I miss that? Those guys suing that other guy over the creation of Facebook haven’t got a leg to stand on: turns out it may have been invented before any of them were even born! – Ed

BACKLASH

ANGUS & JULIA STONE

HATERS

Credit where credit is due – the APRA award caps off a big year and a bit for them.

For those in the industry complaining about Angus & Julia Stone winning, well, maybe you should have voted for someone else then to win. Horse, bolted, etc.

THE CHASER APRA Awards hosts Chris Taylor and Andrew Hansen weren’t afraid to sink the slipper in and offer a few jibes during the night that were also funny. Makes a refreshing change from awards ceremonies where everything’s all “Aren’t we so great?”

SENSIBLE AWARDS ATTIRE It was cold the night of the APRAs and Drum was pleased to see people dressed for the occasion with jackets and scarves in attendance. So refreshing to not see people at an awards ceremony wearing something akin to a couple of Band-Aids and a bit of dental floss.

PUBLISHER Street Press Australia Pty Ltd

GROUP MANAGING EDITOR Andrew Mast

EDITOR Mark Neilsen

ASSOCIATE EDITORS Michael Smith, Scott Fitzsimons

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

CONTRIBUTING EDITOR Adam Curley

STAFF WRITER Bryget Chrisfield

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

• 24 • THE DRUM MEDIA 28 JUNE 2011

Of course this isn’t remotely new and has been happening for as long as live music has existed, but it needs to stop. Poor support acts get the worst of this too and it’s gotta be a bummer when they are probably already extremely nervous about performing to an unfamiliar crowd. So my suggestion: if you’re at a gig and feel the need to open your mouth and talk about banal rubbish, in the process ruining the concert experience for others, there is this handy invention. It’s a green sign on the top of a door that has a picture of a man running. Go towards that and come back in when you find your manners.

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Craig Pearce, Cyclone, Dan Condon, Daniel Johnson, Danielle O’Donohue, Fiona Cameron, Giselle Nguyen, Gloria Lewis, Huwston, Jamelle Wells, James d’Apice, James Dawson, Justin Grey, Katie Benson, Kris Swales, Lee Bemrose, Lauren Dillon, Liz Giuffre, Luke Monks, Mark Hebblewhite, Matt O’Neill, Paul Smith, Paz, Pedro Manoy, Rob Townsend, Robbie Lowe, Ross Clelland, Rod Hunt, Sam Fell, Sarah Petchell, Sasha Perera, Sebastian Skeet, Sevana Ohandjanian, Shane O’Donohue, Steve Bell, Tim Finney, Tom Hawking

PHOTOGRAPHERS Carine Thevenau, Chaz Webb, Cybele Malinowski, Jamie Williams, Josh Groom, Justin Malinowski, Kane Hibberd, Linda Heller-Salvador, Luke Eaton, Rod Hunt, Tony Mott

HAVE A LARF While we understand humour is a subjective thing, it seems there were some wowsers at the APRAs who were offended by a couple of the hosts’ remarks. I’m sure they could have turned the knife a bit more as those were gentle jibes in the grand scheme of things.

RE-INTERPRETATIONS While for the most part all of the re-interpretations of the Song of the Year nominees at the APRAs were pretty decent – despite the seemingly disparate artists and song – there was one that fell flat and unfortunately Drum wasn’t the only one thinking the same of this up and comer.

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

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THE DRUM MEDIA 28 JUNE 2011 • 25 •


NEWS@DRUMMEDIA.COM.AU Homebake will definitely be back on again this year. In fact the organisers are celebrating the much-loved festival’s 16th anniversary, dubbing this year’s Homebake Music, Film & Arts Festival The Classic Edition, and it’ll be happening Saturday 3 December in The Domain, tickets going on sale 9am Monday 15 August, with details up on the website late July. There’s also a new official Facebook page. The previously announced performance by American jazz bass player Paul Jackson AKA The Headhunter, at The Basement Circular Quay Wednesday 6 July, has

JOSH PYKE

A LITTLE BIRDY TOLD ME… THE HIVES been cancelled. The Hives’ concert has been moved to the Enmore Theatre from the Hordern, on the same day though, Thursday 28 July. If you’ve bought tickets for the Hordern, they’re valid for the ground floor. Refunds are available from point of purchase for those who desire them. While Van Dyke Parks will be on a plane home to California by now, Kinky Friedman has decided to hang back and put in one last and solo show this Saturday, at Petersham Bowling Club. Glasgow-born Irish rebel folk singer/songwriter Gary Og is heading over for his seventh Australian tour, which kicks off at the Cock ‘n’ Bull in Bondi Junction Thursday, Saturday and Sunday, the latter in the afternoon as he’s also playing Penrith Gaels that night. Oh Mercy have been tapped as The Vaccines’ special guests when the Londoners present their Splendour sideshows, the Sydney show happening at the Metro Theatre Tuesday 2 August. Oh Mercy are also supporting veteran Americans Steely Dan when they play Bimbadgen Winery in the Hunter Valley Saturday 22 October as part of their national A Day On The Green tour. It’s obvious Sydneysiders have been hanging out to see the legendary rappers Wu-Tang Clan return to a stage near them since they’ve already made their Enmore Theatre show Friday 5 August a total sell-out. A second and final Enmore Theatre show has been added for the night before, Thursday 4. Perth garage band The Growl is opening for Dananananaykroyd when the Scottish six-piece takes to the Annandale stage Friday 29 July, along with special guests DZ Deathrays.

HAVE A GOOD TIME

On the back of their successful debut album, Goodtimes, party animals Eagle & The Worm are taking the show on the road for their only headline tour for 2011. Songs like Futureman, All I Know and Too Young have already caused a stir on the national music scene and this tour is sure to bring those and more to new and willing ears. The eight-piece hits the road with The Frowning Clouds, the tour coinciding with the national release of Goodtimes on 12” vinyl. A limited 7” of Too Young will also be available at the shows. They play Oxford Art Factory on Friday 9 September and a free show at The Junkyard on Saturday 10.

GO FOR A WALK

DUBSTEP SATURDAY

Fall Or Resist is the name of the second EP from Gold Coasters Skinwalkers, who are gearing up to head off on their first Australian national tour in support of said new record. The EP was recorded earlier this year at Area 7 Studios in Sydney and mastered by Don Ruberto in Melbourne. Producer Kalju Tonuma, who’s worked with The Living End, The Temper Trap and Bodyjar, likened Skinwalkers’ sound to “the insurgency of The Clash”. The EP will be available for the first time at the band’s shows, and will be available on iTunes and at retail stores from 8 July. The first 20 people at every show will receive a free copy of the EP. Skinwalkers play Hamilton Station Hotel on Friday 29 July with One Vital Word, Time Has Come and Local Resident Failure, and St James Hotel on Saturday 30 with One Vital Word, Time Has Come and Between The Devil & The Deep.

This Saturday, there’s an Inspected Records night at The Gaelic, featuring exclusive sets from international acts Inspector Dubplate and Gemini, both for the first time in Australia. Gemini, AKA Thomas Slinger, is only 20 years old and yet has already made his mark on the dubstep scene, his debut EP, Blue, powering through dance floors around the world. Inspector Dubplate began by promoting tracks through YouTube but soon went on to found the Inspected label, ensuring that fresh music was available to the masses. Support comes from some of Sydney’s finest, including Doctor Werewolf, Creeptown, Bruxism, Enochi, Dainbread DJs, 3Bit DJs and Scoops.

Brisbane singer/songwriter Emma Louise has been announced as the main supporting artist on the forthcoming Only Sparrows tour by Josh Pyke, which kicks off Thursday 8 September at the Cambridge Hotel Newcastle, then heads to Wollongong Uni Friday 9 and the Metro Theatre Saturday 10. Irish country music artist John McNicholl is visiting our shores for the first time in September to introduce himself and his sixth album, It’s Your Love, which gets a local release Friday 5 August. He plays Smithfield RSL Friday 16 September.

Drawing their members from Sunk Loto and Lump, Electric Horse will be showcasing their Translations EP and more when they join Thousand Needles In Red and Floating Me Saturday 9 July in the Metro Theatre. The day Dan Sultan and Alexander Gow take to the sold-out Brass Monkey stage Friday 15 July, Gow, in his other incarnation as Oh Mercy, will be releasing, digitally and exclusively to iTunes for three weeks, a new single, Confessions, with his version of Leonard Cohen’s Memories as the B-side. Meanwhile their only other show in Sydney, at The Basement Circular Quay Saturday 16, is also sold out. Having done the business across four states the past few weeks launching their two-CD retrospective, The Waterfront Years, Wollongong’s finest, Tumbleweed, are working their way back and hit town Thursday 28 July with My Disco at the Sando. Best go to their website for details on how to get tix. Adelaide punks Stomp The Dog are taking themselves around the nation to introduce themselves, hitting The Patch in Wollongong Friday 15 July and the Valve Bar Sunday 17. • 26• THE DRUM MEDIA 28 JUNE 2011

FIERCE AND FABULOUS The Beresford Hotel has been given a makeover and emerged as one of the city’s newest live venues under the watchful eye of the Merivale group. The party continues with UK record label Fierce Angel bringing its beats down under next week. Acclaimed UK producer/DJ duo Moto Blanco will be there for its first Australian appearance since 2007, as well as Sydney Fierce Angel residents Oxford Hustlers. Local Troy Cox will be on hand, as will Tommy Kelly and funk and soul singer Shauna Jensen. The first 200 people in the door will receive a free Fierce Angel album. Head there Sunday 10 July.

DON’T REST After what seems like a lifetime of waiting, it’s finally happening – The Laurels are releasing their debut EP. The psychedelic shoegazers have been mainstays on the local live scene for years now, but they’ve never put any recorded music out there. This is from the band that’s shared the stage with artists from Cloud Control and Tama Impala to Jenny & Johnny and A Place To Bury Strangers and is about to hit the road with The Black Angels, so they’re a very experienced breed indeed. Mesozoic is launched live on its release date, Friday 8 July, at the Lansdowne Hotel, and Saturday 9 at Repressed Records in Newtown from 6pm. Both shows are free.

Adelaide four-piece City Riots, who have just release a new digital-only single, In My Head, have been invited to join Brisbane’s Ball Park Music on their next big four-date tour, which just happens to kick off Friday 15 July at The Gaelic. Thundamentals and the Bingethinkers join Hermitude and Dase Team 5000 for the Stolen Records Gala Ball on level 2 of the Kings Cross Hotel Saturday 9 July as part of the Sydney Sounds Like festival. Thundamentals then hit the tour road opening for Outkast’s Big Boi, playing the Enmore Theatre Saturday 27 August, the perfect showcase for their new album, Foreverlution, out 29 July.

A year off the road for Josh Pyke has meant seriously knuckling down to prepare his third album, its making profiled in BTL not long ago. Only Sparrows is that album, and it’s due for release in August. He recently played a packed-out intimate Fans First show at GoodGod and is taking that around as we speak, previewing new songs, but the proper launch tour for Only Sparrows will see the new material played in full band mode for the first time. With Emma Louise and The Paper Kites in tow, Josh Pyke launches Only Sparrows at the Cambridge Hotel Thursday 8 September, Wollongong Uni Friday 9 and The Metro Saturday 10. The fan club presale is happening from 9am Thursday until noon Wednesday 6 July, general sales beginning 9am Thursday 7.

ARCHITECTURE IN HELSINKI

BUILD IT UP Australian five-piece Architecture In Helsinki is currently touring the US, Europe and the UK, showing off new album, Moment Bends, to rapt audiences around the world. Before this year they had been relatively quiet and now they’ve announced their most extensive Australian national tour in quite some time. Recently, the band played the Groovin’ The Moo tour and performed at the Opera House as a part of the Vivid LIVE festivities. The band’s second single from the album, Escapee, has just been released. They will play Wollongong Uni Bar on Wednesday 31 August, The Metro on Thursday 1 September and Bar On The Hill on Friday 2.

TRIAL KENNEDY

TRIAL AND ERROR Having just played a national album tour, the boys from Trial Kennedy aren’t unpacking the tour van just yet. They’ve just announced they’ll take the songs from their latest album, Living Undesigned, on the road again come September and October, this time to celebrate the release of their third single, Exology, from it. The band’s second record was released in May and has received plenty of industry and fan praise so far. On this tour, the band will be joined by garage band Dangerous!, who’ve recently completed their debut album, Teenage Rampage, in LA with Grammy-nominated producer Ulrich Wild (Pantera, Deftones) and Marc McClusky (Weezer). They play Beach Road Hotel on Wednesday 14 September, Cambridge Hotel Thursday 15, Fitzroy Hotel Friday 16, Mona Vale Hotel Saturday 17, Blush Nightclub Thursday 27 October (Dangerous! will not appear on this date) and Oxford Art Factory Friday 28.

CUT HIM SOME SLACK

MAT MCHUGH

LOST AND FOUND

NON-STOP

Brisbane post-pop sextet Founds has just emerged from the studio, where they’ve been recording their debut EP. Holograms is the first single to emerge from said EP, which they’ve been recording at Gasworks Studio in Brisbane with producer Tristan Hoogland (Ball Park Music, Oh Ye Denver Birds, The Honey Month) and Dom Stevens (Oh Ye Denver Birds). The single is available free on the band’s triple j Unearthed page. The band has supported the likes of Ben Ottewell, Oh Mercy and The Naked & Famous this year and are embarking on their own single release tour hitting Oxford Art Factory Gallery Bar on Thursday 14 July.

Last year saw The Beautiful Girls’ Mat McHugh take off, alone, around the world to peddle his acoustic delights to audiences from every corner. The whole shebang began when he embarked on a theatre tour of the US and Canada with John Butler, where he rediscovered the true essence of being a musician. Well, now he’s got a new EP, Go Don’t Stop, under his belt, which he’s been sharing with South American audiences. He’ll be bringing it home soon, also launching The Blacktop Diaries, a series of musings about travel, self, art and more. Catch him at Lizotte’s Newcastle on Friday 19 August and Oxford Art Factory on Saturday 20.

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Nineteen year old Dutchman Dem Slackers may be young, but he’s got years of producing under his belt and is bringing his banging electro house tunes to our shores to continue the party across the world. His most recent EP, Global Grind, was released through Downright/Ministry this year, and he’s remixed the likes of Lil Wayne, Bart B More, Kissy Sell Out, Evil Nine, The Aston Shuffle and many more. His July tour dates will mark his first ever performances in Australia. He’s at Trinity Bar on Friday 22 July and Fake Club on Saturday 23.

SING IT LOUD Loud Fest is an all ages, all day festival happening at the Annandale Hotel on Sunday 21 August, so all you underagers desperate for a taste of live music – pencil it in! Headlining the festival is Dream On, Dreamer from Melbourne, who’ve recently returned from the USA where they worked on their debut album, Heartbound, due for release in August. Joining the band on the bill are Brisbane’s In Hearts Wake and a host of NSW’s best heavy acts, including Buried In Verona, Sienna Skies, Resist The Thought, Northlane, Endless Heights, Stories and Hearts Like Wolves.


THE DRUM MEDIA 28 JUNE 2011 • 27 •


NEWS@DRUMMEDIA.COM.AU

DAN BRODIE & THE GRIEVING WIDOWS

GRIEVE NO MORE

ANBERLIN

Melbourne singer/songwriter Dan Brodie has been nominated for ARIA awards in the past, his early work blurring the lines between alternative and country music and seeing him play festivals from Tamworth Country Music to the Big Day Out. The former frontman of The Broken Arrows, Brodie returns with his new band, Dan Brodie & The Grieving Widows, playing blues-noir on their new album, My Friend The Murderer. Following a US tour earlier in the year which saw the band play SXSW, they return to home soil to release the new album. They play Thursday 28 July at The Patch with Gentlemen & Vagabonds and The Nice Folk and Friday 29 at the Sandringham Hotel with Smitty & B. Goode and Bloods.

SOME ENCHANTED EVENING The next venture for Floridian rock band Anberlin is an ambitious new live project, which will unfold first here in Australia. The group first paid Australian shores a visit in 2005 on the back of Never Take Friendship Personal, but in the years since its members have grown, as has its strong local fanbase. When the band returns to our shores in September, it will be under the tour banner An Evening With Anberlin, where the group will experiment with new things in a live capacity – covers, variations on their own songs, Q&A, telling stories, unveiling never before played B-sides, acoustic sessions and more. It sounds like an intriguing prospect, no? So snap up your tickets from 9am this Friday for the show at the Enmore Theatre on Thursday 1 September.

HELLO GLASGOW All the way from Glasgow, Scotland, Al Kent brings his disco lovin’ show to our shores for his first ever Sydney performance. Kent owns one of the world’s largest collections of rare disco, which has enabled him to perform DJ sets all over the UK and Europe, including Southport Weekender, Joey Negro’s Z Records party in London and at Respect Is Burning in Paris. He has recently released Volume 2 of the acclaimed Disco Love compilation series. Here in Sydney, he’ll play a four-hour set in an inner city warehouse space on Saturday 9 July. Tickets are available from residentadvisor.net, and further details on the venue will be released to ticket holders and the mailing list during the week of the event.

As a founding member of At The Drive-In and Sparta, Jim Ward has been around the block musically but is set to release his first solo album, Quiet In The Valley, On The Shores The End Begins, through Stop Start/ EMI on 22 July. He has in the past toured solo as Sleepercar, supporting Coldplay on their US tour in 2008, and of course his two bands have enjoyed success that, in the case of At The Drive-In, has continued far past the break up. Quiet In The Valley… is a combination of Ward’s three solo EPs – 2008’s Quiet with two unreleased EPs, In The Valley, On The Shores and The End Begins. Single Broken Songs features Tegan & Sara’s Sara Quin. Ward plays the Annandale Hotel on Wednesday 10 August with Isaac Graham.

KATALYST

KOOL KAT Local producer Katalyst has been off the live scene for a few years, but finally returns next weekend. Saturday 9 July he plays at the newly refurbished Beresford Hotel, with Kween G, Steve Spacek, Hau, Mr Clean, Leeroy Brown and Don Data joining the party. Katalyst is the man behind the Space Invadas beats and has been busy concocting a number of new tunes, which he’ll no doubt unleash live. He has recently released a single, Ready To Drop, from his forthcoming album, Impressions.

SHARPEN UP The five lads making up Melbourne band Kitchen Knife Wife have had a whirlwind time together as musical partners in crime, having toured Europe with The Wombats and conquering their hometown leg of the Laneway festival. The band has so far remained largely under the radar, however, and they’re hoping to change that with their East Coast tour in support of their new single, Happy. The track offers the first taste of a debut album that the band’s been working on since late 2010, set for release later this year. They play The Gaelic on Friday 8 July.

SAINTS AND SYNNERS ADALITA

RIDING SOLO The most recent thing that Adalita’s tacked onto her CV is playing for the Dalai Lama in Perth. Not something everyone can boast and yet the songstress does such things with ease. The frontwoman of Magic Dirt, Adalita finally released her amazing debut solo album this year to acclaim from all corners of the media. She played a sold-out album launch tour around the country in April and is set to play nationally again on her last headline shows for the year. She’ll be at Transit Bar on Thursday 4 August, Great Northern Newcastle on Friday 5 and the Annandale Hotel on Saturday 6.

COUNT ‘EM UP Newish to the scene is local DJ Count Effectz, who’s hopping around the place this month to promote his new single, Bubble, which is out now on iTunes. While he’s only been around for a short while, he’s already ripped up dance floors in support of artists like The Potbelleez, Muscles, Bang Gang, Tom Piper and Cassian. Catch him bringing the party to life at The Gaelic on Friday 15 July, the Cambridge Hotel on Saturday 16 and ANU Bar on Friday 22. • 28 • THE DRUM MEDIA 28 JUNE 2011

What better way to combat the winter months than to make the most of them, don your woollies and head out to bathe in the warmth of live music? Okay, that was cheesy, but The Big Freeze sure won’t be. It’s an event happening at the Annandale Hotel on Saturday 20 August, with a killer lineup boasting The Celibate Rifles, The Meanies, Snowdroppers, Hell City Glamours, Jackson Firebird, Grand Fatal, Money For Rope, Hy-Test and Chinese Burns Unit. There will also be prizes to be won from sponsors Volcom, as well as limited edition Big Freeze T-shirts.

WHIP YOUR HAIR

HEAD TO HOLLAND Sony’s latest Australian signing is a melodic Brisbane quartet called Holland, whose debut single, No Control, has just been unleashed on the world. It’s an atmospheric, dreamy number and is said to be a good indication of the band’s live shows. In 2006, an early incarnation of the band – then known as Fatis Valour – released a self-funded EP, which caught the ears of a Sony Music Australia artist, who took it to the label’s A&R guys. After a year of writing, the band headed to the US to record their debut album. Check out the band when they play Bar On The Hill on Wednesday 10 August in the daytime before heading to Lizotte’s Dee Why that same night, then Wollongong Uni, UNSW Roundhouse and Oxford Art Factory Gallery Bar all on Thursday 11 at various times, CBD Hotel on Friday 12, The Front Gallery on Saturday 13, Yours & Owls on Sunday 14 and The Brass Monkey on Tuesday 16.

GET HOT IN THE COLD

KEEP QUIET

Local rockers Syndicate will hit Australia’s capital cities in the coming month to launch their self-titled album, one that’s already taken them to LA three times and seen them play sold-out shows on home soil in the last six months. It’s the band’s debut album, and saw them work with US producers including Brandon Friesen (Comeback Kid, Sum 41, Billy Talent) and Jeff Blue (Macy Gray, Linkin Park). The album’s first single, Shout, hit the top spot in the charts in its first week, and the second single, All My Life, was released to radio earlier this month. Syndicate hits The Gaelic on Thursday, ANU Bar Friday, Dicey Riley’s Saturday and the Bridge Hotel Saturday 30 July.

ROGER WATERS

Whiplash is making its new home at 11a Oxford St near Taylor Square and holding a bangin’ opening night and “Give Me My F**kin Tax Return” party. Upstairs, DJs will jam out the best in metal, hardcore, glam and heavy rock tracks from acts both international and local, as well as launching the new Limp Bizkit album. Downstairs, Katabasis will be launching its self-titled album, along with performances from the mighty Red Bee and Troldhaugen. There are also cheap drinks promised, and the headliner will pick ten punters to come party privately with them at the end of the set. It’s all happening Friday.

TEAR DOWN THE WALL Fact: The Wall is one of the greatest albums of all time. Released in 1979, the Pink Floyd record was a rock opera telling the story of a washed-up rockstar named Pink who’d built a wall up around him all his life. He rose to fame and then he fell, dramatically and drastically. Featuring Floyd classics like Comfortably Numb and spawning an equally brilliant film, the album was a high in the band’s career, remaining one of the five best-selling albums of all time in the US. So, good news – Floyd frontman Roger Waters is bringing The Wall Live to Australia in 2012, performing the album in full following the sell-out success of the tour in the last couple of years across North America and Europe. It comes to Sydney on Tuesday 14 February, playing at Acer Arena – so grab a ticket for your Valentine when they go on sale Monday 11 July.

HEAD TO NOVA SCOTIA Nova Scotia is a band from Brisbane and they’re pleased to announce that they’ll be embarking on an East Coast tour to launch their self-titled debut album. The record features the singles Don’t Forget Your Lunchbox and Second Sun, a collection of noisy guitar rock centred around the band’s three-guitar attack weaves and thumping bass lines. The band has played in support of the likes of Stephen Malkmus & The Jicks, Built To Spill and the Vivian Girls, and they take cues from groups including Pavement, Guided By Voices and Sonic Youth. They play the Lass O’Gowrie on Wednesday 6 July and Black Wire Records on Friday 8.

JUDGMENT DAY

BACK TO THE ‘90S

Melbourne quartet Panel Of Judges, known affectionately as Panel, makes music steeped in the traditions of underground ‘80s and ‘90s pop. Their latest album is called Moods On The Move, bursting with layered pop songs, singalong choruses and intelligent literary references. It’s also the first to include new member Martin Frawley, of The Twerps, on guitar. Moods… is available on vinyl only (well, you can get it on iTunes, but there’s no other physical release!) and Panel only has these two shows scheduled in Sydney for the rest of this year. Thursday 14 July they are joined by Circle Pit and Marf Loth at GoodGod, and Friday 15 they’ll head into Repressed Records in Newtown for an all-ages instore with Lost Animal.

Made In The ‘90s – Live On Stage is a new show which brings together, for the first time in Australia, a selection of the R&B genre’s most recognisable artists, performing their greatest hits. Ralph Tresvant, the man behind Sensitivity and Stone Cold Gentleman, will appear in Australia for the very first time as a part of the show, and party anthem kings 112 will return to our shores following a sold-out club tour in December, with hits like Dance With Me and Only You to perform. All-girl group Allure returns for the first time since 1999, All Cried Out a definite, and Horace Brown (One For The Money) and Shai (If I Ever Fall In Love, Baby I’m Yours) round out the lineup. The tour hits the Big Top Luna Park on Saturday 30 July.

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YOUNG REVELRY

GET CLOSE Having played alongside some of the country’s hottest up and coming acts, as well as touring nationally with fellow Perthites Jebediah, Young Revelry has had a hell of a year. The trio is taking on a headlining tour in the coming weeks in support of new single, Never That Close, lifted from the debut EP, which has seen the band become a firm favourite on triple j. The single is available on iTunes from Friday 15 July. Their tour kicks off Wednesday 13 July with a free show at the Cambridge Hotel, and they then move to Yours & Owls on Thursday 14, Caringbah Bizzo’s on Friday 15, Transit Bar on Saturday 16 and FBi Social at the Kings Cross Hotel on Wednesday 20. Chicks Who Love Guns will join in support on all dates.

G-WIZARD

SUPER DUPER Having dominated Tank Nightclub weekly for four years, rnb superclub is back in business with a new home at the Arthouse Hotel. Every Friday night, the venue will be transformed into the superclub’s home, set across two pumping rooms with quality acts and DJs keeping the beats flowing. The grand opening happens next Friday 8 July, featuring some of Sydney’s hottest DJs including G-Wizard, Troy T, Lilo, Def Rok and Eko, and hosted by MC Jayson.


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Short Stack

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GATHER ROUND

Putting the hip in hip hop is The Herd, who’ve just released a new single. Signs Of Life is the second single to come from the group’s upcoming album, Future Shade, which is set for release on 26 August. The timely single is inspired by the endurance of the human spirit amongst natural disasters. Kicking off at Splendour In The Grass late July, The Herd will then head out on tour, with Sietta in tow, to play The Metro Saturday 17 September and ANU Bar Saturday 24.

TAKE ME TO THE RIVER Having recently performed for the Dalai Lama, Old Man River is on a roll and heading out on the road again. On the back of his 1000 Cranes For Japan initiative, the Australian singer/songwriter will perform his songs in an intimate setting, showcasing tunes from his albums Good Morning and Trust. The initiative sees Old Man River planning to fold one thousand paper cranes to deliver to the people of Japan in recognition of their tragedies earlier this year. It’s supported by the Red Cross and has the support and attention of artists including Josh Pyke, Clare Bowditch, Lior and Little Red. On his upcoming East Coast tour he will be supported by Gabrielle Huber and Cameron Potts, both of Dead Letter Chorus. They play The Brass Monkey on Thursday 7 July, Northern Star on Friday 8, Notes on Saturday 9 and Beach Road Hotel on Wednesday 27.

MEET MEAT Oh, Meat Loaf. The man needs no introduction – even if you live under a rock, you’ll still have heard Bat Out Of Hell at some time in your sheltered life. The album of the same name has sold over 43 million copies around the world and is still the third-biggest selling album of all time, selling over 200,000 copies a year. Funnily enough, here in Australia it remains the biggest-selling international album of all time, having gone 23-times platinum. Pretty intense, huh? The American rocker is preparing to release his new album, Hell In A Handbasket, in October, when he’ll also hit Australia for his Guilty Pleasure tour. Tickets are on sale Monday for the shows at WIN Entertainment Centre on Tuesday 4 October, A Day On The Green at Bimbadgen Winery on Saturday 8 and Sydney Entertainment Centre on Wednesday 12.

JAZZ IT UP A fine jazz double bill is making its way around town, featuring vocal loopster and one-man choir Mr Percival and 702 ABC Sydney afternoon presenter, ex-Models saxophonist and now Aussie rock classic recreator James Valentine. The latter has rearranged songs from classic artists such as Midnight Oil and Crowded house for his tenor sax quartet, so it should be rather interesting indeed – and at the end of each show, the two artists will come together to finish with a bang. Curious? Here are the dates you need to know – they’re at The Basement Circular Quay on Wednesday 20 July, Lizotte’s Newcastle on Thursday 21, The Village Springwood on Saturday 23 and Lizotte’s Dee Why for a lunchtime show on Sunday 24.

CHYME IN Originally from Ireland but now based in Germany, Chymera came to international attention at the turn of the millennium with his album, Everybody Dies… Even Horses. The man born Brendon Gregoriy is heading down our way for a whirlwind tour, hitting just two cities before vanishing back across the seas. Though usually his sets are around 90 minutes long, the techno producer has promised an extended set when he comes to visit, reaching to three hours – so the party won’t stop and, presumably, nor will you. He’s at Chinese Laundry on Saturday 30 July.

WANNA SEE ME DISCO? Hailing from New York City, disco dude Jacques Renault is the latest sensation to be brought to our shores this year by Future Classic. He’s had record releases on such legendary imprints as DFA, I’m A Cliché and Italians Do It Better, and he’s remixed the likes of Breakbot, Lost Valentinos and Canyons, to name just a few. He’s also a wiz behind the decks and that’s where you’ll find him when he works his way through Australian clubs in August. He’ll be at Civic Underground’s Adult Disco on Saturday 27.

AWKWARD AND FRUITY Smocks! is the debut album from Brisbane folk-popsters Pear & The Awkward Orchestra, following two EPs in 2007 and 2009 respectively. The first single from the album, Oh Katrina, was released in February and has steadily been gaining momentum on community radio and triple j, and the follow-up single, Bigger Than You, sees them adopt a slightly punkier vibe. The band embarks on a brief East Coast tour in the coming weeks to launch the album, after which frontwoman Steph Lees makes her first musical trip overseas to play in Canada and the US. Their only Sydney show is at 505 on Saturday 9 July, with Hello Vera and Skritch.

This year marks the 20th anniversary of the release of one of the most influential albums of all time, Nevermind, by Nirvana, and Friday 16 September will see the release of a 4CD/1DVD super deluxe edition of the album. Meanwhile Friday 12 August sees the release of the new album, Ghosts Of The Past, their fifth, from Eskimo Joe. American singer/songwriter Brett Dennen releases his new album, Loverboy, Friday. Sydney producer Westernsynthetics is performing at the 2011 Outlook Festival, the first Australian to be included on Europe’s largest bass music and soundsystem culture festival bill, which runs 1 through 4 September I Croatia. To celebrate, he’s releasing, digitally, a new EP, No Holiday, Friday. Also out this Friday is the intriguingly titled third album, We Must Become The Pitiless Censors Of Ourselves, from American composer John Maus, an old offsider of Ariel Pink.

• 30 • THE DRUM MEDIA 28 JUNE 2011

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ABOVE

Shot on location at Tea Parlour, 569 Elizabeth St, Redfern

SALLY SELTMANN, SARAH BLASKO AND HOLLY THROSBY ARE SEEKER LOVER KEEPER (ALTHOUGH NOT NECESSARILY IN THAT ORDER). THIS BAND OF SISTERS FROM OTHER MISTERS IS A REAL COLLABORATION RATHER THAN A STICKY TAPE JOB OF EXISTING PARTS, AND THE RESULTING ALBUM REALLY BENEFITS FROM THE CROSS POLLINATION. BY LIZ GIUFFRE. COVER AND FEATURE PICS BY DANIEL BOUD.

T

he debut, self-titled album from Seeker Lover Keeper occasionally bares a melody or breathy tone distinctive to one of its three collaborators, but on the whole the result is distinctly different to what each has done in the past. “I think this was part of wanting to do something that’s a group and we wanted to sing a lot together, have heaps of harmonies,” begins Sarah Blasko. Sally Seltmann adds, “We did totally want it to be like a band.” Holly Throsby brings it home – “And it’s the type of thing too where you don’t just give your songs away to anyone. We trust each other so it was so nice to have that relaxed feeling of trust and be able to say, ‘Yeah, great’ and take a back seat, I guess.” One thing that comes across quickly is each musician’s eagerness to share the responsibilities on this record. This comes from wanting a career gear change, but also from being comfortable enough with your own work to hand bits of it over to someone else to play with, in exchange for the excuse to get to mess around with theirs. The resulting album came together after an intensive two week recording and it has the benefit of this combined experience and experiment, as well as the benefit of this shared want to step back from the spotlight a little. As Blasko puts it, “It is going to be much less stressful… when you do your own thing you feel like that pressure is more consistent, but to have one person sing and then feel like you can sit back and watch.” The rare opportunity to sit back while someone else performs your work was something Seeker Lover Keeper extended to their music videos as well. So far they have released three music videos, for the tracks On My Own, Even Though I’m A Woman and Light All My Lights, performed by established (and stunning) male actors John Waters, Aden Young and Barry Otto respectively. The result is both startling and captivating, not just because of the disconnect of having these airy female sounds coming out of obviously different, male vessels, but also because of the way the three clips work together to show off a sense of loneliness, joy and the bittersweet. It would have been so easy to just have gone with the no brainer of three chicks in vintage frocks and acoustic instruments, but this left turn is so much more interesting. “John’s my neighbour, that’s why I asked him. And Sarah asked Barry and then we decided to ask Aden because, you know, we’re all fans of his acting and his wife, Loene [Carmen, also a noted singer/songwriter],” says Throsby by way of explanation. “We’ll all a fan of Aden’s wife too, Loene,” chant the girls in unison. Directed by Natalie Van Den Dungen, the videos began as Blasko’s initiative, which consisted of “a loose idea of what their action would be, but then there was a certain amount that was really improvised… The idea of having three men singing these songs sung by women gives a really different feeling and a different meaning to the words and lets you see the writing in a different way,” she says. • 32 • THE DRUM MEDIA 28 JUNE 2011

Difference is to be celebrated by Seeker Lover Keeper. While there’s no wild experimentation on this album, its warmth is to be found in its simplicity and subtle subversions. “I think in terms of the name of the band, I think those themes run throughout the record and I think it’s quite a searching record,” says Seltmann. It’s something that can be found, for example, with final track Rest Your Head On My Shoulder. Part campfire ballad, part slow drinking ditty, part gospel track, it’s a tune that gets stuck as an instant earworm. “I wrote the song and I really like those really strong chords,” says Seltmann, miming playing them on piano with her fingers wide, while Throsby adds, “I think that it’s so shared vocally and I think for me that the song is about that we will support each other and it’s nice to have that as an endnote. But I think we decided pretty early on we wanted Bring Me Back to be the first song and Rest Your Head… to be the last song. We thought they were really appropriate bookends.” This is confirmed by Blasko, “I think for me Bring Me Back is really a song that’s about childhood and nostalgia, so that makes sense as a starting point and then Rest Your Head On My Shoulder is about getting older.”

You don’t just give your songs away to anyone. We trust each other so it was so nice to have that relaxed feeling of trust.”

Another obvious difference to the norm is with this band being made up of well established, solo singer/ songwriter gals. The issue of gender is one that all three concede has been raised before (“for people to perceive [gender] as the main part of our work is pretty limiting. Because people are one step away from asking if, you know, ‘Have you had a pillow fight yet?’” Blasko jokes, sizing up the pillows available easily to hand) and one that both annoys at times, but is also to be celebrated. “I don’t necessarily think that’s a bad thing anyway, if it is [people seeing it as three] women. Often my albums are very feminine and I’m not afraid to be female and very feminine in the way that I do things and I think women shouldn’t be ashamed of that. You can be really strong and successful being very feminine,” says Seltmann. “I think that most bands that are full of men, but the most successful ones are the ones that communicate in that really intuitive way and that’s it, musical connection is really rare, as we all know. I hold onto my band for dear life – the people I play with for my solo stuff – and all have us have really gravitated towards people that we collaborate musically and it’s because it is hard to find that you really respect it when you find it,” Throsby adds.

“I think with the three of us, because we hadn’t worked with each other before, we just really respected each other’s music and for it to work as well as it did, we had to find that musical connection.” At the risk of marching straight into cliché country, it’s clear the musicians also have a strong non-musical connection as well, with this interview punctuated with light hearted digs at each other, the odd private joke and a shared, politely reserved, but eventually articulated, eagerness to get on and have a drink together once the promo duties are done. Not that promo is difficult (Drum is having high tea with them at the gorgeous Tea Parlour in Redfern), but it’s not why the women got into the biz. Indeed, it’s been one of the many advantages to being in a band rather than playing solo. “This is the part that is really nice, eating scones together,” says Throsby. “I think for all of us, or at least I know for myself, making the music part is the part that we all really live in and then all the other stuff, like talking about it and getting your photo taken, is all the stuff you do because you kind of have to. It’s not that it’s not awful, but it’s more fun doing it together.” On the issue of togetherness, one thing the band is adamant about is that they’re not a supergroup, or at least, that they want to try and avoid this label and its associated pop culture hoopla. “We kind of wanted it to be quite low key... That’s why people calling it a ‘supergroup’ is really annoying because we just wanted to make a really beautiful record together and be really low key and not go through all the hype-y stuff that people tend to do with that kind of stuff. We just wanted it to be announced in a really quiet, nice way and just do some great shows and just didn’t haven’t any grand plans beyond that,” says Blasko. While giving a journalist sugar might not be the best way to ensure relative understatement, Drum suggests that we, the audience, still want to get excited, but maybe we could think of the band as our favourite toys playing together in the toy box, rather than thrust Seeker Lover Keeper into super-heroness. “That’s great, I like that,” Blasko concedes, while Throsby adds, “It’s a nice way of looking at it. I think people, obviously if they like our records separately that it’ll be nice to have us together.” So, who would be which toy? Who’s the Care Bear? Who’s the Power Ranger? Who’s the Transformer? “Let’s not milk it, it’s getting creepy now,” respond the toys, talking over each other. WHO Seeker Lover Keeper WHAT Seeker Lover Keeper (Dew Process/ Universal) WHEN & WHERE Wednesday 6 & Thursday 7 July, Heritage Hotel; Friday 8 & Saturday 9, Factory Theatre; Monday 11, Lizotte’s Dee Why; Thursday 14, Lizotte’s Newcastle; Monday 18 & Tuesday 19, Clarendon Guesthouse

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MUSIC VIDEO CAMEOS

Seeker Lover Keeper have got some iconic Aussie blokes to perform in their music videos, but they’re not the only musicians to draft famous faces for some famous (and fabulous) music video cameos. Here are some of the best: Christopher Walken (Weapon Of Choice – Fatboy Slim) While there were lots of great things about Fatboy Slim’s achievements back in the day, perhaps the best was this video. Walken won an MTV music video award for this 2001 effort (which he self choreographed, thank you very much) and it remains the video that the fans of each go back to as justification of their love and is also the thing has solidified respect from those who hate either artist otherwise. If you don’t know it, don’t waste another minute and search it out now. Robert Downey Jnr (I Want Love – Elton John) One of Rob’s first jobs after the big binge and Sir Elton’s song appears to have been written for him. Not too impassioned but not too cold either, the mixture of the pretty (bad) boy trying to do good with the aging rock star is gorgeous. Be warned that unlike lots of ‘actors in for the band’ videos this one’s played straight, but it’s done beautifully. We’ll love you Robby, we promise! Joan Collins (Pissing In The Wind – Badly Drawn Boy) In full diva mode (well, in a bubble bath), Collins is truly divine. It is kinda creepy when the band appears in the bathroom and starts playing, but a great idea nonetheless. Even when they hand her a towel and appear to massage her (seriously). Just careful when you put “pissing in the wind” in as a search term to YouTube – there are, let’s say, some less entertaining videos that bear the same title. Ben Stiller (Taylor – Jack Johnson) Just in case you thought Jack Johnson was just a self satisfied dude with an irony bypass, get into this. Bloody hilarious, Stiller, as the Hollywood impersonator, is the absolute business. What’s most interesting is that in his ‘isn’t Stiller a dick’ kind of disapproval Johnson nearly undoes all his good work at trying to send himself up by getting Stiller in to begin with, but it is a definite improvement on the standard sand, sandals and acoustic guitar affair he’d normally engage. All’s it’s missing is a little ‘Blue Steel’ from Stiller to really seal the deal.


THE DRUM MEDIA 28 JUNE 2011 • 33 •


COSMIC PSYCHERS

TEXAN PSYCHEDELIC ROCKERS THE BLACK ANGELS ARE HELLBENT ON BRINGING LYSERGIC COLOURS AND SOUNDS BACK INTO THE PUBLIC’S CONSCIOUSNESS, AS GUITARIST CHRISTIAN BLAND TELLS STEVE BELL.

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he genesis of psychedelic rock is long and convoluted, but is generally believed to stem from attempts to capture in sound (and accompanying stimuli) the effects of taking mind-enhancing drugs. This quest can be traced way back into the realms of jazz, blues and the Beat generation, but the first band to openly associate themselves with the term ‘psychedelic rock’ were Texan pioneers The 13th Floor Elevators, whose ranks included the esteemed psych legend Roky Erickson and whose tripped-out muse in the mid-‘60s in turn inspired an entire generation to ‘turn on, tune in and drop out’.

The psych scene eventually found its epicentre in San Francisco and quickly burned out, but over the years its bright neon light has continued to flicker, particularly in Texas, where arguably the movement first started. Among those at the vanguard keeping the lysergic moods of the oeuvre alive are Austin five-piece The Black Angels, who for the past seven years have been doing their utmost – both musically and logistically – to keep people’s third eyes well and truly wide open. “Have you ever heard of that book Eye Mind?” asks The Black Angels’ songwriter and guitarist Christian Bland when asked about the association between his home state and the music that he loves. “It’s written by this British guy who’s a friend of ours – Paul Drummond – and is the history of The 13th Floor Elevators. But it talks about that very question – Austin is where the University Of Texas is, so you get a lot of people coming from all over the place to go to the university and I think that is one reason why it’s a creative centre and artists kind of gravitate towards here. All the way up to maybe 1964 it was a real straight-laced, conservative kind of place, but in the early ‘60s the folk movement started happening and Janis Joplin was part of that and Powell St. John – another guy who helped write several of The 13th Floor Elevator tunes – they were part of this folk movement happening. “Then in the mid-‘60s the Elevators got together and I really think that if not for them then this city would still be pretty normal. We have this saying here ‘Keep Austin Weird’ and they were the ones that made it weird in the first place. I’m not sure exactly why it happened here, but I think that psychedelic rock was born right here in Austin and then it spread to San Francisco when The 13th Floor Elevators went on tour in late-’65 and early-’66 out to San Francisco. Bands like The Grateful Dead and Jefferson Airplane saw them playing and they were freaked out and they wanted to start doing that same kind of thing. So one of the reasons why I originally wanted to move to Austin was because of The 13th Floor Elevators and because this is where the kind of music that I like to create was started and we just want to try to keep that heritage alive.” And they’ve done more than just keep the music alive by following in the musical traditions of the scene’s forebears; The Black Angels have also helped logistically foster the now burgeoning psych scene in Austin and provide it infrastructure. “That’s why we started the Austin Psych Fest, our festival,” Bland continues. “It was the fourth year [of the festival] just a month or two ago, but it was really just an amazing time, this past year. We can’t wait for the fifth instalment next year. It’s a lot of work. There’s four of us that organise the whole thing and the problem is that half of us – Alex [Maas, vocals] and me – are gone on tour like half the year, so the work gets put mainly on one guy Rob Fitzpatrick, who pretty much organised the whole thing this year. He’s an old friend of ours from high school down in Houston where we went to school and this year he had a hard time. We tried to help him where we could, but being on the road it’s not that easy. So we’ve realised that we need to probably hire a whole crew of people under us to facilitate next year’s one, because it’s grown exponentially each year. It’s pretty crazy. “It’s organically just growing and growing, and this year it kinda grew so far out of control that it was hard to reel it back in. We’re taking all of this month off and then actually tomorrow we’re meeting to kind of assess what happened and then we’ll start trying to figure out where we’re going to do it. Every year it’s been at a different place – the goal from the first year was to have a place where it happened every year, but I guess that kinda adds to the eccentricity of it with it being in a different place every time.” But in their immediate future The Black Angels are bringing their vaunted live experience to Australia for the first time and Bland explains that their trippy show involves equal parts perspiration and experimentation. “I’d say equal parts jamming and staying faithful to the recorded versions. I think the songs naturally take on a life of their own, because none of us really listen to our albums, so some of the songs might be slower now or faster. Sometimes we have to sit down and listen, because sometimes we’ll be playing a song and it seems a little too fast, so I’ll gather everyone up and be, like, ‘Guys, listen to how it sounds here on the album,’ and it’s like super slow compared to how we play it now. A lot of the time I guess when we play live the adrenaline kicks in, so sometimes the songs might get a little quicker, but I’m always the one to be telling them onstage, ‘Slow it down!’ I enjoy a more mid-tempo range instead of a rushed situation. “In a lot of the songs there’s room for experimentation and creating new riffs and I hope when we come down there we can bring our projections and lighting, because that’s as equal a part of our show as the sound. The visual element creates the whole experience – early on we just started doing that when we played around Austin and it’s just really inspired by the early Pink Floyd stuff at the UFO Club with Syd Barrett and Andy Warhol’s Exploding Plastic Inevitable. They liked to overindulge the senses and we’re following in their footpaths.” WHO The Black Angels WHAT Phosphene Dream (Blue Horizon/Warner) WHEN & WHERE Friday, Metro Theatre

• 34 • THE DRUM MEDIA 28 JUNE 2011

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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.

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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 …

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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.

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THE BASEMENT INTRODUCES … The Basement presents a monthly showcase of red hot emerging acts in a mix of interviews and scorchingly good performances. This month, enjoy the distinctive urban roots of Terry Serio And The Ministry Of Truth, and melodic seventies-era stylings of Henry Fraser And The Echo.

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JAMES BLUNDELL + CATHERINE BRITT Australia's most popular male country singer joins Australia's best female country singer to provide an unforgettable evening of entertainment. Two hot country stars on one bill! This is one gig not to miss. Plus DJ Andy Glitre in the Macquarie Place bar from 5.30pm.

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LIGHT MY FIRE: 40 YEARS ON – A TRIBUTE TO JIM MORRISON AND THE DOORS Forty years on from the death of one of the most influential figures in rock music, we present a tribute to Jim Morrison and the Doors, starring Jeff Duff, Damien Lovelock, Sam Joole and Simon Bruce.

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AFRO MOSES OJAH AND HIS 14 PIECE BAND + EBB N FLO (NZ) The dynamic, dreadlocked showman is back again from Africa, Indonesia and Europe to blow you away with his unique blend of Afro-fusion, reggae, afro-salsa percussion, and lots more. Join him and his all-star band for the launch of his new CD, I Want 2B Happy. Supported by NZ's hiphop reggae allstars, Ebb N Flo.

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KOOYEH + THE RAW TIDE + BONES AND ALL Three of Sydney’s hottest young bands together for the first time! Plus DJ Andy Glitre in the Macquarie Place bar from 5.30pm.

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THE DRUM MEDIA 28 JUNE 2011 • 35 •


TEXAS TRUTHS

SEVERELY UNDERRATED TEXAS SINGER/SONGWRITER MICAH P HINSON OPENS UP TO JUSTIN GREY ABOUT HOW MODERN U.S. POLITICS AND THE DEATH OF THE AMERICAN DREAM INSPIRED HIS LATEST OFFERING.

As is the case with most of his recorded output to date, on …The Pioneer Saboteurs Hinson drenches his songs in thick layers of sweeping, orchestral instrumentation, the album adorned with tastefully incorporated strings, horns, organs and more. While Hinson possesses the kind of uniquely emotive, off-kilter warble that could reduce grown men to a teary mess on its own with nary an accompaniment, he explains that ever since he began recording his own songs as a teenager, his vision has always been to make them instrumentally dense. “The idea of things being grand has always been something that I’ve loved. If you were to listen to the original demo version of [closing track from Micah P. Hinson And The Gospel Of Progress] The Day Texas Sank To The Bottom Of The Sea, all the strings, all the voices, everything is going to be there – it’s just going to be on Casio keyboards and shit. I like things being big; there’s space for everything, whether it’s loud and absolute fucking madness like [lengthy …Pioneer Saboteurs closer] The Returning, or whether it’s something calm and sweet like Take Off That Dress For Me.”

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ith his deep, compelling voice and his now typical assortment of majestic orchestral flourishes, singular Texan singer/songwriter Micah P Hinson released, late last year, his fourth (excluding 2009 covers album, All Dressed Up And Smelling Of Strangers) studio album, Micah P. Hinson And The Pioneer Saboteurs. While instantly recognisable, it’s an edgier, angrier Hinson on this latest outing. Inspired, or, perhaps more appropriately, enraged, by the political upheaval he’s witnessed through gritted teeth from the Obama administration in the US over the last two and a half years, Hinson injects the dozen tracks on …The Pioneer Saboteurs with some serious venom – both lyrically and musically. There’s tape hissing, percussion crashing, horns wailing and strings mourning in a symphony of discontent – and on top of it all thrives Hinson’s dark delivery, giving voice to dissatisfaction surrounding what the Memphis native calls, “the death of the American dream”. At home in Texas’ Abilene and sneaking in a quick evening chat before taking his wife out on a date, Hinson explains how …The Pioneer Saboteurs is similar yet different to his previous records. “The Pioneer Saboteurs is a record I’ve been trying to make since I first picked up a guitar. It’s pretty fucking negative – or not negative, but pretty full-on in its approach and the things it deals with. But if I’m going to talk about broken America, it can’t be done with a smile on my face. But it’s probably no more full-on than anything else I’ve done. For people who have been listening to me since the beginning, there’s probably shades of [2005 EP] The Baby And The Satellite and the [2004 debut] Gospel Of Progress record all the way through it. It’s written much more from the third person. All the stuff I’ve done generally has been personal, but with the new record it’s stories about

priests or loved ones or foreigners. So that was an odd way to go, but that was the way this record spoke to me and the songs kind of made themselves. When I began working on it, like a lot of my records I had a massive failure on my hands and was just trying to juggle it about and do my best.”

Publishers, which had a close association with the Beat Generation and published works by the likes of Kerouac, Allen Ginsberg and more. But despite Ferlinghetti’s affiliation with such liberal minds, Hinson says the now 92-year-old refused to even read his manuscript because of the singer/songwriter’s apparent political views.

Taking Walt Whitman’s 1865 poem Pioneers! O Pioneers! as his initial inspiration and using it as a call to arms, he suggests Whitman’s poem offers some insight into how he views modern-day America. To say he’s not the greatest supporter of Barack Obama is a serious understatement, but as the subject is broached he bites his tongue and explains he often puts his foot in his mouth when it comes to “picky things like politics”. Instead, he tells a story about his debut novel, You Can Dress Me Up, But You Can’t Take Me Out, published in Spain last year and inspired by Jack Kerouac’s On The Road. Hinson presented his manuscript to American poet Lawrence Ferlinghetti, who in 1953 co-founded San Francisco’s renowned City Lights Booksellers &

“If I’m going to talk about the death of the American dream and this kind of stuff, when the most open mind of a certain generation won’t read a piece of art just because of this or that, that to me was a personal sign that the dream might not be dead, but it’s getting there. I mean, what the fuck do I have to do with my art? And what does my art really have to do with me? Fuck, we don’t know – maybe Van Gogh was a fucking huge fascist or a goddamn mass murderer or a serial rapist, but we still love his paintings. Nowadays, the way music is and how it seems very fashionable, the musician and the music have to be married together because that’s what they’re going to put on your Facebook.”

Direct from Addis Ababa! , yingic, p trif Elecidoscoe e k al vintag! l sou

DEBUT ALBUM OUT NOW

“Hail one of the world’s most exhilarating new voices!” – MAG

A u s t r a l i a’ s O W N

ETHIO-SOUL SUPERSTAR

Friday July 1st

GOODGOD SMALL CLUB 53-55 Liverpool St Sydney. Tickets available through www.moshtix.com.au

with special guests

LO FIVE

www.othertongues.com.au

• 36 • THE DRUM MEDIA 28 JUNE 2011

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While clearly holding a penchant for the grandiose, Hinson hints that the songs he’s working on now for his next record, which he hopes to have finished by the New Year, are the most stripped down he’s ever done – no horns and “probably” no strings; just drums, bass, two guitars and vocals. And despite always sounding so dense and layered on record, Hinson nonetheless mostly tours as a solo performer, as he will be here. “There’s always expectations in the modern world – I mean, I can’t compete with the likes of fucking Arcade Fire with all those musicians,” he chuckles. “So I’ll just be playing my acoustic guitar, but I hook up a lot of effects to it so each song has a bit of a different feel and I can recreate some of the things on the album. I’ve been doing the solo songwriter playing for a while now, but I’m doing okay. I’m able to sell-out shows all over Europe, so I can’t be doing something wrong. Or maybe it’s all wrong?” WHO Micah P Hinson WHAT Micah P Hinson And The Pioneer Saboteurs (Full Time Hobby/Other Tongues) WHEN & WHERE Friday, Brass Monkey; Saturday, The Gaelic; Sunday, Clarendon Guest House.


PIECE OF CAKE

SKIPPING GIRL VINEGAR’S MUSIC-MAKING EXPERIENCE IS ALL ABOUT RECYCLED INSTRUMENTS, BAKED GOODS AND HANDWRITTEN LETTERS. FRONTMAN MARK LANG TAKES GISELLE NGUYEN INTO THEIR MAGICAL WORLD.

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he World War II phrase “keep calm and carry on” has become pretty trendy lately, finding its way onto tea towels and notepads. Bet the 1940s British government never expected that, or that a Melbourne indie band would appropriate it for its second album’s title – now with added monkey! “We were trying to find these things that kind of leave you in a no man’s land and can make you feel a bit unsure,” explains Lang. “So this idea of ‘keep calm, carry on’ was sort of put in the mix. And then I guess everyone wants a noun in a title and when we were in America we were talking about nouns and titles and so I started saying, ‘keep calm, carry the monkey’ as a joke and it stuck. Everyone loves monkeys.” Keep Calm, Carry The Monkey follows 2008’s Sift The Noise and the main difference between albums is the newly-added emphasis on creative elements. “We found this old marching drum in a dumpster and it’s sort of become a bit of a theme that we’d start using recycled or discarded instruments and there’s just all this kind of life and character in this old kick drum. It rattled and it was sort of imperfect and all those kind of things that I love about old things. And then we’d do things like get a huge group of our friends together and smash garbage cans… Bash on benches and things like that and construct kits and rhythmical patterns around those kinds of things. We took that idea or feeling to everything. I’ve got this old banjo I found at a junk shop in Hobart and that’s on the road with us. And we’ve got these bottles of rocks that we’ve made up for shakers… We’re all addicted to junk!”

It’s sort of become a bit of a theme that we’d start using recycled or discarded instruments... We’re all addicted to junk!”

Canadian singer/songwriter Ron Sexsmith, whose wife Colleen Hixenbaugh is touring with SGV, guests on album closer Heart Does Ache, written about Lang’s late grandparents. The words of the refrain, “Thank you for loving me”, are the last his grandmother spoke to her husband before passing – a beautiful sentiment behind a song with completely serendipitous circumstances. “I didn’t think it was going to make the record because it wasn’t really working. When we got to America, my mum had been hassling me and not that I usually listen to my mum musically, but she just kept harping on to me about that particular track… Normally you start with the singles and stuff like that, but we said, ‘Let’s just give this one a bit of a go’ and we put some piano on it and it wasn’t working and before we had lunch, I said, ‘Can we throw the mic up?’ and I quickly sang it and found the heart of the song and the harmonies didn’t work because they were from the last vocal performance. And we went to lunch and we just happened to be reading that Ron Sexsmith was going to be in town. “We’d met him at a festival in Australia and he liked our first record, so there’d been some connection already. That night I was sitting on the couch thinking about who I’d get to sing on it. I got this random email from his manager saying, ‘I heard you guys are in town, we should catch up, blah blah blah…’ So we attached an mp3 and sent it through and the next morning Ron said yeah, he’d love to do it and he just happened to be in town for two days, we just happened to have started that song. Then when he sang it, it was perfect. His harmonies are so haunting and it’s so in his register… It’s just one of those things – I feel like my grandparents kind of handed it to me.” The album’s songs range from upbeat to slightly darker. “To understand the light you’ve gotta understand the dark and I think there’s always that interplay between those two things always existing to me. I wanted to integrate that kind of sonic landscape-y thing to connect the songs together as an actual piece of work… People don’t often do it, but I was trying to encourage people to sit down and actually listen to the album from start to finish as a whole… That’s partly the idea of the artwork too, you sit down and you try and let it wash over you.” That artwork is incredibly intricate – when you fold the CD out, you’re faced with a cardboard cut-out of a girl and three files nestled behind her, all with their own small details, all relevant to each other. “My partner actually described it to me when she saw it as ‘artwork that whispers to you’. That sort of comes close to the mystery of it… For me it’s a whole listening thing, the visual aspect of something is really important to me. I obviously spend more time on the music than the visual thing [but] I want to kind of give the visual component as important a weight.” It seems like a lot of effort, but Skipping Girl Vinegar loves personal nuances, handwriting letters and sending op shop gifts to fans and, thanks to keyboardist Amanthi Lynch’s baking fixation, handing out sweet treats at shows. “It’s this idea of sort of slowing down and actually having real connections to people rather than just Facebook and Twitter. All those things are part of life and they’re important but de-personalise things… The idea of the post revolution started as a random idea, that the art of letter writing has disappeared and we don’t hold onto our tweets or our Facebook posts, but if you have a letter from someone, it’s kind of a precious thing. Amanthi just loves baking things, she’s really into coming up with different slices and that’s how that started. It’s all very natural and as part of the postal revolution she would send recipes around to people of what she was going to make and if they came they could try her version.” WHO Skipping Girl Vinegar WHAT Keep Calm, Carry The Monkey (MGM) WHEN & WHERE Thursday, Clarendon Guesthouse; Friday, Notes; Saturday, Lizotte’s Newcastle; Sunday, Lizotte’s Kincumber; Friday 8 July, Street Theatre

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THE DRUM MEDIA 28 JUNE 2011 • 37 •


FUN TOGETHER

A NEWFOUND FRIENDSHIP BETWEEN CLARE BOWDITCH AND LANIE LANE BLOSSOMS INTO A RECORDING AND NOW TOURING RELATIONSHIP. FEATURE AND PIC BY JEREMY WILLIAMS.

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itting diagonally to the left of Drum is a name that every Australian most likely already knows, the ARIA award-winning Clare Bowditch. Sat closely beside her is Lanie Lane, the Sydney singer/songwriter who has been working her rockabilly charm in support slots around the country for everyone from Justin Townes Earle to You Am I. Though Lane is not a name that has quite earned household status – even though it is very much becoming more and more well known – it is clear that her new chum is going to try her hardest to nudge her forwards in the celebrity stakes. To coincide with Lane joining Bowditch on her upcoming Winter Secrets tour, the pair has just unleashed their charming country-tinged ballad, Now You’re Home. When a name as big as Bowditch is backing you every step of the way, there must be something special going on, so what was it that first brought Lane to Bowditch’s attention? It appears that the classic cliché of ‘right place, right time’ saw Lane catch Bowditch’s eye at an awards ceremony. Bowditch tells the tale, “I saw her and I went, ‘She looks really cute, is she a musician?’ My friend then said that she was a musician, so I went, ‘What’s her name?’ She said ‘Lanie.’ And I went, ‘Oh my friend Lisa has mentioned Lanie.’ We have a friend in common. Lanie is in a collective called Golden Arrows, who have done a version of the song for this EP called Are You Ready Yet? I have been doing lots of songwriting with different people and I heard some of Lanie’s music and thought it was great and that we could have fun together. So I called her and we hung out in Sydney for the day. Then we wrote this awesome song…” As if they had been best buds for all eternity, a giggly Lane interjects and completes Bowditch’s train of thought, “… in like half an hour.” The to and fro of their friendly patter will form the basis of our conversation. While many famous musical partnerships have been based around false friendships, it is clear that Bowditch and Lane are the real deal. Excited by each other’s presence, the pair often falls into girly giggles and it is hard to believe that their friendship has just started. It is a rare thing to meet someone with whom you instantly click, but Lane and Bowditch are on the same wavelength, a quality that in turn has had clear effects of their creative compatibility. Having only just met, their creative juices were flowing and the composition of Now You’re Home could not have been any more straightforward. Returning to the day of its inception, Lane continues. “We just sat down and wrote the song. No, actually, we sat down and you said, ‘How do you play guitar?’, so I went, ‘Ding, ding, ding, ding’. Then you were like, ‘Oh my’ and started singing a song and then we just wrote it perfectly. We did a demo…” “…Then I fell in love with Lanie and the rest is history,” Bowditch says simply, closing the tale. While for Bowditch the move may have been exciting but fairly straightforward, for Lane, the prospect of working with one of Australia’s most celebrated recording artists must have been more than a little exciting and daunting in equal measure. Yet, sat beside her new friend, Lane oozes confidence and seems comfortable in the privileged position she has found herself. Clearly aware that she has fully entered the next phase of her increasingly notable career, Lane smiles at Bowditch and says, “It is very nice of Clare. She emailed and I was so excited about doing the song. I didn’t imagine that we would end up doing this tour. Everything was so personal with her; she was so open about what could happen. It is very special to be taken under her wing in a way. Not in a weird, condescending way or anything, but she is just very encouraging. It is very much like You Am I – they are very encouraging when they see a band who they think has potential. It is nice when the more established can do that for someone who is trying to get there.” Bowditch gracefully accepts the compliment, but doesn’t linger on the remarks. Having spent several years on the circuit building her own reputation before finally breaking through, she has far from forgotten what it feels like to be in Lane’s shoes. Instead of dwelling on their different career stages, the conversation quickly returns to how their fleeting glances at an award ceremony has culminated with a collaborative tour. With the single all set for release just ahead of the Winter Secrets tour, could it be said that Lanie Lane was possibly the obvious, inevitable choice of tour collaborator? Bowditch can see the logic in the suggestion, but remains emphatic that the decision was far more than just doing what was good for business. “There are other people, but she is the one I wanted. We are extremely lucky – we live in Australia and we have an incredible amount of musicians. But Winter Secrets is always an experimental tour; I am always trying new things out. There is always a lot of comedy, satire and involvement with the audience. It often inspires an album for me, so it has got to be playful and it’s got to be a risk, it has to feel a little unsafe. “What I recognised in Lanie, which is quite rare, is a similar collaborative style and a playfulness in the way she approaches songwriting. It is just a really nice click. Every year on my tour, I like to take a special guest on the road. I just thought there was no one I would have a bit of an experiment with than Mrs here.” Known for never really having a traditional ‘support act’, Bowditch’s tour guest is a live collaborator. In Lane, she has found someone who shares a passion for audience experimentation. With Lane garnering praise for her presence, the pair agrees with Lane’s theory: “People enjoy it when you involve them. If they don’t have that outlet to explore things in a creative way like we do, I think it is nice to give them the opportunity.” WHO Clare Bowditch & Lanie Lane WHAT Are You Ready Yet? (Island/Universal) out Friday WHEN & WHERE Wednesday, Lizotte’s Newcastle; Thursday, Lizotte’s Kincumber; Friday, Factory Theatre; Sunday, Lizotte’s Dee Why

• 38 • THE DRUM MEDIA 28 JUNE 2011

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Participate in Psychological Research. 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 28 JUNE 2011 • 39 •


BEST SHOT

CHANGING THEIR NAME FROM THE NEXT TO SYNDICATE WAS ONLY THE BEGINNING FOR THE SYDNEY FIVE-PIECE. MICHAEL SMITH DISCOVERS FROM GREG AGAR THAT IT WAS RECORDING IN L.A. THAT LET THEM BECOME WHO THEY ARE.

thing – he was super chill to hang out with. I probably shouldn’t say this but he came in and said, ‘It’s so good someone who’s not affiliated with Disney!’ [laughs] So he actually hung out with us.” From there they went to Tommy Lee’s house – yes, that Tommy Lee – in Calabasas in the south-western San Fernando Valley for a week recording in his studio, The Atrium, with Scott Humphrey. Then the band returned to Sydney and did a further month’s recording at Sony with Friesen pulling the whole thing together. It was also back in Sydney where the final element of the puzzle was slotted into place – drummer Jason Russo. As you may have noticed, several name American drummers featured across much of the album.

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he list of names who came on board to sprinkle a little of their own musical magic is impressive enough. There’s Dio guitarist Rowan Robertson, Dillinger Escape Plan drummer Gil Sharone and Guns N’ Roses/Velvet Revolver/The Cult drummer Matt Sorum for starters. But then to have the biggest hitmaker in the US, Dianne Warren, give a little band from the other side of the Pacific with no real track record two songs speaks volumes about the faith Syndicate has engendered within the wider music industry. It’s all there on the band’s eponymous debut album, recorded on two continents over some three months – as “rock” an album as the band’s singer, Greg Agar, could possibly have hoped to make. “Keyboards and piano have been a big part of my life,” Agar explains. “It was actually my first instrument before singing – so when we were The Next, we had this whole concept of ‘We need to be a rock band, we can’t play keys because keys aren’t rock enough’ and so we didn’t actually include them. So it wasn’t until this album that our producers told us, ‘Guys, you’re being dickheads! If you’ve got it, use it.’ That was eye opening for us. I mean, I’m not going to play piano ‘cause I love the whole idea of being able to stand in front of a crowd and entertaining without hiding behind something. But we put keys on a lot of the album, we put strings on a lot of it, there are some cool little synthy bits that are kind of tucked in there, but we still wanted it to come across as ‘We’re a rock band.’ Hence the wall of guitars [laughs].” Let’s go back to the beginning. As The Next, the band released a debut EP, Light Of Day, recorded at Harry Vanda’s Surry Hills studio, Flashpoint, back in January 2009. It got them some attention but they felt they

needed to get to a whole other level, so, after changing their name, they took the advice of the management and headed for Los Angeles. “The songwriting for the album started a couple of years ago. We made a couple of trips to LA and that was the first time we really started concentrating on lyric and melody. We used to love getting in the studio and jamming on a riff, that kind of stuff, but this was the first time we concentrated on kind of crafting a song. “When we first went over there, we thought it was going over to learn how they write hit songs. But I learnt my lesson really quickly that, the way they do it, everyone sits in a room and everybody’s equally contributing, so it was a structured kind of jam and obviously some people we got along with and some not so much, but it kind of developed in our heads how we wanted to get our ideas across.” Among the people they ended up co-writing with was engineer/producer Jeff Blue, whose credits include Linkin Park, Korn and Limp Bizkit.

“Our manager put us onto producer Brandon Friesen [Comeback Kid, Sum 41], who oversaw the whole recording, so a lot of the key players we worked with on the album were all his contacts. He put us onto Jeff Blue, who was initially going to produce a couple of tracks and we got along so well, he co-wrote a bunch of songs, so he became a lot more involved than was initially planned. So all of the preproduction was done at his house in the Hollywood Hills, which was pretty surreal. “Then we went to Tranzformer Studios, which is Bryan Carlstrom’s [The Offspring, Alice In Chains], and we did maybe five weeks there. That was where we did a lot of the songs that Jeff produced and when we had a couple of Jeff’s drummers come in to play, one of which was Brent Fitz, who plays with Slash and was just in town. “After that we went to Matt Sorum’s place. There’s a studio actually in his backyard in West Hollywood, like an old garage unit that’s been transformed into a live room and a mixing room. So we recorded a bunch more songs and Matt played on a couple and that was the same

GROWING CULTURE

ROB GARZA OF THIEVERY CORPORATION GETS FEARFUL WITH GUIDO FARNELL.

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“It’s also about the loss of civil liberties and privacy and, of course, ultimately it is about control. It seems that a lot of it is about conditioning people to relinquish some of their personal freedom. I mean, how important is it for people to throw their toothpaste out at LAX? It seems kind of ridiculous but it is more about getting people used to answering to authority,” suggests Garza as the concept of toothpaste bombs is contemplated. Thievery Corporation’s political state of mind can be attributed to the fact that they hail from Washington DC • 40 • THE DRUM MEDIA 28 JUNE 2011

Apart from the aforementioned huge guitar sounds on the album, there are also a hell of a lot of vocal harmonies. “As I was saying before [about playing piano], it was the first time in the studio I’d really been given, not just permission but insistence on recording a whole stack of vocals – you know, harmonies, everything, big wall of sound – making sure sonically it was pretty well taken up. So as a result it’s a pretty polished, produced sound, but, you know, we’re totally cool with that. The song, How I Got By – it’s not on the album but it is on our stream – has about thirty-six vocal tracks!” WHO Syndicate WHAT Syndicate (Sony) out Friday WHEN & WHERE Thursday, The Gaelic; Friday, ANU Bar; Saturday, Dicey Riley’s; Saturday 30 July, Bridge Hotel

The conversation starts to swing to their new album, which was inspired by the title track that sees Mr Lif’s raps and rhymes talking up all these politics. ”It is kind of strange because we were not really intending to make this album. It is something that just happened. We are actually in the process of making another album that will come out early next year. The title track, Culture Of Fear, didn’t really fit with the rest of the material on this album, which is sounding very slow, feminine and cinematic. It has a kind of a ‘60s soundtrack bossa vibe. So we thought that Culture Of Fear should be featured on an EP to be released ahead of the album. It’s strange but as we worked on the EP, it quickly evolved into a full-length album in its own right.”

ince the mid-‘90s, Thievery Corporation – comprising Rob Garza and Eric Hilton – has been throwing down some of the some of the smoothest slow motion grooves designed to anesthetise and get listeners deep into a comfortably numb state of mind. The duo has just unleashed its sixth studio album, Culture Of Fear, ahead of an appearance at Splendour In The Grass and the usual round of sideshows. Despite the ominous title suggesting a ‘90s-styled downwardspiralling freakout into paranoia, set to riot-starting Prodigy-esque breaks, Culture Of Fear represents no change of direction for the lads who again work the chilled bossa, dub and cinematic atmospherics while slipping world influences into the mix. As ever, the lounge on Eighteenth Street has to be the most relaxed place on of the face of the planet. On the phone from his home in the States, Rob Garza reflects on this ‘culture of fear’, which he feels has become more visible since 9/11. “Living in the States, it is something which has become noticeably in your face every day. More and more we hear stories about the Transport Security Administration, Department of Homeland Security and the National Security Agency. We feel it is becoming a very fear-based society when it comes to news in terms of what people are focused on. It’s a fear of websites you visit and how much information is collected about you when you visit Facebook and Google. Ultimately, it is about being afraid of terrorism and watching this propel us into wars where people don’t really know exactly why they are necessary.

“That’s a tricky one,” Agar admits. “We ended up finding a new drummer back in Sydney. Nothing against our original drummer of course – I’ve only got nice things to say about him – but we worked out pretty soon into our trip that it wasn’t kind of working between us. So a lot of the guest drumming was a bit of a godsend actually. When we came back to Sydney we found ourselves having to audition people from all over the country and we found Jason in Adelaide. He actually came in just towards the end of recording to play drums on three tracks that are on the album.”

As Garza prepares to bring Thievery Corporation down to Australia as a big band experience, it seems this time his musical partner in crime Eric Hilton won’t be touring with him. “Eric has a lot going on and I have a lot going on at the moment. Lately we have been trading off on who does what. It’s also gotten to the point where each of us can direct the show and both of us don’t particularly have to be there,” explains Garza.

and have the opportunity to observe the machinations around them. “Being from DC, we are very frustrated by what we see going around us. People outside DC don’t really see or know what’s happening and why it has to happen. If you are talking the World Bank and loans or the Pentagon and war, just being here gives you a window into what’s going on even though we are not really a part of it all. You can go to different parts of the States and see that people are focused on different things. If you go to Los Angeles people are thinking about the media and the entertainment. DC offers a whole other universe and being there, we have been able to look into that universe.” Garza agrees that the mood has become more optimistic in the States since a new President was inducted into the White House, but he isn’t convinced that the President is necessarily capable of effecting change. “As a society,

people can at least see that you are not prevented from becoming the President because of your race and culture. However, it is very difficult to be the President of the United States without having to bow down to all the people who put you there and gave you all the money needed to campaign. There is no way you can really be a person that can transcend all those other interests. I’m not really convinced that the President is in a position of power in the way that people might think of it.” These days Garza resides in San Francisco with his partner and child and, by all accounts, is enjoying the move to the bayside. “Being here is a nice change of pace. People here are focused on a lot of different things than they are in DC. I find everyone so openminded in terms of their thinking about a broad range of things, from tech to health and art. I am enjoying soaking all of it up.”

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Although Hilton’s activities have been diversifying with a restaurant called Marvin that sounds like a shrine to his hero Marvin Gaye, plus a gallery called Montserrat House, Garza is quick to remind that in essence, Thievery Corporation is still largely about the two of them messing about in the studio. “It’s usually always about just me and Eric in the studio cutting up beats and sampling bits and pieces, so there is still a very electronic component to our music. As we have progressed we have definitely recruited a lot more instrumentalists to play on our records, but it’s only when we hit the road and are surrounded by all the musicians that we travel with that it feels that we have become something of a band.” WHO Thievery Corporation WHAT Culture Of Fear (Eighteenth Street Lounge/ Shock) WHEN & WHERE Monday 1 August, Enmore Theatre


WITH SPECIAL GUESTS

GABRIELLE & CAMERON (DEAD LETTER CHORUS)

THURSDAY JULY 7 SATURDAY JULY 9

BRASS MONKEY

NOTES LIVE NEWTOWN

FRIDAY JULY 8

WEDNESDAY JULY 27

CRONULLA S Y D N E Y NORTHERN STAR BEACH ROAD HOTEL

HAMILTON www.1000cranesforjapan.net

BONDI

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From the producers of The White Album Concert and Let it Be tours

“TWO OF THE GREATEST ALBUMS OF ALL TIME...”

Rolling Stone

AS OM TH MARK SEYMOUR IRW(akIN es) a Jack Jon OG) OOD RAI THISTLETHWAYTE JON TO (Shihad (Thirsty Merc) THy) TIM MORRISON CGRA DEAN Ms from Hungar

(Hungry Kid

(Trial Kennedy)

2 ICONIC ALBUMS 3 C ASS C TRACKS AC S 30 CLASSIC MUS SIC CIA ANS S & SINGERS SING GERS S 23 MUSICIANS

LIVE O ON STAGE S AG FRI 12 & SAT 13 AUG - STATE THEATRE TRE

BOOKINGS WWW.TICKETMASTER.COM.AU OR 1300 139 588 www.beatlesback2back.com beatlesback2back com THE DRUM MEDIA 28 JUNE 2011 • 41 •


CONSTANTLY EVOLVING CLASSIC SOUL

FIREBALLS DRUMMER/VOCALIST EDDIE FURY TELLS BRENT BALINSKI ABOUT LOSING HIS SHIT AND FINDING HIS PEAK.

DEREB DESALEGN CALLS HIMSELF DEREB THE AMBASSADOR AND IN A WAY THAT’S EXACTLY WHAT THIS ETHIOPIAN IMMIGRANT IS, THOUGH IT’S THE MUSIC OF HIS BIRTH COUNTRY HE REPRESENTS. IT’S SOMETHING HE’S STILL LEARNING ABOUT THOUGH, AS HE TELLS MICHAEL SMITH.

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he Fireballs are mentioned in most articles as a little band that tried really hard (they racked up 400 shows a year at their busiest, according to some), but who never made the big time like fellow Melburnian rockabilly-esque outfit The Living End. Both bands started at a similar time, but it’s never been completely fair to lump The Fireballs in with Chris Cheney and co. Both tired of the very rigid dress and sound codes that rockabilly demanded from its bands and branched out, with The Living End moving towards modern day pop/rock and the Fireballs going in a harder, faster direction, drawing inspiration from acts like Motorhead and Slayer as well as from Gene Vincent. One band from Melbourne, of course, went on to become a household name, but the other, despite doing some great things, never sold as many records. Some have suggested that triple j agreeing to spruik one band but not the other was the reason, but this is all just so much pointless navel-gazing... The Fireballs, of course, don’t care a hell of a lot for being pitched as a “might have been, but for a little luck...” story. Why should they? They do care about their new record – Hellrider, which came out last year – and so they damn well should. They’ll be playing it to audiences all over the country all through this month. “The new Hellrider album has been out for a little while now. It’s really good to get back on the road,” says drummer and vocalist Eddie Fury. “To get match fit and start yelling at people, basically losing my shit [laughs].” The new Fireballs album is their first in nearly a decadeand-a-half and their first with two guitarists. Their last, 1996’s So Bad It’s Good, was recorded shortly before they broke up. They reformed in 2005 and have been playing with a second guitarist ever since. Has the extra axe-slinger in the band offended or surprised any old fans? Has it been any different? No and then yes. “It’s great. You’ve got two walls of sound now and they’re fighting each other. You can’t hear drums and bass and it’s awesome,” says Fury, happy to have his role pushed ever so slightly towards the background. “It’s a great combination of Pete Speed and Dylan Villain, who work really well together. It’s refreshing to write with new people, develop sounds and develop

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directions and it was the start of something else. We have our history behind us and we’re ploughing forward.” And why the wait between the launch in October and now? They had to practise and they had other projects to chip away at. “We were gearing up! Rehearsing, writing more, we’re working on the next one – we’re constantly evolving and pushing boundaries. And doing new things and we’re trying to write this 25-minute psychobilly symphony at the moment.” A psychobilly... symphony? “It’s 25 minutes of noise with horns and strings, hopefully, with flat-out double bass, high-speed drumming, screaming and yelling and razor-sharp guitars somewhere in the middle. A bit of acoustic, a bit of jazz,” he chuckles. “Sprinkled with a bit of lemon zest and some salt and pepper; heavy on the Tabasco!” Jazz? Strings? Mountainous, shark fin-like hairdos? Is Australia’s finest psychobilly troupe getting old? Are they – and Fury gets, well, furious (albeit in a joking way) when asked if the Fireballs might be getting a bit old – segueing into respectable senescence? “Don’t worry about our peak,” he grumbles. “Jerry Lee Lewis hasn’t hit his peak and he’s 75 years old. He shot his bass player, he’s taken that many drugs it could kill ten men – well it killed Elvis – and six brides later and a country career and he’s still rockin’ hard. That’s what I want to be.” WHO Fireballs WHAT Hellrider (XXX Fireballs Records) WHEN & WHERE Friday, Sandringham Hotel; Saturday, Great Northern Hotel Newcastle

PARTY TIME

X

So album out of the way, what’s this about a new live show? “I’m working on a live show for autumn, for the festivals around the world. I’m working a lot on it. It’s a new project and I’m really excited about that • 42 • THE DRUM MEDIA 28 JUNE 2011

Desalegn has already released two albums under his own name back in Ethiopia, his first in fact topping the charts there in 2003, so if he can find the right distributor there for Dereb The Ambassador, you can expect to see his all-Australian made slice of ‘60s/’70s Ethiopian soul/jazz hitting the airwaves of Addis Ababa sometime later this year. “The Lion Of Judah was organic, traditional [Ethiopian] music,” he explains, “which I’ve been playing since I was a kid. When I was in Ethiopia I used to play with traditional groups – when I was seventeen, eighteen, nineteen, ‘til I came to Australia. That music has been coming from one hundred, two hundred years ago. So the music I am making now is not a music I actually grew up playing or performing or hearing.

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here’s obviously a big passion for the sounds of the ‘60s in The Glimmer, with elements of everything from Dick Dale to The Mamas & The Papas and even a touch of Janis Joplin evident in their debut album, Start A Fire, which is very much a jangly yet loving paean to that whole era.

“I really love touring, sharing feelings with people all over the world,” Gassemann offers in rather fractured English. “My English is very crap,” he laughs. “It’s sometimes difficult for me.”

“I really don’t know if I want to have an album. I prefer an EP because I think in electronic music I really don’t know about the album format. Sometimes it’s cool, some albums are really great, like Justice or Boys Noize and things like that. But for me I’m really focused on my new live show and a new EP. Maybe later, you never know.”

Desalegn, who was born in the Ethiopian countryside and moved with his family to the capital, Addis Ababa, when he was ten, came to Australia in 1998. He had previously put together a band called Lion Of Judah, playing contemporary Ethiopian dance music, releasing the album Korkoro Yalew in 2003.

The impact of all this on Ethiopian music was the creation in the 1960s of a type of Ethiopian soul/jazz music, its stars being artists like Ahmoud Ahmed and Mulatu Astatqe, unknown to most of us but incredibly influential at the time. It’s this rich vein Buchan introduced Desalegn to and which forms the basis of Dereb The Ambassador, the album and band. “Finding the musicians was even harder,” Desalegn admits, “because I’m not playing with Ethiopian musicians – most of the musicians are Australian musicians and some of them, they never heard of Ethiopian music – but then personally I was new to the music too. It wasn’t just them! So really, we had to go through it, we had to learn it together for them all to be comfortable – it’s not the music they grew up with. They like the music but they had the same questions I had. “The whole mindset of the musicians in the ‘60s and ‘70s was quite different. Composition, their lyrics, just absolutely mad lyrics, the wisdom… you name it. Pretty much you cannot compare it to the music of the past twenty years. So finding this old school music and finding it here and performing it, I was just like, crazy. The feeling with that soul is a great feeling.” WHO Dereb The Ambassador WHAT Dereb The Ambassador (Other Tongues) WHEN & WHERE Friday, GoodGod

CLASSIC ‘60S 45S, SHORT ATTENTION SPANS, TALES OF LOVE AND LUST – THEY’RE ALL PAR FOR THE COURSE FOR THE GLIMMER, AS MICHAEL SMITH FINDS FROM NIKKI PONYMEADOW SAVVIDES, CASSADY MADDOX AND DERECK CAMERON.

avier Gassemann, better known to the dancefloorfaring public as Don Rimini, burst onto the scene in 2007 with a track ironically called Let Me Back Up and hasn’t really looked back since. He’s now one of the world’s hardest-working – and travelling – DJs, with an EP a year since, along with a slew of remixes of the likes of The Count & Sinden and Dada Life, plus his rather popular take on Young MC’s Bust A Move. He’s come a long way in a very short time, but he wouldn’t have it any other way.

And while his steady output of EPs since 2007 is a product of this intense work ethic, Gassemann is in no hurry to produce an album of any sort. These days some dance producers are still keen to release an album, while many subscribe to the notion that people are only going to download or purchase the singles they prefer and don’t need an album full of potential filler. Gassemann fits into the latter category.

“I made an album called Drums And Lions with Nicky,” Desalegn remembers, “which is completely different style, a fusion between Ethiopian and Western music – it’s world music. But Nicky Bomba introduced me to Tony and he already knew about Ethiopian music from the ‘60s and ‘70s, so some of the tracks we worked from that era with new arrangements and some we modified to my own new stuff.”

“This style of music we are doing [now] is [from] when Emperor Haile Selassie was around – they call it the golden era. At that time there was a big, big revolution where the ancient world moved to the modern world and there was a massive European music influence, Asian music and South American music.”

TWANGIN’ THE POP WAVE

PARISIAN DJ/PRODUCER DON RIMINI IS ALWAYS ON THE LOOKOUT FOR FRESH BLOOD HE TELLS TROY MUTTON.

It doesn’t stop with the touring however, as Gassemann is a classic case of someone who simply can’t sit still, which explains his prolific output over the past few years and rapid rise amongst the fidget-house/electro communities. “I’m a workaholic and I’m always planning new projects. It’s hard for me to produce when I am touring, so when I’m not touring I produce at home. I do exclusive mixes, or mixes for MySpace and things like that.”

he journey that led to the making of not only his latest album but the banner under which he now performs, Dereb The Ambassador began in a sense when singer, songwriter and player of the Ethiopian violin the masenko, Dereb Desalegn, met producer Tony Buchen back in 2006. He was working with Melbourne songwriter and drummer Nicky Bomba, now with the John Butler Trio.

because I’ve never done a live show, I’m a producer, a DJ, but for the first time I’ll be doing something live.” As excited as he is, he remains very coy about what it will actually entail. “Oh, a lot of surprises… I can’t explain everything, but I will be alone on stage with new technology for the light show and sound show too.” Gassemann, like many electro producers who arrived on the scene around ’06/’07, found plenty of love on the Internet blogs of the time – blog house was even a genre for about ten minutes. And while it feels like most people have moved on from blogs, try telling that to Gassemann. “Sometimes I’m looking for a track so I’ll check the blogs that I like, so sometimes I can find some new talented artists and some fresh blood and new styles of music. It’s really important for me to see what blogs are following.” Unfortunately for us we won’t be getting the new live Don Rimini treatment, but his DJ sets are still something to behold and as for what to expect, well, an enlarged party of course. “A lot of energy, lots of new stuff too, because I just released the new Nlarge Your Parties EP, so I’ll play some stuff off that. I can’t wait to play it in Australia.” WHO Don Rimini WHEN & WHERE Saturday, Chinese Laundry

“I guess I learned a lot of stuff through these guys and Cass particularly,” bass player Nikki Ponymeadow Savvides begins. “She’s always been into it, but some of it is stuff my parents listened to, so it’s kind of got a real connection to childhood. And there’s sort of a warmth about it too that I like; something genuine about it.” “My mum had a massive stack of 45s,” the aforementioned singer and guitarist Cassady Maddox explains, “and I just listened to them one by one, kept out the ones that I really liked [laughs]. I guess as a teenager you have such a short attention span. 45s just really worked for me. I always liked the Easybeats and that kind of stuff that makes you want to clap your hands. Really like The Shadows as well. I like instrumental surf music and stuff, I don’t know, something about melody – finding a good melody and putting a good beat to it. That’s why we have that kind of ‘combo’ version of Sleep Walk that kind of tributes the Santo & Johnny original as well as The Shadows’ version.” Another surf classic they cover is The Atlantics’ Bombora which, much to their surprise, apparently went down a storm when they played it at the Wintersun Festival in Port Macquarie recently. They’ve recorded a version they’re releasing soon as a B-side. The Glimmer grew out of two parts The Charles Manson Experiment – Maddox and guitarist Dereck Cameron – and “a very punky, grungy garagey band” called Ruby Sue’s guitarist Savvides. Maddox eventually joined Ruby Sue before the two bands collapsed and the three decided they “wanted to be in a real band,” as Maddox puts it, laughing.

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“The opportunity came when their bass player left,” Savvides continues, “and I’d just taken up bass, literally a matter of weeks before.” With the addition of drummer Jules Hernandez, The Glimmer was complete – let the twangy guitars and spaghetti western sensibilities commence. “It was never intentional for us to sound like a Quentin Tarantino film,” Cameron admits, “though that’s what everybody keeps saying. I think because of the storytelling and the quirky guitars and melodies.” “And that’s live or recorded, we’ve always found,” Maddox adds. “All different things spark the songwriting. We write some of them together, two of the songs on the album coming out of it being ridiculously hot during summer and they’re kind of the slower ones playing, Pistols At Dawn particularly…” “Yeah, that kind of lethargy,” Savvides remembers, “the heat filling your apartment. But I guess there’s an element there from movies or stories and that sort of stuff.” “We’ve moved since then,” Maddox takes up the story of the album once more, “but our old ‘headquarters’ had no real ventilation, it was above a shop and all wood; an absolute heat box. And then In It For The Money was just because somebody said to us, ‘Oh come on, all musicians are in it for the money – you can’t tell me you’re not playing music for the money.’ We just thought was very funny…” “Oh it was hilarious,” Cameron chips in dryly, at which point the trio laughs all too knowingly. “Yeah, rolling in money!” Which is why live, they often tack on a version of Money (That’s What I Want). WHO The Glimmer WHAT Start A Fire (Independent) WHEN & WHERE Friday, Lansdowne Hotel


ELECTRICAL SAFETY RECALL

Powered Amplifiers

P2500S, P3500S, P5000SJ, P7000S

Powered Speakers

DSR112, DSR115

Powered Subwoofer

DSR118

Compact Speaker

MS101III

DTX Monitor System

MS50DR, MS100DR

Sold by Yamaha Music Authorised Dealers between October 2010 – June 2011 Defect In some circumstances the mains plug may have been wired incorrectly. Hazard Due to the defect the products can cause serious injury or death to the user. What to do Consumers should immediately stop using the listed products and contact Yamaha Music Australia to have the mains plugs tested by an Approved Technician and rewire the mains plug if faulty. Contact Yamaha Music Australia Pty Ltd on (03) 9693 5167 9-5pm EST Monday to Friday or productrecall_australia@gmx.yamaha.com or visit au.yamaha.com

LIVE

See www.recalls.gov.au for Australian Product Recall information

NEW ALBUM OUT NOW POPFRENZY.COM.AU THE DRUM MEDIA 28 JUNE 2011 • 43 •


WITH ROSS CLELLAND

DAMN DOGS Very First Century Archangel Sky “Punkish doom disco” you say? Half of Jet, and a couple of other identities: sometime collaborator Mitch McIvor, and regular Tim Rogers sideperson Louis Macklin of 67 Special, listen to some old Bowie, some newer electro, and end up sounding a bit like an LCD Soundsystem karaoke night. It has the correct leaden swing to it and they sound like they’re quite enjoying themselves. Would it even rate a mention if it was anyone but these participants? Probably not, but equally it’s not quite as bad as it could have been.

BLACK CAB Combat Boots Laughing Outlaw “Punkish doom disco” could probably cover this as well. But these are cool ‘kids’ from Melbourne, so while their record collections are every bit as obvious as the above – the estate of Ian Curtis should be playing Transmission alongside this in their lawyers’ offices as we speak – because they haven’t soundtracked an iPod ad or bought a Camaro, they probably won’t receive the same scorn as the above. It’s actually quite likeable in its fuzzy retro way and their new bigger band live mode may be well worth witnessing.

THE ONLY (featuring TISM) (River Phoenix) The Hollywood Anthem Beatport Dubstep squirty and beepy noises drag our favourite masked iconoclast smartarses to a 2011 dancefloor kicking and screaming. In style, attitude and subject matter – particularly here, as Jacquin’s brother expires on the sidewalk outside the Viper Room – TISM somehow fits, and as this flails about among the electronics, we remember how much we miss them. A death in the family has derailed them, but apparently those with top billing here have encouraged various of them back to a microphone. We await results.

ALL TIME LOW

BUSBY MAROU

THE COINCIDENTS

Interscope/Universal

Footstomp/Warner

Minor Label

Dirty Work

Busby Marou

While Dirty Work, the latest release from pop-punk outfit All Time Low, is not entirely disappointing, it certainly falls painfully short of expectations and is unsatisfying to say the least. With a few notable exceptions, the album is a perfectly constructed set of catchy, mainstream pop songs with emotionally void lyrics to match. Opener, Do You Want Me (Dead), one of the few tracks on the album not driven by overproduced vocals and lacklustre melodies, showcases the band’s talent more comprehensively than the songs that follow, a promising start to the record. It soon becomes clear, however, that the band have dived head first into the realm of mainstream pop music and left the edgy punk sound gaping helplessly in its wake with I Feel Like Dancin’ and Just The Way I’m Not, which are polluted by unnecessary auto-tuning and a musical arrangement that falls noticeably short of what the group are capable of.

Rockhampton, Queenslanders Thomas Busby and Torres Strait Islander Jeremy Marou aka Busby Marou originally released this, their eponymous debut album, independently late last year, so two tracks – first single, Biding My Time, and Underlying Message – have already copped a fair bit of triple j love, which probably helped get them the attention of Footstomp and through them, major label Warner. Well that and winning the 2010 Most Promising New Talent in Music Deadly Award and a Q Song award for their song, Paint My Cup, which also appears on here.

Modern Heart

There is a certain shiny joyousness in the guitar pop style some would call ‘old-fashioned’. Sure, it can tend to be slightly retro – that’s in the nature of it. But there’s a timelessness in the skill to putting melodies, harmonies and a chorus that sticks in your head together, doing all it needs to do in three-and-a-bit minutes, leaving you singing along and tapping on the steering wheel as it repeats to fade. In the proud Melbourne traditions of Even and Snout, Danna Simmons is one of the keepers of the flame. His previous bands, The Changes and The Suits – all the best pop bands start with the definite article – had the two guitars, bass, drums and other shiny things in correct ratio, but The Coincidents adds something to the formula.

Moments before the end, the album turns itself around and leaves us with three very satisfying songs that remind us of the band’s true calibre. That Girl is undoubtedly one of the catchiest songs on the album and is perfectly positioned to lead into Heroes, a truly satisfying closing track. There is no doubt that Dirty Work leaves much to be desired when compared to other All Time Low releases, but when taken on face value it is an impressive record nonetheless. New waters are being tested and old ways abandoned, but if we accept what was arguably an inevitable transition towards the mainstream, the record’s well-constructed catchy pop songs make for an enjoyable listening experience.

It’s obvious, too, why they were invited to contribute to the He Will Have His Way tribute album to the Finn brothers, the only independent act to do so. Busby certainly has that warm, intimate, emotive tone and voice that the best of either Finn’s songs deserve. As I’ve pointed out elsewhere, there’s also an inevitable hint of the Simon & Garfunkles, certainly in the gently caressing and melodic approach they take to their songwriting. Marou, the multi-instrumentalist of the duo, has the subtlest of touches, opting for minimalism while still providing enough in the aural spectrum to really evoke the mood and atmosphere the simple stories told in the lyrics demand, always aware of the power of space yet more than capable of adding to the drama and tension with just the right sweeping slide guitar line or piano wash. All of which is then ably and tastefully enhanced by the handful of session musicians, among them pedal steel master Michel Rose. It’s also a very straightforward Anglo-American folk-pop-based with an Australian twist sort of album, most obviously on tracks like the country shuffles of Save Some For The Others and the aforementioned Underlying Message.

Lucia Osborne-Crowley

Michael Smith

Ross Clelland

FUCKED UP

KAISER CHIEFS

I SET MY FRIENDS ON FIRE

Matador/Remote Control/Inertia

Liberator

Epitaph/Shock

The girl-group backing vocals of Erica Menting and Rachel Simmons are not just there for decoration – though there’s nothing much wrong with synchronised dancing in ‘50s flip skirts. The guitars chime in, the songs are typically and traditionally of love coming and/ or going, and while Danna can express the grin of Just Got Married or the stuttering over-excited energy of finding Victoria – the ladies can take it other places, like the mirroring echo of You Don’t Need Me or actually being the other side of the conversation in Christabelle. Each song seems to be its own neatly constructed little snowdome of poply delight. Whether in the happy first flushes with affirmations of Who Are Ya?, or the slightly snarkier Obsolete Friend this is dance-around-whiledoing-the-vacuuming music to just enjoy for what it is. This is pop, yeah yeah (yeah).

THE MUMPS I Wish I Was You EP Independent A mix of the audible and visual with Tina Havelock Ellis – formerly of The Plug Uglies and The Titanics among other things, though latterly more about being an artist than a musician, and Liberty Kerr (well-regarded engineer and live mixer among other things) making mostly instrumental music often with a soundtracky twist – Undoes The Wires certainly suitable for use in a car chase scene, possibly involving a train. No it does, really. Music by people who know what they’re doing. Very, very confident, and thus pretty good.

WE ARE GRACE Yes I Blame You Flashpoint The melodrama in the vocal warble is a bit overdone in places, but the WAGs make big melodic and harmonied commercial pop-rock. But they’re not pretending to be anything else. Let’s face it, Eskimo Joe are going to need a support band when they hit the Central Coast, and down to the singlets under open shirts, these are the boys for the job. If the commercial FM stations are still at all interested in finding new local talent, look and listen here. On those criteria, you should work out whether you want to know or not.

THE GLIMMER Pistols At Dawn Independent On the other hand, The Glimmer are the very model of a certain model of inner-west indie band. Bluesy, some frayed country around the edges, and for some flavour, add some surf guitar buzz and up-to-fourpart boy/girl harmonies. Goes with the requisite rumble and swagger. And tunes like the wellorganised Hatemail Blues shows they might have the songs there too. A few beers and watching them sweat at the Sando would probably be a good night out. If you remember it afterward. Good work. • 44 • THE DRUM MEDIA 28 JUNE 2011

David Comes To Life

The Future Is Medieval

For a band that has always been conceptual to a point, Canada’s Fucked Up has taken it to a new level on David Comes To Life – the tale of the character David through love and life. As a reference point, it’s just as conceptual as The Decemberists’ Hazards Of Love in that you can’t ignore the narrative – male and female vocal lines converse, Shakespearian characters reappear and you’re continually reminded of the fact. Their third album, following Hidden World’s exercise in elongated hardcore and Chemistry Of Common Life’s examination of God, it is their most structured. Split into quarters, most tracks are around the four and a bit minutes mark and none reach six, which was almost the norm for them not so long ago. The new-found restraint is evident elsewhere as well. Melodies that were often hidden deep under tumbling and excessive energy are easier to grasp here and the vocals have been brought to the fore. But it’s still Fucked Up and they still sound only like themselves. Ironically, while they did finally make it to Australia earlier this year this is the record that works best on its own accord, its take on hardcore not so much as easier to listen to this time around but more captivating. In the latter stages simple hook riffs in tracks like I Was There reward listeners’ attention in a way that the band hasn’t really done before. Regardless of the scope, it’s not their biggest record, but the central focus seems to bring all the elements together like they haven’t previously.

Scott Fitzsimons

The Future Is Medieval was announced on the band’s website with a ‘create your own album’ concept. The idea has grabbed more attention than the music. With 20 songs on offer on the website, only 12 made the physical copy, not including two bonus tracks – the track listing chosen by the band. What this means is a record that is more a collection of singles than an album. Put it on shuffle in your iPod and it’s being listened to in its intended form. Kaisers have made sure the idea is backed up with a change in direction, stepping away from their usual boisterous football-anthem songs in favour of pop songs that utilise all their band members’ talents in a way previously unnoticed. Simon Rix’s bass is the driving force on Long Way From Celebrating, a classic rock song with an unexpected kick; organs come crashing through on Dead Or In Serious Trouble and Peanut’s piano skills finally come to the forefront on When All Is Quiet. Ricky Wilson remains the everyman lead singer, whether lamenting passing fancies or surveying his less than stellar surrounds wryly.

Astral Rejection

The second full-length from Florida duo I Set My Friends On Fire, Astral Rejection, follows a debut that, despite the MySpace-generated hype, failed to deliver. It is also the first release to feature former From First To Last member Chris Lent, playing drums, keys, synths and percussion. A product of the halcyon days of MySpace, when a high play count justified an album, it seems the duo may have gone the way of the social networking site that helped expose them. Like MySpace, they use a platform that is still moderately popular (combining electronics and punk) but feels like a sinking ship with too many onboard already; Developer, The Horn sounds like a hellogoodbye B-side, Infinite Suck like a bad Horse The Band. Perhaps most concerning is the opportunity the band gave itself to improve on Astral Rejection. The first sessions for the album (which was slated for release a year ago) were largely scrapped after founding member Nabil Moo left, to be replaced by Lent. Yet round two has only managed to yield what sounds like largely uninspired results soaked in auto-tune.

The best songs are those that challenge their past, like the decidedly synth dance of Heard It Break. Nick Hodgson’s earnestness in If You Will Have Me, dedicated to his father suffering from Alzheimer’s, is a genuine tearjerker. Yet the clear winner is the bonus track, Kinda Girl You Are, which leaves one suspecting the failings of this album are track list, rather than quality, based. Fans are better off downloading all 20 tracks and having a personal Kaiser compendium.

It’s complex and tightly executed, but more to the extent of being alienating or confusing than engaging, as though the band spent the year in interim concocting ideas for a thoroughly overproduced album that lacks any real substance beneath a momentarily attention-grabbing exterior.

Sevana Ohandjanian

Dave Drayton

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If this were MySpace, then its Facebook equivalent is probably Test Icicles or Ghengis Tron. There’s a similar approach, the second two are just infinitely better and less frustrating to deal with.


turn of mind” and turns them into a celebration of the light and shade that makes up her complex protagonist. On her four previous albums, Welch had crafted an important place on the fringes of country music, taking inspiration from bluegrass, Appalachian traditions and old-time folk. Album number five, The Harrow And The Harvest, confirms Welch as one of the most assured female voices making music in America. Danielle O’Donohue

IN FLAMES

MELODIE NELSON

FACT FILE

Century Media/EMI

Other Tongues

Moods: Intimate, dreamy and lush.

Sounds Of A Playground Fading After defining the melodic death metal sound circa 1994-2000, Swedes In Flames have been on one hell of a creative slippery slope. There’ve been occasional highlights, but they’re far from the cutting edge. On this oddly titled record, they’ve also lost founding guitarist/ key songwriter Jesper Strömblad. It’s marginally more engaging than previous snoozefest, A Sense Of Purpose, but somewhat akin to Fear Factory’s records after mainman Dino Cazares’ ousting – it sounds like them, doing a fair job of replicating their musical foundations, the trademark twin-guitar harmonies included. But the soul and genuine heart isn’t present.

Length: 10 tracks, 46 minutes.

Meditations On The Sun Melodie Nelson is the pseudonym of Sydney’s Lia Tsamoglou and her latest project after spending time with Moonmilk and Rand and Holland. The name is presumably taken from the Serge Gainsbourg album, History de Melody Nelson, and the mood of Meditations On The Sun is definitely that of an album rooted in past styles. Tsamoglou has concocted a shimmering sway of a record that takes in the bittersweet melancholy of girl groups from the ‘60s, ‘90s Mazzy Star narcotic drone and a consistently seductive cinematic mood.

There’s little that’s particularly poor, it’s just mostly rather pedestrian. Exceptional exponents of hook-laden extremity, here the performances are tight but there’s too much meandering and not enough genuine catchiness or urgency. The opening title track just manages to maintain your interest, but the blips and bleeps and poppy melodies of far-less-memorable-than-it-should-be single, Deliver Us, contribute little. The moody The Attic provides a degree of ambience but lacks a hook to truly sink your teeth into. Spoken word effort Jester’s Door shows they’re attempting to mix it up, but is just bizarre. Fear Is The Weakness, Whoracle-esque The Puzzle and Liberation are better; more vibrant, packing stronger hooks and leads. Although In Flames’ sound has understandably become increasingly accessible, moves such as Anders Fridén’s increasing use of clean vocals aren’t always beneficial. Even those who may derive some degree of enjoyment would better spend their time digging out a copy of Colony or Clayman instead.

Her voice possesses more of a croon or whisper than anything else and it is the defining element that makes the album work cohesively. Hers is a strong and sexy tone that draws the listener into her music, without becoming overly cute or at the expense of strong melody. Colours Of My Dreams rises and falls delightfully while Orpheus, She’s Gone has hooks of the highest order over a marching rhythm and tremolo-laden guitars. The centrepiece and highlight of the album is Johnny, with its surf guitar on half speed, drum machine and ‘so bored, I’m cool’ vocals. It isn’t a stretch to put the song up as a female counterpoint to Suicide’s song of the same name. The title track is the darkest moment – all blissed-out funereal pacing, perpetually droning organ and a haunting singing that combine to feel like a warm floating dream sequence from a David Lynch film. Meditations On The Sun deserves widespread attention for its stellar production, astute songwriting and some wonderfully rich singing and musicianship. Tsamoglou astutely restates the case that less is more and when executed as well as this the results are mesmerising.

Brendan Crabb

Chris Familton

GILLIAN WELCH

DID YOU KNOW

The Harrow And The Harvest

• Though there were eight years between 2003’s Soul Journey and this album, it wasn’t for lack of material. Welch and Rawlings had “enough songs to put out two or three records”, but Welch said that they just didn’t like the material enough to go through with it.

Shock

Eight years is a long time to take to write and record a new album, but Gillian Welch’s last, Soul Journey, was nonetheless released in 2003. Though Welch is unlikely to have the kind of fans that move onto the next thing without a second thought, it’s still a big ask to expect people to drop everything now that Welch and her partner David Rawlings have finally gotten around to releasing something new.

• The Decemberists’ Colin Meloy wrote of The Harrow And The Harvest, “Listen to this record with the lights low. Listen to it on an old radio, cradled next to your ear.” • Welch just wrapped up opening shows for the newly reformed Buffalo Springfield, who performed their first shows in over 40 years earlier this month.

But drop everything you should. Welch’s voice has never sounded more heart-achingly beautiful or Rawlings’ guitar work more ethereal. The Harrow And The Harvest is full of the kind of quiet moments that put the intimacy and delicacy of this music at the forefront. These songs have a beautifully languid flow to them. Rawlings’ picked guitar style highlights but never overshadows Welch’s voice, even when it’s at its softest. Always a thing of great weight and emotion, Welch’s voice is particularly beguiling on The Harrow And The Harvest, and the harmonies she sings with Rawlings have never sounded better. While the whole album is virtually flawless, the first highlight comes quite early. Track two, Dark Turn Of Mind, is stunning in its simplicity. Welch sounds like she’s from an earlier, simpler time as she twists ominous phrases like “Don’t ever treat me unkind, ‘cause I had that trouble already and he left me with a dark

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THE DRUM MEDIA 28 JUNE 2011 • 45 •


ONLINE MUSICAL WIN WITH DCR

TOM VEK The release of Tom Vek’s new album, Leisure Seizure, got me excited, and then got me thinking. Looking at the liner notes, Vek noted the design details of the plastic case housing the disc and artwork (the jewel case). According to the notes, the case was designed by a chap named Peter Doodson, employed at Philips, one of the companies that developed the compact disc. Why is this important? Well, it’s not. But it’s interesting, because these cases are so omnipresent now that they’ve become something akin to shopping bags. Now that we’re in the era of iTunes and Juno and Beatport and Bandcamp, more care is being put into the physical media of music of the past. Vinyl has made a fairly massive comeback and even CDs are now coming packaged with greater attention to detail. The point is it’s hard to imagine nostalgia for the compact disc. It feels like the world’s longest temporary medium between two solid forms – vinyl and digital. Vinyl offers (as history argues) the best quality sound, and digital theoretically does, too. Cassette and CD were just the interims; price playing a major factor in digital’s delay at being mainstream - computers were prohibitively expensive - and iPods weren’t thought possible (or necessary), etc. CDs just struck it lucky by being around during the era when labels and electronics producers didn’t really know where they were going (until Apple came along with the balls to develop something revolutionary). So we’re back to the jewel case. Credit where credit is due, it’s a utilitarian design and it works, but it’s also an incredibly frustrating item: the part that holds the CD in place constantly breaks into a dozen little pieces, rattling in your case; the cover or back itself often splits (sometimes before you’d even gotten home), and then there’s the stupid design of the discs themselves, succumbing to scratches from the slightest breeze.

REISSUES

PAUL KALKBRENNER

SEPULTURA

THE LADYBUG TRANSISTOR

Paul Kalkbrenner Music/Rough Trade/Fuse

Nuclear Blast/Riot!

Merge/Shock

Icke Wieder

Kairos

Clutching Stems

While you could imagine the bottom-heavy deep techno groove of Sagte Der Bär and pounding closer, Der Breuzen, holding their own somewhere in the 1am-3am timeslot, they’re not the sort of numbers that’ll have chinstrokers furiously trying to ID them come closing time. The bouncy tech rhythm pumping away at the heart of the synthesised string section of Kleines Bubu is as close as Kalkbrenner gets to an anthem here, but even it doesn’t quite deliver a result worthy of the hype that precedes it.

And while we’re speaking about the truth, something else needs to be said. Forget the fact that this is a huge step up from the conceptually ambitious but sonically messy A-Lex. Forget the fact that new drummer Jean Dollabella offers up a tight and focused performance. You can even forget that there’s some vicious thrash metal to be found here – especially in the appropriately monikered Relentless and the franticly paced Mask – all of which is a testament to Andreas Kisser’s songwriting nous. However, all these minor victories aren’t worth a damn because nothing on this album touches the brilliance that is Beneath The Remains, Arise or Chaos AD. Derrick Green tries hard but he’s no Max, and it was the dreadlocked one’s spark that set fire to Kisser’s riffs. So while those two parties refuse to play nice, the rest of us are left with a crappy groove metal outfit and a competent yet slightly dull thrash metal band. Sorry: when it comes to Sepultura it’s impossible to listen without prejudice.

Unlike other Elephant 6-associated bands like Neutral Milk Hotel and Of Montreal, Brooklyn’s The Ladybug Transistor has remained virtually unknown, a brief shot of a concert poster in the film, High Fidelity, as close to breaking into mainstream consciousness as they’ve ever come. Hopefully much deserved exposure and attention will come with this, the band’s seventh album in 16 consistently impressive years. While originally they played orchestral pop in a sparse, baroque style, it’s now more fleshed out and sprinkled with delightful flourishes, including a divine double oboe line on Oh Cristina. Gary Olson’s lyrics are bubbling with clever pop culture references and are always suited to the sweetness they lie against, his voice often partnered with a charming female vocal (Light On The Narrow Gauge) for that perfect balance. Clutching Stems is more rooted in a positive major disposition than the band’s past output (with the one exception in the marginally more sombre Caught Don’t Walk, gorgeous string and brass arrangements abounding in a piece that starts in a more solemn place before floating away). As such it’s sometimes difficult to differentiate between individual songs, but if it sounds like one long song it’s a very joyous one indeed. In the past The Ladybug Transistor’s tunes didn’t quite have the polished finish to gain serious momentum in the world of ultra-glossy indie pop. 2007’s Can’t Wait Another Day saw them cautiously test new footing, and Clutching Stems sees them find it. No new ground is broken in the grand scheme, but it’s beautiful all the same. Sitting comfortably alongside luminaries like Belle & Sebastian, this is a great place to start if you’re just discovering this incredibly underrated band.

Gloria Lewis

Mark Hebblewhite

Giselle Nguyen

THE PAPER SCISSORS

TOM VEK

WILEY

Sandcastle Music/MGM

Modular/Universal

Big Dada/Inertia

More people are familiar with Paul Kalkbrenner’s name than his music, the German producer cultivating a healthy mystique via his appearance in cult 2008 film, Berlin Calling, and subsequent reluctance to do much in the way of press (even when touring Australia earlier this year). The packaging for new album, Icke Wieder, doesn’t shed much light on proceedings either, emblazoned with just Kalkbrenner’s name, the ten track titles (in his native tongue) and thanks (again in German) to family, female companion, friends and fans. Thankfully the less-is-more approach doesn’t carry over to the album itself – not all of it anyway. Opener, Böxig Leise is a jaunty little number, trapped in a BPM zone which is neither dancefloor nor head-nod but with enough life to suggest its eyes would sparkle if it were a living being before it dissolves into an unnecessary coda. Gutes Nitzwerk certainly has more fuel in the tank, as if it’s transporting you at speed across the top of windswept fields in the countryside. Along with its guitar-heavy successor, Jestrüpp, it’s probably the lightest moment here as Kalkbrenner traverses mostly murky terrain which never quite gels into the whole you sense he’s capable of.

The great Sepultura implosion of 1996 dealt everyone involved a pretty crappy hand. Max turned into a caricature of himself with the god-awful groove-based Soulfly; the remaining members of Sepultura were never allowed to reinvent themselves as a legitimate concern and the fans were left with two bitter camps of musicians, neither of which made any music that approached the quality of their former material together. Even now, 15 years later, the split still dominates Sepultura’s 12th album, which ironically happens to be the best thing the band has done since Roots. But do you think any of us really care? No, because in the back of our minds we’re all hoping for the reformation of the classic lineup. It’s not fair, but it’s the truth.

No one is weeping at the disappearance of the CD. We’ve finally got a better medium (digital) for your average purchases, and the return of a beloved medium that’s long-lasting, holds up to a great deal of wear and tear and holds an abundance of nostalgia: vinyl. Now, you’d think once music goes digital that’d be the end of the road – a media cul-de-sac of sorts. Where do you go from digital? You remove the digital file, of course! (The idea of ownership of something, at least.) This is done through cloud computing, which you will have all heard of by now, certainly since Apple chucked an ‘i’ in front of the word cloud and made it a product-slash-service. Now you can buy music and never actually receive anything. At all. You pay for music but all you buy is a licence that allows you to listen to that song. Therefore, you’re handing over your money for a transient, ephemeral experience. The question is, has music become so omnipresent, so much a part of our lives, that we need to have everything available to us at any given moment? If this is the case, music no longer shares a place with art but instead water and toothpaste and toilet paper – something that’s there, essential, but hardly ever thought about. Of course, music and toilet paper are not and never will be one and the same. But we don’t need constant access to music. We will simply become numb to it, even grow to question its place in our lives. Therefore, I do not believe that this cloud is a good idea. The existence of iTunes is mere convenience, to have all your music available to you in one location, without having to sift through the hundreds of records that the average person these days has. But, you know, you’ve also the option of buying records on CD or vinyl (hey, even cassette), which gives you a different experience. The cloud, particularly iCloud, is bringing forth a world without physical items, suggesting music isn’t important enough to warrant the cost of manufacturing, or that we’re so tuned into the internet that we need to have 17 different genres of music at our disposal at any given time. But then, Universal is releasing a five-disc special edition of Nirvana’s Nevermind in September, so clearly there’s a horse being flogged there. This would be a ripe time for a vinyl+digital package – grab the double vinyl and a download code for the video content and bonus B-sides, etc, through Universal directly. TV sets are in decline, so too are DVD sales. Think people, think.

In Loving Memory

The release of The Paper Scissors’ new album, In Loving Memory, marks an important and long-awaited addition to the Australian indie music scene. The album combines solid but slightly edgy vocals with catchy pop hooks and some slower, deeper tunes to create a display of maturity and diversity of style and influence that defies the band’s short career. The slow, steady opening moments of Disco Connect provide a perfect introduction. The song fades into a solid melody that allows the vocals to shine and then builds in intensity across the track, with the drums and melody rising to prominence towards the end. The tone of the record changes with Lung Sum, which displays the band’s ability to create raw, steady rock tunes. The record weakens slightly towards the middle, with Over There and On Your Hand losing a certain earnestness that has been so comforting in earlier parts of the album and lacking the powerful vocals that have complimented previous songs so nicely. The mood changes suddenly in the album’s closing moments, with final track, Drunk Swim, alluding to some of the darker, deeper sounds in the band’s repertoire. This track is a perfect choice to finish the record because it displays a diversity of sound and tone that we had not witnessed in the former songs. While there is nothing particularly novel or groundbreaking about this album, it is a display of honest and emotionally rich expression combined with the harnessing of real talent and a mature, measured approach that makes this a perfectly cultivated record. The album speaks of a bright future for The Paper Scissors. Lucia Osborne-Crowley

• 46 • THE DRUM MEDIA 28 JUNE 2011

Leisure Seizure London musician Tom Vek is one of the more mysterious names from the indie-dance crossover scene of the past decade. His debut album, We Have Sound, was released in 2005 on the now-defunct Go! Beat Records (home to Portishead), and with a string of singles – the most popular being I Ain’t Saying My Goodbyes – he was a mainstay at clubs in the year after. Vek’s was the sound of that year, alongside the likes of Cut Copy and The Rapture. And then he disappeared. Mid-2009, then-NME editor Conor McNicholas tweeted that he’d been listening to the new Vek album and heaped typical hyperbolic praise on the record, yet we’ve had to wait another two years for its release. Leisure Seizure feels like a debut. It’s certainly refreshing to hear Vek’s voice as jaded as ever, his instrumentation lo-fi, his beats minimal yet erratic. In fact it’s so close to the first album in spirit and tone that its genius lies in its ability to sound completely fresh while keeping the sounds and soul uniquely Tom Vek. It’s disco and soul and indie pop in its own sparse and sterile world – like New Order being born out of the post-punk movement, here Vek works through the lo-fi and indie sounds of the 2000s, never fully cutting off his ties, and exists in a world all his own, which in the era of fashionable homogenisation makes him vital listening.

100% Publishing “If I want an answer to the question I’ll just type it into Google…” is a ridiculous line to begin an album with. It’s such a non sequitur. It’s such a strange point to make. It’s so trite. But even bearing all that in mind, it’s also a pretty perfect encapsulation of what Wiley’s about: earnestness (the next and title track’s first verse begins “When you see my new album, buy it”) and sounding good. It’s a heady mix. There’s no subterfuge here. Wiley wants you to enjoy his songs and, though in his weaker moments he tries to have a point, 100% Publishing is good, straightforward fun. As we found out with Wiley’s en masse free releases last year he’s all about “getting out there”. He Tweets like a madman. There’s a scattergun impulse to this. “If you didn’t like that,” Wiley seems to say, “Don’t worry: I’ve got another hundred tracks up my sleeve. One of them will be a huge banger.” That’s hard to argue with. For every stuttering Boom Boom Da Na to turn us off there’s a massive Numbers In Action lurking around the corner to drag us back onto the dancefloor.

There’s a purity in his music rarely heard in the modern era. Oh – and it’s catchy as fuck.

That’s the thing with Wiley. Don’t get it twisted: this is immediate, listenable music. Compare it to Gaga, The Dream or whatever; hit and miss. Let the misses pass by the wayside and let the hits wash over you. Few rappers are as fun. And no grime emcee is as instantly appealing. 100% Publishing has some of the best songs you’ll hear this year. It also has some of the most pedestrian. Embrace the contrast.

DCR

James d’Apice

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THE DRUM MEDIA 28 JUNE 2011 • 47 •


METAL AND HARD ROCK WITH CHRIS MARIC SYNTHETIC BREED

NEW BREED Melbourne-based industrial metal band Synthetic Breed returns in 2011 to unleash its second fulllength album, Perpetual Motion Machine. They launch it Friday at The Basement Belconnen and Saturday at Venom, with August dates to follow. Drum caught up with the band.

What difference did adding new members to the lineup make? Having Luke and Mares in the band has brought a new spark to the band. Their enthusiasm and appreciation for the music makes the band work harder and play better. Having their unique and individual styles brings a new and exciting element to the songs.

How did the process of making Perpetual Motion Machine differ from the process of making your first album? To begin with, Perpetual Motion Machine was recorded by Vincent, Jonas and Cal. For various personal and professional reasons, the band was in a state of indecision as to whether it would carry on or not. Once PMM was released, Vincent and Daniel began jamming out ideas and the PMM songs and decided it was time to get things moving. Unfortunately at that point, both Jonas and Cal were unable to commit to any tour commitments. Rather than give up on the idea of moving on, the search for the new members began. Luke has been a great friend of the band for some time and a great bass player who had filled in on occasion in the past. It was obvious to invite Luke to be part of the band. The new vocalist, Mares, simply blew the band away with her enthusiasm, commitment and knowledge of the music and the band’s style!

What does your new live show involve and how is the new material translating to the stage? The band is playing with more confidence for the music and each other. The band is also bringing new musical elements into the show, using more samples and sounding much heavier, brutal and stronger than ever before. People are taking to the new material with great praise, our fans have accepted the new tunes and lineup better than we could have imagined.

Ro

So, we are now one-third of the way through our winter. Grab a cup of gluwhein and settle in for another kickarse edition of Heavy Shit‌

Synthetic Breed who take out the top spot. All this for the low low price of $20!!

Those very hard-working fellas in Havoc are extremely proud to announce 1 Shot Kill frontman Gary Vickers as their new vocalist. Gary’s addition to the fold has completed their sound of devastating, rage-filled thrash/ groove metal. The band will break him in at the Valve Bar on Friday 8 July.

Synthetic Breed will back up tonight putting in a show at Venom along with A World Less Cruel and Tensions Arise before the return of Australia’s best known thrash band, Mortal Sin. The Sinners are preparing to release their killer new album, Psychology Of Death (I know it’s killer cause I’ve heard it) later this year and when they take the stage at midnight, you will be blown away. Tensions Arise will be filming a clip for Welcome To Sin City on the night so make sure you brush your teeth and smile for the cameras. As always, Nick from Venom looks after his patrons well and has album launches and giveaways for new albums by In Flames, Sepultura and the metal genius himself, Devin Townsend.

SATURDAY

The often used ‘personal reasons’ have been cited by Melbourne’s Synthetic Breed to announce that longtime vocalist Cal Hughes has left the band. However, the band is thrilled to announce Mares Refaeleda has been chosen to fill the void. Mares brings an inspiring, fresh and new approach to the band, as their sidebar chat notes, and the guys are sure she will win your approval when you see them live. Details for some Sydney shows are coming up in a few hundred words’ time. A pretty impressive all-star Australian metal band, dubbed Saint Lucifer, has busily been recording their debut album at Machine Men Studios Sydney. It’s written and co-produced by Jordan Howe (Paindivision, The Harlots, Beware Of The Dog) on vocals and guitar, and featuring an array of well-known musicians including Stu Marshall (Dungeon, Paindivision, Empires of Eden) on lead guitar, Paul Woosen (The Screaming Jets) on bass and Wayne Campbell (Mortal Sin, Grungeon, White trash) on drums. The first review of three of the unmixed tracks by renowned metal critic Billy Carroll stated, “This could be the best Australian metal release ever�. Strike Hard bookings boss Daniel Mitzal is managing the band. The album should be released in August and sounds pretty damn cool to me! Okay, so what’s happening this week?

FRIDAY The press release for this said that Taylor Square is a five-minute walk from Town Hall Station – yeah, if you’re Superman maybe. It’s not even five from Museum! Anyway, get your arse up to 11a Oxford Street for Whiplash, who have moved there, their new location. For their opening night they are launching the new CD from Katabasis, who will be hammering it out live in the Basement aka The Interrogation Chamber along with the mighty Red Bee and Troldhaugen. Upstairs, the resident DJs will be entertaining those in the VIP Lounge. There will be CD giveaways and free drinks for

HAZMAT the first hour in the upstairs bar, so if you weren’t going at the start of this paragraph, I bet you are now‌ The Wall (yes, the Bald Faced Stag) is hosting another kick-arse night of local metal this evening. Doors open at 7.30pm and for 12 bucks you get to check out The Paradox Unseen, Mind At Large, Incendia Throne, Silent Rose, Flaming Wrekage and Vendetta Of The Fallen. That’s two dollars a band so the least you can do is give the guys a hand to load their gig, since they’re clearly doing it for the love of metal. If you’re over 18 and find yourself down at the ‘Gong, you might need to know that Helmet will be playing at the Uni Bar along with Hytest and Arc Icarus. Page and the guys will be playing songs off their seventh full-length, the indie released Seeing Eye Dog. It’s also the cheapest international tour I’ve seen in a while. Only $44 plus the usual booking fee. Niiice. Find yourself further south, like in Canberra? Then go check out Assidian’s first birthday at The Basement in Belconnen. There is some seriously heavy shit on offer tonight too, with a couple of burlesque performances from locals Bang Bang and Cherry Blossom. Local guys Mytile Vey Lorth will then be sharing the stage with Sydney’s Anno Domini, Alice Through The Windshield Glass and Ignite The Ibex. Melbourne’s Elysian is on the bill too, as well as fellow Victorians

ck’n’Roll

30 JUNE

ANNANDALE HOTEL Supporting Rick Brewsters Angels

2 JULY

THE WALL - LEICHHARDT with Ugly Little Secrets & Mad Charlie

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

XXXCMBDLMBCFMBVTUSBMJBDPNBVtwww.myspace.com/aussieblacklabel

MKB CONTRACTING

• 48 • THE DRUM MEDIA 28 JUNE 2011

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If you’re out west a bit and not heading into the city, Parramatta’s Club Led has a top night of stuff lined up. Datura Curse and Not Another Sequel, Just Another Prequel will be joined by Brisbane’s pirate metal band Scuurvy (I’m guessing they’re Brisbane’s ONLY pirate metal band). Engage The Fall will be headlining the night in style and the guys are also heading into the studio in July to record a single that they plan to release around mid-August. Turning our metal compass north now and at The Great Northern in Newcastle, the long-running maniacs that are Fireballs will be terrorising the locals with their unique blend of psychobilly-metal-rock’n’roll along with Glory Meat, Casino Rumblers and The Dark Shadows. Fireballs’ new album, Hellrider, is apparently inspired by the extremities of Norwegian black metal, late night Ouija board summonings of George Jones and Buck Owens and the speed barrier-breaking madness of Japanese psychobilly. Ah I love it when people get creative when writing their press releases! Hazmat, a band that features members who at one time or another played in Neophobia (what a great record FOTF was!), Downside, Eyes Of March and Fix, will be making the trek from their native Newcastle to play Belconnen’s Basement as part of their Blitz Attack tour. You want classic thrash, go see them! heavy@drummedia.com.au


PUNK AND HARDCORE WITH SARAH PETCHELL When I was 16, At The Drive-In’s Relationship Of Command was released and for about six months it was all I listened to. Since then, I have followed what the members have done with keen interest (well, I also did with The Mars Volta for the first couple of albums before I got bored), especially the work that Jim Ward went on to do with Sparta, Sleepercar and his own solo, acoustic projects. Now, Ward is releasing his debut solo record, Quiet In The Valley, On The Shores The End Begin, through Stop Start on 22 July. And to coincide with the album’s release he will be heading to Australia to play a showcase in three intimate shows, including one in Sydney. So mark in your diary that Jim Ward will be playing at the Annandale Hotel on Wednesday 10 August, supported by the wonderful Isaac Graham. Tickets are on sale now. I have already said so many times this year that Balance & Composure’s recent album, Separation, is my current frontrunner for album of 2011. If you haven’t heard it yet (especially if you’re a fan of the likes of Man Overboard, Title Fight and Brand New) you need to head out, pick it up and give it a listen. The point here is that last week it was announced that the band will be heading out to Australia this August doing a club tour with the amazing Fires Of Waco from Brisbane. The coolest thing about this tour is that even though they’re playing club shows, each city will host an acoustic set in the best record stores. So for Sydney this means that there will be an 18+ club show at Nowhere in Sydney (with tickets only available on the door) on Saturday 20 August, and then on Sunday 21 there will be an all ages free acoustic set at Resist Records in Newtown. The news of this tour coincides nicely with the announcement that Shock Records has inked a deal with No Sleep Records to distribute their releases in Australia and New Zealand. No Sleep Records have made their name with their diverse roster of releases from across a variety of genres, and apparently Australia comes in at #2 in the most visited territories on their webstore. With a roster of acts that includes the likes of La Dispute and Balance & Composure, this is no surprise. In fact, the first release under this new deal will be a local release for Balance & Composure’s amazing Separation on 22 July. This release will include bonus acoustic tracks that are exclusive to the Australian release. And keep an eye out as in coming months No Sleep’s release schedule include new albums from La Dispute, Into It. Over It. and No Trigger.

THE HORRIBLE CROWES BALANCE & COMPOSURE Anberlin is heading back to Australia this August and September, and this time they are bringing with them a world first in relation to their model for the tour. Since their first tour out here back in 2005, the band has had an affinity with Australian audiences. Now they have decided to treat us with a show titled An Evening With Anberlin, which will showcase the band in a way no one anywhere has seen before. Vocalist Stephen Christian describes the shows: “Each of the shows we will be doing different things, different feels than we have ever done in any one show. We might be doing some special covers, different variations on our own songs, telling stories behind the recordings and writing, maybe a Q&A with the audience, never before played B-sides, an intimate acoustic portion, and perhaps some special guest vocalists on stage, as well as all the passion and energy that we try and give Australia each time we come back.” Tickets go on sale for this show on Friday through Ticketek. Sydney, this showcase hits town on Thursday 1 September at the Enmore Theatre. This sounds like a genuinely intriguing event that I can’t wait to check out. Since 2007, You Me At Six have been turning heads worldwide with their unique take on pop/punk. Their latest album, Hold Me Down, has seen them earn a place as one of the pop/punk powerhouses of the moment, including a successful tour down under in September 2010. Well now, the guys are back and this time they are bringing with them We The Kings and Sydney’s own The Mission In Motion. Tickets for this tour are on sale now for the licensed all ages show happening at UNSW Roundhouse on Sunday 28 August. The Casualties have been around for over 20 years now and through eight full-length albums, three EPs, three live albums and countless miles in the tour van, the

band has cemented itself as one of the staple and most revered street punk bands. Twenty-plus years on, they are still churning out the same abrasive, high-energy shout-alongs that have helped to forge them the respect they command. Now, The Casualties bring their brand of punk to Australia for an East Coast tour this September. Tickets are on sale now, and you can catch the guys at Manning Bar in Sydney on Sunday 11 September for an 18+ show. The Devil Wears Prada has announced their signing with a new international label, with Roadrunner Records taking over the release of the band’s fourth full-length album, which will be released 9 September here in Australia. The band recently finished recording its latest album with Adam Dutkiewicz (Killswitch Engage, Times Of Grace), who has an extensive production history including the likes of Parkway Drive and Underoath. The Alternative Press website exclusively premiered the first track from the album, Born To Lose, last week, with vocalist Mike Hranica describing the song as capturing some of the elements of the album and serving as a comprehensive preview to it. Finally for this week, don’t forget that Blood, Sweat & Beers kicks off this Saturday and Sunday at the Annandale Hotel. If you read this column every week you would be more than familiar with what it is and who is playing, but for a refresher, The Snowdroppers, Area 7, A Death In The Family, Anchors, The Smith St Band, Headaches, Former Cell Mates, Jen Buxton and Isaac Graham are all playing. Both days start at 2pm, with plenty of beer and BBQ available so head on down, and on top of it all help the Annandale celebrate its 11th birthday!

GET BETTER ANTHONY Sidejar Records’ Anthony Poynter has been diagnosed as being in a late stage of cancer and an international punk compilation has been put together as a benefit for him. Including bands such as Less Than Jake, Spoonboy, Sand Witches and Chicken Little, the 33-track compilation is available from the Get Better Records Bandcamp page for $USD10 or more, if you’re feeling a little rich. Hey, you’re helping out a good cause and who knows, you might just discover your new favourite band amongst all the unknowns on the record. Quality!

ON THE SIDE Rumour is rife that a side project featuring members of Underoath, Anberlin and Marksmen is weeks away from being announced. If only there was more information for us to include in this column right now, but hopefully there will be in a couple of weeks! In the meantime, sate yourselves with the news of Anberlin’s upcoming tour here, as mentioned to your right and elsewhere in this week’s Drum. Exciting!

NOT SO HORRIBLE The Horrible Crowes is the side project for The Gaslight Anthem’s Brian Fallon, and it recently emerged that their debut album will be called Elsie. The album is slated for a September release and a track is now available on the interwebs for preview listening. It’s called Black Betty And The Moon and you can find it on YouTube. It’s got a more chilled vibe than your usual upbeat Gaslight tunes, more angled towards the acoustic side of things with some beautiful harmonies. The Horrible Crowes is Brian Fallon and Ian Perkins. The full-length will be interesting for sure, and it’s almost upon us so sit tight – absolutepunk. net’s Jason Tate has a copy already and assures the website’s message board users that it’s a ripper.

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THE DRUM MEDIA 28 JUNE 2011 • 49 •


HIP HOP WITH VIKTOR KRUM You read New Yorker heaps, hey. “I just love the cartoons so much!” Whatever. Anyway, remember when your liberal/Liberal older sibling said that there was finally an article about rap singing in a proper journal? Yeah. It was that article about Earl Sweatshirt from OFWGKTA. Basically, you know the “Free Earl” thing Tyler and the rest harp on about? Yeah, well Earl’s not in jail. He’s in Samoa; at a place for “at risk” youth. It’s pretty much that awesome English show Brat Camp. Anyway, the New Yorker article sketches out Earl’s concern that a whole generation of zeitgeist-riders chanting “Free Earl” all over the world are pissed off at his mum for sending him to Samoa. Well now according to Complex there have been some Facebook status updates from a young guy apparently “at risk” alongside Earl who says Earl is being held against his will. It’s a drama, apparently. Except that it isn’t. Look: Earl gets sent away to become a better guy. Earl has a strange interview with The New Yorker where his mum is actually the conduit. Then – scoop! – some other kid claims to know how Earl’s feeling. And it’s not really that contradictory. So, there you have it: coverage - OFWGKTA is fast descending from fascinating to yawn-scinating. While we’re on OFWGKTAMBDTF, Hodgy Beats’ collab with Left Brain called Mellow Hype has got its first release ready to go pretty much. It’s called BlackenedWhite. Try to contain your shock but… people on the internet (i.e. everyone) are excited. Release date is 22 July. This album – jokes aside – actually looks and sounds pretty promising. I love how busy FBi Radio is these days. They’ve spent years doing the heavy lifting for Sydney’s airwaves and now they’re doing their best for Sydney’s live music scene. Party & Bullshit is a night happening as part of the Sydney Sounds Like festival. It’s on at the Kings Cross Hotel on Saturday 9 July. The lineup is pretty ridiculous as the Stolen Records Gala Ball takes place with Hermitude and Dase Team 5000 there’ll also be Thundamentals and Bingethinkers doing live raps. It’s all very exciting. So a new Phrase album, eh? What’s this one going to sound like? Will it be like the one where he was a total tough guy talking with force? Will it be like the one where he spouted watered-down pop-philosophy on

ALL AGES WITH DAVE DRAYTON All ages regular The Lucky Oz Tavern dishes up another cracker from 1-6pm on Sunday with I Know A Ghost, Letters Of Carnage, brOKentoys, Datura Curse, Centred Self and Vendetta Of The Fallen playing for $10, pocket change really. CarriageWorks, the nifty pocket of creativity in Eveleigh, smack bang in the middle of Redfern, Newtown and Macdonaldtown, has been delivering great all ages activity since its inception. Now the recently launched Weave Arts Centre, located right next door, adds to the party. This Friday they host the Sydney Mad Pride Youth Event Off The Rails. Running from 5-10pm, the event will showcase creative achievements of young people and serve the all-important cause of breaking down the stigmas associated with mental health experiences. Head along to catch the finals of the Mad Pride Talent Quest, the breakdancing competition and live music, art and film screenings.

PHRASE pretty OK beats? Maybe this time Phrase will rap about being a spaceman? A spaceman who hates his desk job? A spaceman who hates his desk job so much that he needs to have odd press photos taken of him sitting on the floor? Whatever. It’s new Phrase. It’s called Babylon. Don’t worry, this isn’t his new foray into psychobilly pop/punk. It’s his venture into “Australian garage rock and British mod” (aside: name one song whose genre you would describe as “British mod”). Jimmy Barnes will be on there (what?). Alex Burnett from Sparkadia will be on there (double what?). Less surprising: Phrase’s singing debut will on there. Even though Babylon will probably not be worth our time, we can at least enjoy the guarantee that it will feature the best British mod song any of us will ever hear. (“By inventing a genre, I am also defining a genre. Go buy my album.” – Phrase) I am a big believer in: it’s fun to have fun. I will never tell anyone to “dance like nobody’s watching” because I am not a 45-year-old female divorcee, but I do appreciate the sentiment. So, it is with a mixture of shame and excitement that I encourage you all to head to the snow and see Lil Jon. It’s part of MTV’s Snow Jam and you’ll have to be in Mt Buller on Saturday 16 July. If you go, dance but don’t be embarrassed about dancing. (Good motto, divorcees! You can steal it.) getittogether@drummedia.com.au

A reminder that the all ages portion of Sydney Sounds Like is this Sunday. It’s at the Factory Theatre from 3pm and it costs all of $20 to see a diverse lineup featuring Faker, Parades, Deep Sea Arcade, Matt Corby, Andy Bull, WIM, Kirin J Callinan, Step-Panther, Holy Balm, Collarbones, Royal Chant, Big Dumb Kid and The Gooch Palms. With the July holidays quickly approaching, there are no doubt some of you wondering how to best kill two weeks, which is why I’m going to suggest you check out the 351 Urban Camp. The three-day camp consists of music workshops, seminars and performances for people aged 14-21. They get industry pros (past guests include Bliss N Eso, The Potbelleez & Blue MC and Maya Jupiter & Mind Over Matter) to shed light on the music business and lend a hand teaching you how to write, record and perform your own songs. You can download a registration form and get more details at mmad.org. au/initiatives_351.htm. The unthinkable has happened; I have to make a correction. Last week I mentioned a Penshurst RSL band competition called 7 Deadly Sins. It’s not at Penshurst RSL. The good news is that it’s just down the road at St Marys RSL and there are still plenty of spots available. Email Nycole at rock_chich@hotmail.com to enter or find out more.

CAPTURING THE ZEITGEIST WITH KRIS SWALES Comebacks are fraught with danger – and I’m not talking a verbal comeback of the sort you utter when someone trash talks you with some “Your mother’s an astronaut!” nonsense down at the local half court (and no, I don’t know why I’m once again returning to White Men Can’t Jump well after successfully calling on it as a launch pad last week.) I’m not even that big a basketball fan, though I did like Woody Harrelson in Cheers and thought Wesley Snipes’ opening fight scene in the nightclub in Blade was amazingly sidetracked until I realised years later the remix of New Order in question was pretty much directly ripped from Public Domain’s Operation Blade (aka “Bass in the place, London!”), and the sheer brainlessness of that admittedly quite catchy banger from 2000 makes so much sense in 2011 that the inevitable dubstep remix by Deceit on YouTube is actually kind of great in a “how completely fucking hilarious is Vaski’s remix of Darude – Sandstorm?” kind of way). No, I’m talking comebacks of a “OMG, that dude/chick/ band’s career was like totes over and now they’re back dominating again” nature, like Travolta in Pulp Fiction, Farnham with Whispering Jack (and the substantially more awesome title track off Age Of Reason, but that’s another rant altogether), Mal Meninga after he broke his arm all those times, Rebecca Black after Friday (c’mon, she fucking rocked in that Katy Perry video). For years I’ve been banging on about a Chevy Chase revival to anyone who’ll listen (which funnily enough isn’t many people), and lo and behold here we are, two seasons into Community and Chevy’s back in the game. (This could easily deviate into a lengthy aside about his co-star Alison Brie and animated gifs, but I’ll just say “Google that shit” straight up so we can both get on with our lives.) So what sort of comebacks are there? In musical circles, the most common is “the comeback no one needs”. The one where you hear about it and have to rack your brain thinking “what was their song again?” and then spend the rest of your day after that racking your brain thinking “wait, but what was their other song?” and then when you realise they didn’t actually have an “other song” you know why you never hear them on Two For Tuesday on whatever commercial radio station your office is locked into. But you’ll still wander over to that random side stage at a festival and suffer through their new songs before remembering “ahhh, so they did have • 50 • THE DRUM MEDIA 28 JUNE 2011

RED INK A few weeks ago the Rock The Schools tour kicked off and we had a chat with Delamare in Young & Restless. Well their leg of the tour is done, but Melbourne four-piece Red Ink takes the reins touring schools is southern NSW all week. You can check the tour path, hear some of their songs and get the rest of the details at rocktheschools.com.au. Why did you want to be a part of Rock The Schools? We first heard of it a few years ago when good friends of ours The Skybombers played on it. When we heard what it was all about, we’ve wanted to be part of it ever since! How do all ages shows compare to the over 18 scene? They’re two completely different crowds of people to play to. The over 18 shows usually involve people having a good time with a beer or two, but the underage shows just have kids that are running on adrenaline. The under 18 shows are always sweet, because no matter where you are the kids just really appreciate you playing for them. What’s the best piece of musical advice you got when you were in high school? To develop your own style. It’s no good writing music that sounds exactly like U2 or something, ‘cause they’ve already done that and chances are they’re going to be better at their own style than you. We were told to develop our own unique sound, and whilst it’s something rather tricky to do, it’s well worth it. Fresh is always good. A final message to the schools you’ll be playing at? In the words of Prince… Get ready to ‘Party like it’s 1999!’ allages@drummedia.com.au

URBAN AND R&B NEWS BY CYCLONE Duet albums are all the rage again in urban music, with Kanye West and Jay-Z hyping up Watch The Throne. The duo has already aired HAM, but apparently that was just a ‘street’ single. Another song is Lift Off, featuring Hova’s missus Beyonce Knowles and the R&beige Bruno Mars. Among the more exciting names attached to the project? Frank Ocean. He’s actually generating a greater buzz in urban than his crew Odd Future.

CHEVY CHASE another song” and then sing along to their hit at the end of the set and realise that was 40 minutes of your life that is never, ever coming back. Then there’s “the comeback you didn’t know you needed that is actually quite awesome”. These are rarer than any music of substantial quality having (Dubstep Remix) following the track title. In fact, none readily spring to mind. Then there’s “the comeback we had to have”, rarer than getting to the end of one of my columns and feeling any wiser for the experience. Think Kyuss fucking Lives!, Left-fucking-Field, Orbi-fucking-tal, Pavefucking-ment, even L-fucking-amb. Artists who still have something significant to say, even if in the case of the first four it’s not so much something new but a ramming home of the point they made all those years ago to far fewer ears, eyes, hearts and minds. Which brings us to Community and Chevy fucking Chase. So good you can pretend Vegas Vacation never happened (and if you even knew there was a Christmas Vacation 2 in 2003 you’re obviously related to Randy Quaid). So good you almost want to reassess Memoirs Of An Invisible Man with fresh perspective. Hell, it’s so good that the campaign for a reboot of the Fletch series starts right here. Chase In The Place, London. How good. The Breakdown is currently on holidays and will return soon.

In the meantime, Eminem (aka Marshall Mathers) has teamed with Royce Da 5’9” (Ryan Montgomery) for the first Bad Meets Evil EP, Hell: The Sequel. In fact, this is really an album with 11 taut tracks (including the single, Fastlane, and two bonuses). The renegades have a history, of course. Mathers befriended fellow Detroiter Montgomery in the late ‘90s. They introduced the cult Bad Meets Evil concept on The Slim Shady LP with the track of the same name, Mathers portraying ‘Evil’ and Montgomery ‘Bad’. Yet the partnership amounted to little more than “a rap legend of unfulfilled promise”, to quote their press release. Montgomery, sometime ghostwriter to Dr Dre, was soon beefing with D12. He eventually reconciled with the posse – and Mathers – following Proof’s 2006 nightclub death. Inevitably, Mathers and Montgomery found themselves in the studio. Last year Mathers, who’s battled (prescription) drug abuse, made a huge commercial comeback with Recovery, apologising for the disappointing Relapse the year prior. It spawned the crossover R&B hit, Love The Way You Lie, about the dynamics of domestic violence, with Rihanna. By contrast, the mixtape-like Hell... is closer to D12’s output – and ‘old’ Eminem. It’s hardcore rap. The wordplay, not the music, is most important. Mr Porter (D12’s Kon Artis) is joined by Havoc and Bangladesh, who craft beats that are alternately gothic and grungy. (Presumably, Dre was still Detox-ing.) Typically, Mathers eclipses other superstar MCs on collabs, but the underdog Montgomery (well, ‘evil’ is worse than ‘bad’) is a decent match. There’s grim – and sick – humour in abundance on Hell... After the soulbaring Recovery, and considering Mathers’ addiction issues, the contradictory I’m On Everything comes as a shock. Nevertheless, Mathers’ modus operandi is to assert his ‘white trash’ origins, as much as to defy the politically correct lobby, conservatives and liberals. The rapper’s misogyny has long been a manifestation of toxic relationships with his mother and childhood

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BAD MEETS EVIL sweetheart Kim. But Love... indicated that Mathers, who counts feminist Germaine Greer as a fan (!), had turned a corner in how he relates to women. He’s obviously relapsed. Lady GaGa’s Little Monsters are fuming about his dig on A Kiss (“Tell Lady GaGa she can quit her job at the post office/She’s still a male lady…”). Admittedly, they might be overreacting – the line is an ironic comment on the absurd speculation about her gender – but, then again, given hip hop’s rampant homophobia, perhaps not. Mathers, for his part, has since told Fuse TV that he admires GaGa, his rap “a joke”, hip hop style. (Mind, a Bad Meets Evil-meets-Mama-Monster joint would be fire!) But it’s notable on Hell..., too, that Claret Jai, who sings Rihanna-ish hooks on Above The Law and the anti-piracy Take From Me, is relegated to a tiny credit, not a ‘feature’, Mathers buckling to older fans’ criticism of his ‘selling-out’ with girly (pop) choruses on Recovery – ridiculous when you recall that Stan (subversively) sampled Dido. The bigger irony? Bad Meets Evil does offer an incongruous ‘radio’ track here that makes Love... seem hardcore: Lighters, produced by The Smeezingtons, features Bruno himself – the dude Tyler, the Creator wants to stab in the (cough) oesophagus on Yonkers. Hopefully, one by-product of Hell... is that it’ll rejuvenate Montgomery’s solo career. Despite DJ Premier’s ongoing patronage, he’s floundered. Now the MC is due to drop Success Is Certain, led by the Mathers-guesting Writer’s Block. What’s more, Mathers has signed Montgomery’s supergroup Slaughterhouse (with Joe Budden and others) to Shady Records… Lookin’ good, Royce – or rather ‘bad’. ogflavas@drummedia.com.au


GET YOUR FOLK ON BLUES AND ROOTS WITH DAN CONDON I feel like a dick for not talking about this earlier, so forgive my tardiness, but one of Europe’s most vital, grimy, fucked-up garage blues rockers is heading out our way very soon! Reverend Beat Man has done a hell of a lot for this style of rough and raw blues music. He founded the incredibly influential Voodoo Rhythm Records back in 1992, a label that has released an enormous amount of super high quality punk rock, garage rock, blues, psych and rockabilly-style music. Bands like King Khan & The Shrines, John Schooley, CW Stoneking, King Automatic, Bob Log III, Rocket Science and Reverend Beat Man himself have called the label home over the years and he has been credited with fostering this scene in his native Switzerland more than just about anyone else. The Reverend was also the frontman for the awesome trashy, gore rock’n’rollers The Monsters, who are still going (fairly) strong, but he’ll be out here in solo mode at the end of next month, playing The Vanguard on Saturday 23 July with support from New Zealand’s Delaney Davidson. Tickets are available from the venue’s box office for $15 + bf. I’m a big fan of Washington DC psych exponents Dead Meadow – their equal parts droning, blazing and squalling brand of fucked-up classic rock is some of the best going around in the modern day. So it was with great interest that I saw frontman Jason Simon had released his debut solo album in September last year. The press material that accompanied it said that he fits somewhere within the Bert Jansch, Leonard Cohen, Sandy Bull and Townes Van Zandt school of troubadours

that way? They’re getting a little bit frustrated at the lack of support being shown for Australian independent blues music by mainstream media and certain industry bodies, so they have decided that, in order to stand up and be counted, they would launch an annual Blues Music Day. The day chosen is 29 August – the birth date of the late Dutch Tilders – and will feature plenty of gigs, radio programs, with features on blues music, and various other events organised through blues societies all over the country. It is a noble idea, particularly given the love that certain more pop-oriented blues and roots acts from throughout Australia (and the world) are receiving at present. Here’s hoping it catches on. I’ll certainly be giving it my full support. If you want to get involved, just email publicity@blackmarketmusic.com.au.

REVEREND BEAT MAN and while there are surely small elements of each of them in there, Simon’s style really does not sound all that dissimilar to the work of his regular band. It’s quieter, of course, but that sense of drone is there, as is the melody that could be classic if it weren’t so stoned. By the looks of some online videos it translates pretty fantastically live, so I’m excited to say that Simon will be out in Australia in a couple of months, playing the Annandale Hotel on Sunday 28 August. The team at the fantastic Melbourne independent blues label Black Market Music has come up with an idea that is a little wacky, but don’t all the best ones start off

Brisbane blues basher 8 Ball Aitken never stops, that is a simple fact, but if the first half of it is anything to go by, he’s looking to make 2011 one of his biggest years yet. As of the start of this week, 8 Ball and his band had already played 83 gigs this year and racked up 24,000km in the tour van. Things are certainly not slowing down as they remain on the road supporting the release of Aitken’s latest single, Rogue Pony, which has already been a massive success, garnering plenty of television and radio airplay since its release. The band hits New South Wales this week, dropping into the Sandringham Hotel on Sunday from 4pm. Be sure to get along and show your support for one hardworking Australian bluesman. rootsdown@drummedia.com.au

Budding folk musicians have a couple of days left to submit their expressions of interest in performing at the 2012 Illawarra Folk Festival in January 2012. Applications close this Thursday. The process comes in two parts – this, the expression of interest, is the first round, and successful applicants will then be invited to complete the final stage. There is also a call-out happening for tutors and students for a folk musical school, and for artists interested in performing on the Green Music Train – both of these events are also happening in January. For more information, head to illawarrafolkfestival. com.au.

BURGERS LOVE THE BLUES If any of you are taking advantage of our incredibly strong dollar and hopping on a plane to the US any time soon – probably a good idea as their weather is probably a lot better than whatever the hell this ice cold spell here is – head to Maine and check out Blues Burgers, a new joint that pays tribute to all the masters of the genre. The walls are plastered with photos of blues legends and burgers have names like the S.R.V (Stevie Ray Vaughan) and, imaginatively, the Blues Burger. The restaurant’s owner, Jeremy Prescott, is also behind the famous Kettle Boys Popcorn Company in the US.

THE BLUES COUPLE They blew everyone away when they were here for Bluesfest, and now the debut Tedeschi Trucks Band album, Revelator (Sony Music), has finally dropped. Described as “a dramatic leap forward for two of the music world’s most dynamic performers,” it’s certainly well worth getting your ears into.

FOUR UP FOR AWARD JAZZ/WORLD WITH MICHAEL SMITH American entertainer Michael Feinstein brings his self-explanatory The Sinatra Project album and Sinatra Big Band to the Concert Hall stage in the Sydney Opera House Monday. Thursday evening sees Turner Hall at Ultimo TAFE host Jazz For Japan, a Japan Earthquake & Tsunami Benefit Concert that’s also a showcase for some of the finest local acts on the Rufus label including The catholics, the Julian Curwin-Lucien McGuiness Duo, the Rick Robertson-Tim Rollinson Duo and more, with ABC 702 presenter and saxophonist James Valentine hosting, tickets $25, all proceeds to the Salvation Army Japan Fund. Classical pianist Simon Tedeschi and jazz pianist Kevin Hunt revive their popular collaboration Wednesday night down at the Illawarra Performing Arts Centre Wollongong. Café Carnivale launches the second half of this year’s season of performances Friday with a Brazilian Dance Night at Eastside Arts Paddington featuring Eddie de Brasil and Friends presenting a tribute to Jorge Ben Jor, the samba master who fused bossa nova with guitar swing. The always-eclectic Kim Sanders & Friends, part Balkan Gypsy brass band, part Turkish Sufi meditation, part West Africa, part Hindustani classical, the multiinstrumentalist accompanied by saxophonist Sandy Evans, James Greening on electric bass and sousaphone, and drummer Toby Hall, join the Kinetic Energy Theatre Company, led by jazz drummer/percussionist Ed Rodrigues, and The Vampires Friday night in St.

The country music scene can never have enough great characters – downhome, salt of the earth entertainers who are the complete opposite to the ultra-commercial Nashville-style glitz. 8 Ball Aitken hails from far North Queensland where as a teenager in a rundown tobacco shed, he was picking fruit during the day and picking his guitar at night. Billed as the redneck preacher at the shotgun wedding between country and blues, he definitely fits the mould of the larger than life character with his shock of red hair, hillbilly beard and eccentric garb. Best of all he plays a brand of country swamp that is instantly engaging, the kind of music that makes you “wanna holler”. Aitken has released four albums to date, the most recent being The Tamworth Tapes, recorded at the legendary Enrec Studios, where he played every instrument on the session – guitars, banjo, harmonica and percussion. Aitken plays the Sandringham Hotel this coming Sunday and the Marrickville Bowlo the following week. Bluegrass music is not often heard in the urban environment these days, especially in Sydney, although its popularity lives on throughout the world at large with the US regularly holding huge bluegrass festivals and get-togethers. If you are a fan of Bill Monroe or The Stanley Brothers and love that frenetic picking sound, then you should definitely be at the Town & Country Hotel in St Peters this Friday to catch Dougie De Kroo’s Kentucky Moon from 7.30pm. The five-piece outfit features De Kroo on double bass, Gene Maynard on guitar, Ian Knight on mandolin, Barb Fitzpatrick on five-string banjo and Jann Barry on rhythm guitar.

Christa Hughes – 505 Jackson Harrison – Colbourne Ave, Glebe Evan Lohning – Hernandez Café Glebe

FRIDAY The Berardi/Sherlock Duo – Sound Lounge Rebekka Neville Trio – Bar77, Grace Hotel

MICHAEL FEINSTEIN

Evan Lohning – Hernandez Café Cameron Jones – Vivo Café, City

Luke’s Hall, Enmore, from 7pm. The Spooky Men’s Chorale, about to head off on their fourth tour of the British Isles which includes return dates at the Edinburgh Fringe, present a special farewell concert at the Joan Sutherland Performing Arts Centre, Penrith, Sunday from 3pm.

ShawNuff Swing Band with John Redmond – Newtown Jets Rugby Leagues Club, Tempe

SATURDAY Alister Spence Trio – Sound Lounge

The 2011 Music Council of Australia/Freedman Jazz Fellowship has announced its short list for the year, with the winner of the Jazz Fellowship to be announced following a public concert at The Studio in the Sydney Opera House next Friday July 8, during which the four finalists and their bands will perform. The Freedman Music Fellowships were inaugurated in 2001 and offer an opportunity for Australian jazz and classical artists to further their careers by way of $15,000 cash. The award also includes consultations to assist with the non-musical aspects of career-building and active support from Music Council personnel. 2011’s judges are Mark Isaacs, Stu Hunter and Toby Hall, and the finalists are Perth pianist and composer Tom O’Halloran, Ben Vanderwal (Perth/Melbourne, drums), Sydney drummer Evan Mannell and Sydney saxophonist, composer and director Matt Keegan.

SO LONG DAVE MCMURDO

Shivon Coelho – The Gaelic

MONDAY

Phoebe Eve + Jasmine + more - Lizotte’s Dee Why

Bernie McGann Quartet – 505

THURSDAY

blow@drummedia.com.au

Respected Canadian trombonist, composer, arranger, conductor and teacher Dave McMurdo passed away 13 June in Eden Mills, just outside of Guelph, Ontario, aged 67. Spending his early life in Vancouver, the English-born McMurdo studied music at the University of British Columbia, where he began composing and playing in various bands, including the Bob Hales Big Band. On moving to Toronto in 1969, he became a sideman with Rob McConnell and The Boss Brass, and lead trombone player with Nimmons ‘n’ Nine Plus Six. He also led Juno Award-nominees The Dave McMurdo Jazz Orchestra and The Dave McMurdo Quintet. As an educator, McMurdo was a faculty member in the Music Department at Mohawk College from 1984 until his passing.

ROCKABILLY/PSYCHOBILLY/ALT.COUNTRY WITH PEDRO MANOY

BACK ON THE CARDS

TUESDAY Leonie Cohen Trio (CD launch) + Elana Stone/James Muller Duo – 505 James Valentine Quartet + The Fall – Golden Sheaf

Greg Coffin Trio – 505 Paul Sun Trio – Larrikin’s Café, Walsh Bay The Ed Rodriguez Band – Lizotte’s Dee Why

SUNDAY

WEDNESDAY

The Swinging Blades – Marrickville Bowling Club

Hammerhead – 505

The Dan Barnett Big Band – Unity Hall Hotel, Balmain

Shadows and The Dunhill Blues. On Saturday they move to the Great Northern Hotel in Newcastle where they’ll be joined by The Dark Shadows, Casino Rumblers and Glory Meat.

TUESDAY Adam Pringle and friends get together for a regular blues jam at the Sandringham Hotel.

WEDNESDAY The long-running Musos Club Jam Night hosted by Jim Finn and Al Britton takes over the Bald Faced Stag Hotel.

8 BALL AITKEN

THURSDAY

As of July there’s a change of venue for the popular Rockabilly Dance Workshops organised by Limpin’ Jimmy & The Swingin’ Kitten. Formerly at the El Paso Dance Studio in Annandale (I did like the name!), they’ve now moved to the more spacious St. Stephens Church Hall at 189 Church Street in Newtown, where apparently there is abundant room for all that jumping and jiving. And speaking of dancing, 505 in Sydney’s Surry Hills is normally associated with the more progressive side of jazz but this Friday lets down its hair for a night of fabulous oldstyle swing music with an all-star band featuring Andrew Dickeson, Bob Barnard, Brad Child, Peter Locke and Don Heap. There’s plenty of room for jiving and if you have yet to experience the hip, intimate atmosphere that 505 provides, now is a good time to start. Melbourne’s take-no-prisoners psychobilly rockers Fireballs are back in town to rip and tear at the Sandringham this Friday along with a massive support bills that includes The Dark

The widely travelled Terry Batu is solo at the Chisholm Family Tavern in the ACT.

FRIDAY Ward’s Xpress plays the Kyle Bay Bowling Club while Jonny Gretsch’s Wasted Ones return to the Excelsior Hotel in Glebe from 7pm.

SATURDAY Kristina Olsen is joined by Anatoli Torjinski and Jim Conway’s Little Wheel at Notes from 8pm.

SUNDAY Wildseed plays the Marrickville Bowlo from 4.30pm onwards while Chris Turner & The Cavemen go prehistoric at the Bald Rock Hotel. There’s a special blues night featuring Reg Mombassa, Peter O’Doherty, Continental Robert Susz and Rob Souter at the Clovelly RSL & Air Force Club with a 6.30pm start. swampshack@drummedia.com.au

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The new album from Grammy nominees The Greencards dropped last Tuesday on iTunes. The Brick Album sees guest appearances from Vince Gill and Sam Bush, and fuses the band’s sensibilities with its raucous live energy. The Greencards have been together since 2003 and in the years since, they’ve toured with the likes of Willie Nelson and Bob Dylan and had their releases top the Billboard Bluegrass charts. They were nominated in both 2008 and 2010 for Grammy Awards in the Best Country Instrumental category. The Brick Album was produced by veteran Justin Niebank (Vince Gill, Marty Stuart, Keith Urban) and is released on the band’s own Darling Street Records. It’s also the first with new members Tyler Andal and Carl Miner.

75 MILLION… AND COUNTING Shania Twain recently released her first single in six years, Today Is Your Day. It coincides with the announcement that the country singer has reached worldwide sales of over 75 million, making her the top-selling female artist in the history of the genre. She was honoured at the Citizen Club in Nashville by Universal Nashville chairman Luke Lewis, as well as a number of other industry professionals, including those who helped start Twain’s career such as Nashville attorney Dick Frank and producers Buddy Cannon, Norro Wilson and Nathan Chapman. Twain also recently released a best-selling book and received a star on the Hollywood Walk of Fame. THE DRUM MEDIA 28 JUNE 2011 • 51 •


TALES FROM THE MOTHERLAND WITH JAMES MCGALLIARD

LEFTFIELD ELECTRONICA AND FUTURE SOUL WITH HUWSTON Former Broken Beat and Nu Soul lynchpin plus one half of 4Hero, Dego (pronounced dee-go for anyone out there sheepish on how to say it) has just released his new solo album, A Wha Him Deh Pon? (no translation for that one, sorry). Jumping out the gates with an immediately recognisable set of punchy drum sounds, patterns and those deep key chord changes, it’s obvious that musicality is more of a priority to Dego than just creating dancefloor bombs. Don’t get it twisted, there’s plenty of the latter, too, but when you’ve got Kaidi Tatham by your side and vocalists like Georgia Anne Muldrow, Nia Andrews and Taylor McFerrin at your front and back, the results are always going to be a bit noodly, which is, of course, a treat for fans of Bugz In The Attic, DKD and IG Culture. There’s been a general renaissance for this sound of late, thanks in part to the rise of UK funk and dubstep and their superstars like Skream paying homage to projects like Zed Bias’ Maddslinky. However, it will take you about eight seconds to realise that this record is still on a total future-jazz-broken-soul tip and bows to no pressure to suit current trends. Locking on to the year 2006, British soul singer Omar released the incredible Sing… If You Want It, a sublime soul LP that featured, amongst some beautiful tunes, Rodney P, Common, Angie Stone and, oh yeah, Stevie Wonder. Thanks to last month’s pick Dancing (on which he featured), producer Zed Bias has introduced the vocal heavyweight to Brighton, UK-based label Tru Thoughts, who have reissued the album with a few bonus tracks. Dipping into tribal funk, fusion, hip hop, disco boogie, RnB and bossa nova, Omar’s voice is the star, the glue that holds all of the elements together so that they blend seamlessly. Holding up as well as it did five years ago, Omar’s Sing… If You Want It is without doubt one of the finest soul music LPs of our generation and if you only buy one soul record this year, make sure it’s this. The cats from All City Records in Ireland have just released two brilliant new singles that are destined to blow dancefloors apart. Tessela’s Subway EP is a ferocious three tracker that straddles dubstep, funk and house. Most of the tracks seem to fit all of these elements into each song, which will certainly keep DJs on their toes. Similarly, you’d best be quick on the new single from Falty DL, with each side clocking in at about three minutes max! He too crams a lot of ideas into his single, which was originally intended to be a collaborative

My first thought upon seeing that Jesus Jones and The Wonder Stuff (or Miles Hunt and friends play the songs of the Stuffies) were embarking on a joint Australian tour was of the great bands of that era that have never played in Australia, particularly James and The Blue Aeroplanes. Following a six-year hiatus, James reformed in 2007 (with the classic lineup that had recorded their career-best album, Laid) and while most attention was focused on the Glastonbury Festival at Worthy Farm over the last weekend, in London James played a giant show in Hyde Park supporting The Killers.

FALTY DL effort. One can only wonder where it would have gone if the proposed partner in crime finished their bit, as the New Yorker whose prolific output could match that of Madlibs puts on a classic house hat and gets loops of protest vocals, jazzy flutes and staccato keys over jackin’ ‘90s house beats. Finally, the women over at Eglo Records are keeping the boys on their toes! Fatima’s second EP is out now and is produced completely by Floating Points. As to be banked on, it’s deep. A lovely and strangely hypnotic intro (and outro that gets into a locked groove for those with the vinyl) leads the way to a dope nu soul jam that sounds a bit like the Floating Points Ensemble stuff; wide open and live. The B-side has the sprawling Red Light, which is a long mid-tempo head-nodder. The whole EP is sublime, as you’d expect. Mizz Beats’ Pimpin one-sided 10” is also out now and as the title suggests, it’s pimpin’ in sound but not in value for money. One sided? C’mon! Record Store Day’s happened already, guys! bebop@drummedia.com.au

It was at Glastonbury in 1992 that I saw art-rockers The Blue Aeroplanes amass a dozen guitarists on stage for their traditional closing cover of Breaking In My Heart. There have been two constants throughout The Blue Aeroplanes’ history: frontman Gerard Langley and a multitude of guitars. Like The Fall, the non-playing vocalist has been the constant in myriad lineups, and over 40 musicians have been members of the band at some point. But unlike the tyranny Mark E. Smith exerts, The ‘Planes are more like a collective, a team where members come on and off the bench according to need and availability. To celebrate the release of their new album, Anti-Gravity, they played a one-off show at The Borderline in central London the other week. Here the football analogy was even stronger as around 11 players went on and off stage according to the demands of the songs. Gerard hardly seems to have changed over the years. Although his hair is now dyed and he carries a book of lyrics as an aide-mémoire, under stage lights in his ever-present dark glasses he looks almost identical to 21 years ago. It’s hard to explain how joyous it all is, but much like how dancer Wojtek Dmochowski weaves around the small stage, trying not to trip in guitar leads in the process, so the different melody lines of each guitar intertwine as they ring true and clear. Tonight sees Angelo Bruschini (now usually in Massive Attack) return for a rare appearance, and while I miss the Rickenbacker chime of Rodney Allen, when all these guitars mesh, as on Warhol’s 15 tonight, it truly is a thing of beauty. Before the show, I spotted Marty Willson-Piper of the church in the audience, and troubled him to ask if there was any chance of seeing the 30th anniversary show that recently toured Australia. At the church’s last London show a few years back, Steve Kilbey said it was likely to be the last time we’d see them play in London. Marty was

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• 52 • THE DRUM MEDIA 28 JUNE 2011

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GERARD LANGLEY OF THE BLUE AEROPLANES kind enough to give me a long and detailed description of just what the costs and difficulties are in organising a tour, and then talked in refreshingly candid terms about the size of crowd the band can expect to pull in London these days. All in all it painted a fairly bleak picture for bands playing medium-sized venues. Last Thursday I ventured into the wilds of South Wimbledon to see Colchester veterans Modern English playing in London for the first time since the ‘80s, in an expanded lineup with all but one of the original members. These days they’re now mostly known for that song, Melt With You, which was kept back to the end of their set. What is best about this show is that there’s no feeling of having anything to prove; they’re playing merely just because they want to do it. The music is both naïve and organic; as one intro explains, “this was before we knew about bridges and choruses – we just called them sections.” But these sections slot together in a way that current acts trying to recreate this period miss altogether. In their heyday they were a key act on 4AD and were an essential part of the This Mortal Coil project. For me the highlight comes in the encore with 16 Days, one of their songs that was also on the first TMC album. Having spent this weekend doing an ‘Armchair Glastonbury‘ via the BBC‘s coverage, I kept thinking what a poor reflection the televised version was of the music being played on smaller stages throughout the UK. I also recalled how every time I’ve chatted to David Gedge he’s asked if I know an Australian promoter who might want to bring The Wedding Present out. You see, some English bands from the late ‘80s and early ‘90s are still making music worth hearing. http://londonfieldscolumn.blogspot.com/


frontrow@drummedia.com.au

THIS WEEK IN TUESDAY 28 Stainless Steel Rat — world’s first play about WikiLeaks founder Julian Assange. This ‘wikiplay’, an exposé on the secrecy of government being destroyed by new concepts of technology, derives inspiration from the words of Assange himself: “Change the world… through passion, inspiration and trickery!” First preview night, 8pm. York Theatre, Seymour Centre until 17 July.

WEDNESDAY 29 Bully Beef Stew — a fearless theatrical exploration of Aboriginal manhood. Three young Aboriginal men, Sonny Dallas Law, Colin Kinchela and Bjorn Stewart have been working together with director Andrea James to transcend usual notions of what it is to be an Aboriginal man today. Preview night, 7:30pm. PACT centre for emerging artists until 9 July. Hermann’s Heroes — night of stand-up comedy from the Project 52 crew, responsible for Story Club and various nights of improv. Hermann’s Bar, 7pm.

THURSDAY 30 Faustus — starring John Bell as Mephistophilis and Ben Winspear as Faustus, Michael Gow’s startling adaptation of Christopher Marlowe’s play takes a closer look at temptation and the price we pay for instant gratification. Opening night, 7:30pm. Playhouse, Sydney Opera House until 24 July.

FRIDAY 1 Aleksander And The Robot Maid — join Drop Bear Theatre for an original steam-punk adventure where childhood curiosity and friendship prevail in a troubling world. Preview, 7pm. Reginald Theatre until 9 July.

SATURDAY 2 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? Final night. Wharf 2, Sydney Theatre.

SUNDAY 3 The Coming World — an intimate piece of theatre — a funny, moving and thought-provoking thrill ride about love, loss, guilt and forgiveness. Pulitzer award-winning playwright, Christopher Shinn’s dialogue is electric. It catapults us from an analogue world into a digital age as we follow a desperate quest for love and connection. Closing night. Darlinghurst Theatre.

ONGOING A Different Time: The Expedition Photographs of Herbert Basedow FAUSTUS

ARTS 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. 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. Piranha Heights — biting black comedy by acclaimed playwright/ novelist/screenwriter Philip Ridley — two feuding brothers, three troubled teens, 92 swear words, a bit of biffo and shocks galore! And all in less time than it takes to watch a game of footy! This is theatre at its most visceral — a rollercoaster ride of emotions that will leave you breathless. Presented by the exciting new production company Shedding Skin as part of The Spare Room season of independent theatre. New Theatre until 2 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 which 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

C U LT U R A L

CRINGE

WITH JAMELLE WELLS

XXXXXX

AGNSW’S NEW HOLLYWOOD CINEMA PROGRAMME The Art Gallery of NSW continues to be one of the best places to catch classic films on the big screen (and for free!), with their programmes curated to closely match the visual art exhibitions taking place. In conjunction with the new contemporary art wing at John Kaldor Family Gallery, AGNSW are screening examples of modern cinematic classics from the United States. The programme is as follows: Bonnie & Clyde (1967, dir. Arthur Penn, starring Warren Beattie and Faye Dunaway) on Wednesday 29 June; The Graduate (1967, Mike Nichols, starring Dustin Hoffman and Anne Bancroft) Wednesday 6 July; Five Easy Pieces (1970, dir. Bob Rafelson, starring Jack Nicholson and Karen Black)

Wednesday 13; Midnight Cowboy (1969, dir. John Schlesinger, starring Jon Voight and Dustin Hoffman) Saturday 16; Klute (1971, dir. Alan J Pakula, starring Jane Fonda and Donald Sutherland) Wednesday 20; Deliverance (1972, dir. John Boorman, starring Jon Voight, Burt Reynolds and Ned Beatty) Wednesday 27 July; The Conversation (1974, dir. Francis Ford Coppola, starring Gene Hackman and John Cazale) Saturday 30 July; Dog Day Afternoon (1975, dir. Sidney Lumet, starring Al Pacino and John Cazale) Wednesday 3 August; Taxi Driver (1976, dir. Martin Scorses, starring Robert De Niro and Cybille Shepherd). Wednesday screenings begin at 2pm and again at 7:15pm and are repeated the immediate Sunday at 2pm; Saturday screenings begin at 2pm. More information at artgallery.nsw.gov.au.

In a major coup, Sydney will be the only Australian city to stage a production of Richard III starring Kevin Spacey in December. He’s teaming up with director Sam Mendes for the first time in more than ten years, having last worked together on the film, American Beauty. There’ll be 11 performances at Star City’s Lyric Theatre, with others in London, Hong Kong, Spain, Athens and Singapore. Spacey last visited Sydney in 2005 when he filmed Superman Returns, in which he played the evil Lex Luthor. Louise Herron has stepped down as Chair of Belvoir to become Chair of the Australian Major Performing Arts Group board. Soon after she was elected Chair of the Belvoir board in 2001, the State Government pledged $5.5 million to redevelop the theatre and she oversaw a major fundraising campaign. Over just three years, $12 million dollars was raised. Businessman Andrew Cameron has been appointed new Chair of the Belvoir board. He’s currently Deputy Chair of the Biennale of Sydney and a board member of the Melbourne Art Foundation, Art Gallery of New South Wales Foundation and Sherman Contemporary Art Foundation. In yet another comeback 69-year-old David Williamson has written a play with Dr Mohamed Khadra, At Any Cost. Starring Martin Vaughan as the husband of an 82-year-old woman who is gravely ill, it advocates that nature should be allowed to take its course rather than artificially dragging out a life of poor quality. The show is being produced at Ensemble next month.

Despite rave reviews, Australian film, Snowtown, which follows notorious serial killer John Bunting, is still causing walkouts at cinemas. One woman recently fainted while watching it in Melbourne. Cinema managers say scenes suggesting animal cruelty cause the most extreme audience reactions, with one in which a dog is about to be killed provoking audiences the most. The film has made $574,000 at the box office despite being on only 24 screens around Australia. Sydney Theatre Company is transmitting via satellite the Thursday 7 July performance of its production The White Guard to regional cinemas. The family saga set in Kiev in 1918 stars Miranda Otto. The production has been adapted by co-artistic director Andrew Upton from the original play by 20th Century Russian author Mikhail Bulgakov. As part of a pilot programme to explore satellite transmission, this performance will be watched by cinema audiences in Byron Bay, Brisbane, Port Augusta and Devonport. The STC is following the lead of New York’s The Metropolitan Opera and London’s National Theatre, which have established solid international followings for their work via cinema presentation. Queensland Ballet’s artistic director Francois Klaus has resigned after more than a decade with the company. He’ll leave at the end of 2013 to pursue creative interests elsewhere. His departure follows that of Queensland Theatre Company head, playwright Michael Gow, who stepped down last year to make way for Wesley Enoch.

THE TALE OF A WANTED MAN DARREN WELLER GEARS UP TO PLAY THE WORLD’S MOST NOTORIOUS WHISTLEBLOWER, WIKILEAKS FOUNDER JULIAN ASSANGE. DAVE DRAYTON GETS THE LEAKED DETAILS. Darren Weller fields the phone call from the seat of a hairdressing salon where he sits waiting for his hair to be re-dyed platinum white. His hairdresser, Joe, informs the two of us that it will take “an hour and a bit”. As such he has plenty of time to discuss why he’s there, turning his brown locks white in the first place. This week Weller becomes the first actor to portray WikiLeaks founder and internet activist, Julian Assange. The snow-haired Australian has captured attention globally as a political whistleblower and as the race to document his life in film continues in Hollywood, Cheep, an upstart theatre production company founded by former Sydney Theatre Company artistic director Wayne Harrison, will commence the run of their debut production, a self-described ‘Wikiplay’, Stainless Steel Rat. Weller has returned to Australia from the city he now calls home, Las Vegas, in order to play the role. In a slice of serendipity, Harrison was in Las Vegas earlier in the year directing a production of Absinthe for Spiegelworld at Caesars Palace, which led to the two meeting about Ron Elisha’s script. “It was really ripe to tell immediately, and instead of putting the play through the whole regular submission process for a theatre [Harrison] just decided to produce it himself. So the casting process was quite swift.” Despite having an hour and a half to kill, Weller speaks rapidly in conversation, as if running out of or against time. “Because it is so new it really needs to be strong enough for us to get it up on

the floor, so we’ve been doing a lot of tweaks… It’s a frantic sort of race to get us in front of an audience.” It’s hard at the best of times to find a suitable venue for a production, let alone mid-year as a stand-alone show outside of a company programme. “There was literally two and half weeks available at the York at the Seymour Centre and [Harrison] weighed up his options and thought, ‘Well, we’ll have a four-week rehearsal process, we’ll be pushing it, but let’s put it on.’ And you know, it’s a great Australian story. I think it’s great that we get to tell the story first over here.” Due to his Australian heritage and American home, Weller had the benefit of seeing two very different opinions of the man he will depict on stage. “I was living in the States, all of the stuff that made the big news was when the diplomatic cables especially were released, and that created a huge controversy. In the midst of right wing media [Assange] is extremely powerful. Just to witness the absurd and violent calls for Assange to be assassinated — I think that was probably the worst — and being called a terrorist and public opinion was definitely against him and the leaks. And to see that here, in Australia, how the public very quickly got behind him and rejected Julia Gillard’s call that he’d done something illegal — you know she had to retract that statement — it was very interesting to see the different takes on it. Obviously now things have settled down a little. I was very interested in the story of WikiLeaks essentially.” A rather public and vocal supporter of

her son, it’s no secret that Christine Assange has already contacted Harrison. “Christine, Julian’s mother, emailed Wayne to congratulate him on getting in there first and beating the Yanks to it,” Weller admits. But the mother Assange didn’t stop there, “When Christine contacted with Wayne, Christine then got in contact with Valerie Bader, who is playing her in the play, and they had a few chats,” he explains. “I think during the first chat she mentioned she may be able to put me in contact with Julian. That has sort of fizzled. And to be honest I don’t know how useful it would be.” Undeterred, Weller continues to describe his other research for the role, “You know, I’d love to sit down with the guy and meet him — but he’s in Norfolk, in England, so that’s not going to happen — mainly just to get a gauge on how he moves and physically how he carries himself and how he presents himself off camera, because that’s been the hardest thing to find. To see the private Julian, which I’m slowly starting to work out is not overly different to what he presents in front of the cameras. There’s stuff out there that shows a great range of his personality… I’ve immersed myself

in books and YouTube videos and whatever I can get my hands on to try and understand the man. The more I learn about it and the different facets to the man and his ideals – it’s really fascinating.” The play follows the making of a film about the WikiLeaks saga as a director casts different roles, it’s allowed the Stainless Steel Rat production some room to manoeuvre. “The premise of us making a movie about the story, it gives us a certain amount of creative freedom to dramatise the work and make it — where you might be able to make a case for, ‘Well, Julian Assange wouldn’t be like that in this situation,’ we can actually go: we need to make this theatrically viable as well. So we can make some bolder choices.” Weller concludes with a brief portrait of the man he is piecing together, “Everyone admires him and thinks he’s great advocate on free speech, but no one would really like to have him as a houseguest.” WHAT: Stainless Steel Rat WHEN & WHERE: York Theatre, Seymour Centre Tuesday 28 June to Sunday 17 July THE DRUM MEDIA 28 JUNE 2011 • 53 •


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(or Faustus) because of the strength of will and spirit that the character has and the kind of suffering that they’re willing to undergo to put that — their personal ideas — to the test.

LIFE AS A

FAUST RETURNING TO MAINSTAGE DIRECTION SINCE HIS DEPARTURE AS ARTISTIC DIRECTOR OF QUEENSLAND THEATRE COMPANY, MICHAEL GOW PRESENTS FAUSTUS. ACTOR BEN WINSPEAR GIVES CARLIN BEATTIE THE HEATED DETAILS.

As Doctor Faustus, Ben Winspear sells his soul to the devil. Performing the lead role in the Queensland Theatre Company and Bell Shakespeare co-production of Faustus, the actor has been forced to come to terms with summoning evil and inhabiting hell on a daily basis — all the while discovering an unexpected admiration for his onstage persona, Christopher Marlowe and Johann Wolfgang von Goethe’s iconic tragic protagonist. “It’s substantial. Really substantial,” Winspear admits, laughing at the text he’s embodied for the last month of rehearsals. “We’ve done about nine runs this week and I’m absolutely shattered. The show is like you’re stepping on a great ride. It’s so demanding vocally, physically, intellectually and emotionally that once it begins it chews you up and then spits you out at the other end. You’ve just got to make sure that you get some sleep and eat well… And stay fit for when you’re being dragged around the stage by a bunch of devils.” So at what point does the ride stop and the actor catch a break?

THEATRE PIRANHA HEIGHTS New Theatre In a beaten looking council flat two middle-aged brothers meet on Mother’s Day without a mother. Saint or sinner, she’s now passed away and her memory gets stretched and torn as the siblings bicker over ownership of the flat she left behind. These are men well acquainted with the street, the mohawked and eccentric Terry (Jason Langley) and Alan (Heath Wilder) — who looks like an ex-football hooligan — deliver colourfully expletive dialogue with working-class British accents; “th” pronounced as “f” and all that. Lilly arrives veiled and fragile, recounting tales of abuse in a jarring MiddleEastern accent laying her own claims, with Terry’s support, to the flat. Her memories are violent, confronting, in line with playwright Philip Ridley’s shocking imagery, the first sign of a play that began as a working-class English family drama mutating. Then comes Medic, Lilly’s boyfriend, veins popping from his neck, a knife burning a hole in his pocket and a short fuse searching for ignition. He’s volatile and violent, though the performance lacks the presence to incite the • 54 • THE DRUM MEDIA 28 JUNE 2011

“When the curtain comes down at the end,” Winspear responds bluntly. “It’s a pretty unrelenting stint onstage this one, but that’s the way I like it. I don’t like having time off in a performance, because you’ve got time to think. That’s one of the great things about this. It begins with this Latin-like mass for the Devil and finishes with this appeal to a deaf God. It has a very ritualistic structure. For me, that’s when theatre is at its best. You’re almost inside the trance of the piece. It just picks you up, the words carry you along, then at the end you find yourself standing there and the lights come up and — ” he exhales, “Wow. It’s like you’ve just been spat out of the belly of the beast. “Normally the experience of performing a big role like this is so demanding that at the end you’re slightly debilitated and you have to spend a bit of time adjusting to life without the ritualised abuse of being onstage every night. It is difficult to come down sometimes, but with material like this, it’s very much worth it — it’s strengthening.” Portrayed in popular culture as a character damned by his actions, Winspear reveals there’s a subtext

behind Doctor Faustus that audiences may not be aware of.

THE SEAGULL Upstairs, Belvoir St Theatre A school performance is a very unique thing; for some students it’s a glimpse at a possible future, for others a day off school. Today’s audience unite on one front; a mutual appreciation of genital humour. In his debut role for Belvoir Dylan Young, um, milks this as the attention-starved aspiring writer Konstantin, his masturbatory mimicry well balanced by a nuanced performance as a volatile, anallyretentive self-seeing visionary. Much of the humour of his character — director Benedict Andrews using him as one of many vehicles to examine the arts in contemporary Australia — seems lost on the audience. This examining of theatre, within theatre, about theatre featuring a Perspex

Delving deeper, the performer explains that the resonance in Gow’s Faustus lies within the classic text’s parallels with a modern, 2011 world. “A great piece of Faust deals with temptation, personal sacrifice and compromise. Faust has a lust for fame and power and wants to take a shortcut to get where he wants to go and I think we’re living in the age where desire and envy have been perfected as an art by advertising agencies and so on. We’re besieged by notions of instant celebrity and fame and power. One of the shocks of reading a piece like this is in a way how relevant it is. I think it speaks really, really loudly, particularly in this era of reality television.

“Everybody’s seen those Hollywood films where Robert De Niro is the Devil and someone does a deal with him, but to go back to the original is a great opportunity. [Director] Michael Gow has found a very theatrical machine for the play that lifts it out of a romantic setting and puts it in a very grungy little universe, outside of space and time. I think there’s something to be greatly admired in anybody who pursues a personal vision in an era of conservative thinking. Marlowe was persecuted for his own attitudes that he expressed in his writing in that era and some people see Faustus as containing a self-portrait in a way. He was accused of atheism and was denounced for it. Whether or not that was true or a smear campaign against him — no one will ever really know the answer to, but he was a man that had a personal experience of standing outside the mainstream form, as did Goethe. Goethe is still revered in Germany as one of the archetypes of a freethinking, fully realised soul, so I think they were both attracted to this character of Faust

“Faust signs a deal with the devil, without even knowing what he really wants. The world is sown at his feet. He can pick and choose at whatever, but in the end he goes through this series of quite puerile experiences because he’s given the power, but not the imagination to deal with that power. He’s always just himself, but he’s been given this carte blanche. That’s one of the great ironies of the piece: with all this freedom and power and choice, he’s still trapped within himself and within the limits of his own being and dreaming. Michael’s found a form for this, which is fun and quite irreverent and very theatrical, which suits the material really well, so it works on the level of a show really successfully, as well as being a great story.”

box within a theatre, is managed well despite Andrews’ complex approach. The questions about what it means to create and why on earth anyone would feel compelled to do so bubble away subtly under strenuous personal relations displayed on a set both nostalgically familiar and, at times, beautifully surreal. For the most part the cast shines; Bille Browne’s affable musicality as the loveable Dorn, David Wenham’s compulsive scribing as successful author Aleksei. Emily Barclay delivers an impressive performance as Marsha, a compelling wreck ravaged by her own sullenness. Judy Davis’ performance seems throwaway, a little too lighthearted in its attempts to portray the selfindulgent and melodramatic actress and mother (in that order) Irina. Until 17 July DAVE DRAYTON

too, with the first part of the show requiring the audience to blindfold themselves while a sound-and-smell recreation of the atmosphere of Manila happens around them. The tour begins in Makati, a walled-off, wealthy, Westernised part of the city (where Imelda Marcos lives) and a chorus-girl, a man in a bridal gown, and another in a white service uniform explain the thousand-year history of the city and warn us not to go outside the walls. Another of the guides, a white girl who explains that she’s been in Manila for four months, says Makati is “just like home... but Asian.” There’s a lot of cliché in the show, often to comic effect but with darker undertones, as with the fixed perfect smile of the Miss Manila guide and the “pleased to serve you” refrain of the uniformed man. And while the bridal-gowned man remains the perfect smiling host, another character — one who works in a private club in gay district ‘the circle’ casually admits to a drug problem as well as a need to help fund his brother’s education. In the cause of providing as complete a (mini-) Manila as possible Within & Without does sometimes overwhelm — with the amount of information and the changes in mood — but then your first time in a foreign city usually does that.

WITHIN & WITHOUT Blacktown Arts Centre A “guided tour of Manila”, or rather, ‘Mini-Manila’, an elaborate cardboard diorama through which the cast of ‘guides’ perform, it’s an interactive show, the audience being fed chicken adobo, a national classic, and taking part in the millions-of-people-strong Black Nazarene parade. It’s immersive,

LOOK

“More than anything, this is a really great opportunity for anyone who wants to come in contact with the original source material to come and see it. It’s one of those stories that’s been syndicated across countless genres thousands of times.”

WHAT: Faustus WHERE & WHEN: Playhouse, Sydney Opera House Thursday 30 June to Sunday 24 July / Illawarra Performing Arts Centre Wednesday 27 to Saturday 30

REVIEWS fear other characters are creating in the audience. Brynn Loosemore as a delusional and perhaps schizophrenic Garth gives Medic good company, the duo’s strange chemistry interesting to witness, even if it further mutates and mystifies the production. Dark and twisted, Piranha Heights’ concept seems as riddled with narcotics as the bloodstreams of the less than savoury characters that occupy it. Until 2 July DAVE DRAYTON

MADE YOU

Until 2 July BETHANY SMALL

WITH BETHANY SMALL In local news, a 1935 Picasso called Jeune fille endormie just sold for £13,481,250 at Christie’s Impressionist and Modern Art auction in London against an estimate of £9-£12 million pounds. It’s a lovely, simple, lyrical picture of Marie-Therese Walther, the artist’s mistress and model, one of those ones where it can be hard to explain why it’s so good because it’s just Picasso and he just is. And it’s local news because it was sold by the University of Sydney, who had it given to them anonymously last year in return for a promise that they’d sell it to fund medical research. They took the deal because, why wouldn’t you, and the proceeds are to go toward obesity, diabetes and heart disease research. But lest you think all is fun and games in the world of Picasso, it should be pointed out that while Jonathan Richman (and later David Bowie) may be correct in asserting that “Pablo Picasso never got called an asshole/Not like you,” it is pretty much a certainty that his son Claude is being called that or worse right now by Monsieur Pierre and Madame Danielle Le Guennec. Who are these people? Well, Claude Picasso is trustee of the Picasso Foundation, which does all the administering of his estate, right, and Pierre Le Guennec is a retired electrician who did some work for the Picassos in the early 1970s, and Danielle Le Guennec is his wife and backer-up of

LIVE

his claims to have been given a ton of artworks in exchange for labour. So how it goes is, last year a quietliving couple of French pensioners allegedly find or remember the big stash of Picassos they have and figure that they might be of historical and/or commercial value. Deciding to look into this, they try to make an appointment with the Picasso Foundation but it takes them ages. When they do eventually get the appointment, they show up with a briefcase full of goodcondition pictures and documents that the Foundation goes nuts for and confiscates. The Le Guennecs are kind of sad, because, you know, they liked having the suitcase of pictures around, or wanted some money for them or at least didn’t want to get accused of stealing them. But, bad luck old French people! It’s been judged that the Picassos are authentic, all 271 of ’em with a value somewhere around £80 million, but no one is buying that they were all gifts and the Le Guennecs are being charged with one of the largest art thefts in the histories of art and theft. It’s hard to decide whose side to be on here, because the cases of both sides rest on fairly basic contradictory assertions: on one hand that the Le Guennecs were given the works, on the other that no one would have done that. “Perhaps they were happy with my work and wished to show their kindness,” is Le Guennec’s explanation, and obviously I don’t know, but 271 Picassos seems like a lot of kindness.

REVIEW

STORY CLUB Hermann’s Bar, 23/06/2011 Whilst it feels almost redundant saying so, the art of storytelling is alive in Sydney. This is both proof that we as a city are craving (and can sustain) alternatives to the usual night-time events (such as live music, clubs and theatre), and also of the popularity of podcasts such as The Moth and This American Life amongst students and twentysomethings. Last week’s Story Club (a regular night organised by Project 52) involved seven storytellers telling tales of their family that they’d only just discovered. One recounted how, at 18 months of age, she ingested an Ecstasy pill; another of Brazilian cousins and their assets, a dead body, and diorama (which was provided for the enjoyment of the crowd); another of getting lost in the snow; partaking in butter smuggling in ye ole Northern Ireland; finding out

the non-romantic get together of your parents; the proud legacy of an uncle that turned out to be completely false; and a ramshackle tale of a father that was almost overshadowed by the list of bizarre family “secrets” that the author had already known. The storytellers seemed masters of their craft, vividly painting pictures inside the heads of the audience, using their voice and body to bring the stories to life. Best of all, all of the stories were hilarious. The night’s host, too, Ben Jenkins, oozed charm and was both sharp and quick with his wit — it’s almost a shame he himself didn’t share a story. The next event, at Hermann’s Bar Wednesday 6 July, will feature storytellers indulging in the style of other authors, such as Kurt Vonnegut, Jane Auston, Philip K Dick and even Dan Brown. Don’t miss it. DCR


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BITE SIZED

COMEDY PLAYWRIGHT DORIAN MODE FINDS HUMOUR IN THE MIXED MESSAGES COMING FROM THE TORRENTIAL ONSLAUGHT OF REALITY TV, HE TELLS DAVE DRAYTON.

“I live up here in God’s waiting room on the Central Coast, so I spend a lot of my time finishing and thinking over a fishing rod. I just spend hours and hours on empty beaches with a long neck and a beach rod,” says Dorian Mode. It sounds idyllic, but during these moments of solitude his thoughts are anything but idle. “We have this really strange dichotomy about food at the moment, every second show is about cooking and then the next show is The Biggest Loser or

whatever and we’re absolutely loathing ourselves because we look like we look because we’ve eaten all this food. “An hour ago you’re telling me to cook a soufflé for Christ’s sake! One of the things on MasterChef the other week — there was all this dramatic music — was they come in and say, ‘Right, now we’re going to make the meal that changed our life.’ And I pissed myself laughing. A great work of art has changed my life. Miles Davis changed my life. A great piece

of theatre might change your life. A person might change your life; my wife has changed my life. Not a battered sav! It’s just crazy, this whole food pornography is hilarious,” says Mode with a laugh. By his own admission, Mode is a little surprised that no one beat him to the punch — fruity concoction or violent fist. “It’s ripe for the picking! I can’t believe I’m the first person to go in there with my steel-capped boots on. It was a bit

of a zeitgeist moment, I just thought, ‘Look, we gotta talk about this.’ I was searching for a title and thought ‘Feedem Fighters’ — they’re like Freedom Fighters except they stop you eating food. It all snowballed from there. The play follows a middle-aged and moderately round-middled soft drink salesman from the NSW Central Coast, Daryl Lucas, played by Jason Perini. “He’s been kidnapped by these guys called Feedem Fighters who kidnap these fat people and force them to loose weight, but Daryl’s not really that fat. It turns out that his wife hatched this plan to keep him locked away for three months while she squirrels away all his money and runs off with the Pilates instructor.” Paul Hooper, Jacqui Livingston and Trenton Shipley round out the cast, with Adrian Barnes directing. “They’re really, really skilled actors,” emphasises Mode after recently watching a run through of the script, “and the director is sensational. It’s quite exciting seeing it all come together. They were like little dolls in a doll’s house that I moved around in my head while I’m fishing, so to see it all come to life was quite a surreal moment. This is my first play so it’s quite exciting.” While we continue to be bombarded by mixed messages, Mode sums it up with the kind of Central Coast zen only hours upon hours of fishing can provide, “Really, some of us just look a little cuddly in the budgie smugglers and always will.” WHAT: Feedem Fighters WHEN & WHERE: Zenith Theatre Thursday 30 June to Sunday 3 July

FILM

REVIEW

THE TREE OF LIFE Terrence Malick’s sparse body of work — five languid, dreamy films dating from 1973’s Badlands to this latest — tends to inspire much obnoxiously hyperbolic praise from his many and fervent admirers. And since I consider myself among them, I’d suggest the uninitiated read elsewhere to avoid annoyance. The much-anticipated The Tree Of Life is a major, major achievement that, in its crazy ambition and cosmic, 2001: A Space Odysseylike scope, is enough to reduce every other film to cinders. At its core lies a presumably autobiographical story of Malick’s childhood in Texas, as recalled by the briefly glimpsed middle-aged Jack (Sean Penn, his top-billing something of a red herring) in the present, mooning about an alienlooking Houston cityscape. It’s subtly established to be the anniversary of his brother’s death, aged 19, and Malick begins with the fragmented glimpses of mum and dad (Jessica

Chastain and Brad Pitt, respectively) receiving the news, inter-cut with the present-day Jack. In a digression that’s sure to provoke bafflement and awe in equal measure, we cut right back to a 15-minute origins-of-time sequence: yes, Malick is audacious enough to include dinosaurs, the rings of Saturn and family melodrama in the same film. However much of a stretch this passage seems, it’s nonetheless rooted in the characters’ psychology; who hasn’t balmed grief or alienation by contemplating themselves as mere blips in eternity? Likewise, Malick’s inimitable poetic style (chiefly freeassociative montage and ruminative voiceover), however experimental, makes these universal existential questions readily accessible for anyone willing to jump in the deep end. The Tree Of Life emerges, miraculously, not as a work of hermetic pretension, but rather an open and probing invitation to reach alongside it. It’s real purty, too. WHERE & WHEN: Screening in cinemas from 30 June IAN BARR

EDIA EN AND M E R C S F O A D DIPLOM ADVANCE

SOON G IN S O L C JULY 2011 R O F S N IO APPLICAT

S.EDU.AU S IF T A W APPLY NO D RE LIMITE A S E C A P S

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BE DARING IFSS - THE HOME OF DARING CINEMA www.ifss.edu.au 02 9663 3789 27 Rosebery Ave, Rosebery

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THERE WAS A GREAT DEAL OF ANTICIPATION FOR NOVELIST JULIA LEIGH’S DEBUT FILM WHEN IT WAS ANNOUNCED IN COMPETITION AT CANNES THIS YEAR. NOW IN LOCAL CINEMAS JOSH WHEALTEY TALKS TO THE FIRST-TIME DIRECTOR.

EYE WIDE

Julia Leigh’s directorial debut, Sleeping Beauty, is the kind of film that raises eyebrows. A provocative and complex story laden with eroticism and doom, its boldness immediately declares Leigh as a filmmaking talent to watch. Lucy (Emily Browning) is a doe-eyed and beautiful university student who gets cash through odd jobs, participating in medical trials and menial office admin. Unsatisfied and seemingly numb, she applies to be a hostess in a sexual parlour for the social elite, run by the icy Clara (Rachel Blake). Marked with the new name of ‘Sara’, she loses her sense of self as she burrows deeper into the oppressive unknown. For Leigh, the transition from literature to cinema seemed like a natural

• 56 • THE DRUM MEDIA 28 JUNE 2011

OPEN

progression. “They are both dealing with the flow of time, dealing with detailed small worlds. In both they’re setting out to explore something worth exploring, so the foundations are similar but the process is completely different,” Leigh explains. Her novels, The Hunter (1999) and Disquiet (2008), are character studies explored through sparse, haunting imagery. For Sleeping Beauty, Leigh creates a similar tone through a highly controlled sense of pace and stiking visuals. “The interesting thing about the pacing of this film is that because we shot long takes instead of shooting traditional coverage, we had to, more or less, create the pace of the scene on the day of the shoot. We didn’t create the pace of the film in the edit.”

Adopting a Bressonian approach to filmmaking, with a defined style and, as mentioned, lengthy master shots, meant Leigh was working without a safety net. “I think a lot of the style came through, I guess, the ignorant bravery of the beginner. You don’t really know better, you don’t really know otherwise,” she say, laughing. “I’m just grateful it all worked out.” Refusing to reveal her filmmaking influences (“I’ll forever be labelled with them”), Sleeping Beauty has echoes of Belle du Jour and Kubrick, but Leigh’s mesmeric style is entirely her own. “I had a very clear idea of the shot and very specific planning of the mise-enscène, about the composition, before we began. We had to plan very careful how we would achieve the shot, but..

There were several takes to get it right, because you had to get the camera right and the performance right from everybody.” Browning has been hailed for her performance, which required her to bare her soul and her body. “I find her very beautiful, but I think it is a strange beauty. It isn’t a cookie cutter kind of beauty,” says Leigh. “I love that she brings a tip of the iceberg feeling, something latent, something going on under the surface with her character. She had some very challenging scenes, but she had read the script, she understood the script, and she knew everything that she had to do to embody that character was in keeping with the script.” Leigh is hesitant to offer interpretations of her perplexing film, which polarised audiences when it premiered in the Cannes official selection. “I think there’s a real danger to what the novelist or the author or the creator says about a work. It sort of gets written in stone in a way, I don’t think it’s helpful. People will all take different things from the film.” Though divisive, the filmmaker says that she tells her stories in the only way she knows how. “People talk about the ‘comfort zone’, like I’m more comfortable in the risk zone. I mean I’m happy that people are talking about the work, and I’m happy that it’s a memorable film. Thing is, I couldn’t really do otherwise, you know.” She laughs. “That was what I did. It wasn’t that I was strategically setting out to divide people, that’s just how it is.” WHAT: Sleeping Beauty WHERE & WHEN: Screening in cinemas now

GIVEAWAYS

Stainless Steel Rat is the first play to bring the story of WikiLeaks and its founder Julian Assange to the stage. In the world. It opens next week at the Seymour Centre (to find out more about the production read our

interview with Darren Weller, who plays Assange, in these pages) and we’ve five double passes to the preview session, Wednesday 29 June, 8pm, to give away. For your chance to win one head to facebook.com/drummedia.


live@drummedia.com.au WAGONS @ THE ANNANDALE HOTEL PIC: ANGELA PADOVAN

NATIONAL

WAGONS THE GIN CLUB MATT BANHAM

Annandale Hotel 25/06/11

Newsflash: Wagons are a country band. Sure, it’s more the outlaw country of Waylon and Willie than Slim Dusty. But somehow the band’s musical ability, songs that walk the line between sincerity and sarcasm and/or frontman Henry Wagons’ cockeyed charisma, saw a full Annandale testament to a band drawing an audience, many of whom would normally run a mile from a whiff of horse. As the headliners later informed, Matt Banham is ‘a sexy, sexy man’. Can’t really speak to that appraisal, but he makes a quiet engaging noise. His Self-Destruct album has occasional electronic turns, but in this shortstraw support spot it was more about the Palace Brothers side of his nature. Also disadvantaged by time constraints were The Gin Club, as 40 minutes was not long enough for their instrument-swapping, everybody’s-a-songwriter ways. But opening with the a cappella harmonising of Wylde Bitch got most’s attention, even if ongoing yabbering became a bit aggravating for a band who’d like a crowd to actually listen. Easiest way to get over that? Play loud enough to drown the buggers out. Wagons opened with the latest album’s 1-2 punch of Downlow and self-flagellating drinking song, I Blew It. While drawn to Henry’s ongoing conversations, cajolings and challengings, the band rumbles and swings, manfully. There was a bit of instrument rotation here too and Richard Blaze’s guitar often held true to his name. Frankly, they were just having a damn good time. And while many have walked, crawled and/or fallen off the ‘Dale’s bar, few have done it with this style of Mr Wagons, pausing to sample (someone else’s) beer while conducting the musical sing-along (er, yell-along?) of the anthemic slur of Willie Nelson. But while jokey/drunky works, when they switch down they can be differently special. The Hoyt Axton via Elvis Never Been To Spain has Vegas neon all over it, but that voice of Henry’s gives it feeling somehow – even when he adds the ‘hello Springfield!’ moment of inserting the venue name into the lyric. Are they taking the piss, or not? Yes. No. Doesn’t really matter. There are few better entertainments. Ross Clelland

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 SYNDICATE*: Jun 30 The Gaelic, Jul 1 ANU Bar, Jul 2 Dicey Riley’s, Jul 30 Bridge Hotel 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 NOVA SCOTIA*: Jul 6 Lass O’Gowrie, Jul 8 Black Wire Records

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FEATURE TOUR

All the way from Austin, Texas, psychedelic rockers The Black Angels have just recently released their latest album, Phosphene Dream, and have been nice enough to hop on a plane to pay us a visit for the very first time. They’re also bringing along their good friend Joel Gion from The Brian Jonestown Massacre, who’ll be opening proceedings with a DJ set. They bring the ruckus to The Metro on Friday.

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 CAVE OF THE SWALLOWS*: Jul 7 The Patch, Jul 8 Bald Faced Stag, Jul 9 Hamilton Station Hotel 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 OLD MAN RIVER*: Jul 7 Brass Monkey, Jul 8 Northern Star, Jul 9 Notes, Jul 27 Beach Road Hotel KITCHEN KNIFE WIFE*: Jul 8 The Gaelic ART VS SCIENCE: Jul 8 Enmore Theatre THE PANICS: Jul 8 Oxford Art Factory JEBEDIAH: Jul 8 Waves THE LAURELS*: Jul 8 Lansdowne Hotel, Jul 9 Repressed Records 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

JOEL GION

Entertainment Centre, Nov 12 Belmont 16ft Sailing Club PEAR & THE AWKWARD ORCHESTRA*: Jul 9 505 SURECUT KIDS: Jul 9 Onefiveone 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 FOUNDS*: Jul 14 Oxford Art Factory Gallery Bar PANEL OF JUDGES*: Jul 14 GoodGod TIJUANA CARTEL: Jul 14 Beach Road 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 COUNT EFFECTZ*: Jul 15 The Gaelic, Jul 16 Cambridge Hotel, Jul 22 ANU Bar MIAMI HORROR: Jul 16 The Metro NEW EMPIRE: Jul 16 The Lair THE IMMIGRANT: Jul 16 Chinese Laundry, Jul 22 Academy, Aug 4 OneFiveOne MR PERCIVAL, JAMES VALENTINE*: Jul 20

The Basement Circular Quay, Jul 21 Lizotte’s Newcastle, Jul 23 The Village Springwood, Jul 24 Lizotte’s Dee Why 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 MUSHU: Jul 22 Oxford Art Factory 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 DAN BRODIE & THE GRIEVING WIDOWS*: Jul 28 The Patch, Jul 29 Sandringham Hotel OPIUO: Jul 29 Oxford Art Factory 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 THE DRUM MEDIA 28 JUNE 2011 • 57 •


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HELMET

hadn’t dug out in several years. The inevitable In The Meantime was a fitting closer to a fan-satisfying showing.

Manning Bar 24/06/11

Brendan Crabb

PANGAEA

SKINWALKERS*: Jul 29 Hamilton Station Hotel, Jul 30 St James Hotel 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 ADALITA*: Aug 4 Transit Bar, Aug 5 Great Northern Newcastle, Aug 6 Annandale Hotel THE OWLS: Aug 6 The Gaelic HOLLAND*: Aug 10 Bar On The Hill & Lizotte’s Dee Why, Aug 11 Wollongong Uni, UNSW Roundhouse & Oxford Art Factory Gallery Bar, Aug 12 CBD Hotel, Aug 13 Front Gallery, Aug 14 Yours & Owls, Aug 16 Brass Monkey 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

INTERNATIONAL BRIAN MCKNIGHT: Jun 29 The Metro HELMET: Jun 30 ANU, Jul 1 Wollongong Uni, Jul 2 Newcastle Leagues THE BLACK ANGELS: Jul 1 The Metro MICAH P HINSON: Jul 1 Brass Monkey, Jul 2 The Gaelic, Jul 3 Clarendon Guesthouse DON RIMINI: Jul 2 Chinese Laundry KINKY FRIEDMAN*: Jul 2 Petersham Bowlo MICHAEL FEINSTEIN: Jul 4 Sydney Opera House Concert Hall JIMMY WEBB: Jul 6 Street Theatre, Jul 7 Sutherland Entertainment Centre 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 Fake Club, Jul 22 Academy TINY RUINS: Jul 21 Notes TOKIMONSTA, NOSAJ THING: Jul 22 Oxford Art Factory DEM SLACKERS*: Jul 22 Trinity Bar, Jul 23 Fake Club TOMMIE SUNSHINE: Jul 23 Fake Club • 58 • THE DRUM MEDIA 28 JUNE 2011

KELE

DRUM PRESENTS

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 Enmore Theatre 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 JIM WARD: Aug 10 Annandale Hotel ASH GRUNWALD: Aug 11 ANU Bar, Aug 12 Oxford Art Factory, Aug 13 Waves, Aug 14 Cambridge Hotel, Aug 16 Beachcomber Hotel MAT MCHUGH: Aug 19 Lizotte’s Newcastle, Aug 20 Oxford Art Factory 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 EAGLE & THE WORM: Sep 9 Oxford Art Factory, Sep 10 The Junkyard FUNK N GROOVES: Sep 10 Pokolbin THE HERD: Sep 17 The Metro, Sep 24 ANU Bar COASTER: Sep 17 Gosford Showground THE HERD: Sep 17 The Metro, Sep 24 ANU Bar SEBADOH: Sep 21 The Metro

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 Enmore Theatre MONA: Jul 28 Annandale Hotel WARPAINT: Jul 28 Manning Bar BRITISH SEA POWER: Jul 28 Oxford Art Factory FOSTER THE PEOPLE: Jul 28 The Gaelic, Jul 29 The Metro 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 ELBOW: Jul 29 Enmore Theatre CHYMERA*: Jul 30 Chinese Laundry DJ SHADOW: Jul 30 Hordern Pavilion PERIPHERY, TESSERACT: Jul 30 Annandale Hotel MADE IN THE ‘90S feat. RALPH TRESVANT, 112, ALLURE, SHAI, HORACE BROWN*: Jul 30 Big Top 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 4 & 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 LOUD FEST*: Aug 21 Annandale 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 HOMEBAKE*: Dec 3 The Domain CMC ROCKS THE HUNTER: Mar 16 – 18 Hope Estate * indicates new or amended listing this week

Returning from the hiatus of all hiatuses – playing their first Sydney show in at least 16 years – there was a smattering of anticipation in the air for the (temporary) return of punk-infused alt-metallers Pangaea. Fronted by Regurgitator bassist Ben Ely and also featuring hard-hitting Resin Dogs/former Wolfmother drummer Dave Atkins, the grooveladen Brisbane crew attracted only a modicum of applause initially. However, copious amounts of curious individuals drifted in throughout their 45-minute display as their musings gathered momentum. By the conclusion, many of the uninitiated had either been won over, or were at least pondering why they’d disappeared for such a long period. There were moments throughout Helmet’s set where it was readily apparent that the band’s creative fortunes and guitarist Page Hamilton’s voice had seen better days, but this wasn’t overly important to many of the US hard rockers’ long-time, dedicated followers. While there was a reasonable chunk of new cuts on offer (the majority of which had more impact live in comparison to their studio counterparts), the grizzled devotees received plenty of early Helmet for their buck. The dance floor moshed and pogoed to the numerous riffs fatter than a pile of Angus burgers, tearing through favourites Ironhead, Blacktop, Unsung, Tic, Rollo (aired for the first time since 1997) and a monolithic Milquetoast. The quartet was tight and, in accordance with the long-standing tag of being the no-frills ‘thinking man’s metal band’, a simple light show sufficed in terms of production values. Hamilton was fond of a lengthy chat between songs – much of it amusing, but drawing the ire of a few punters. This approach extended to the encore, with the band interacting with the crowd and voting among each other which songs to play. They eventually settled on the cracking double-whammy of FBLA parts I and II, the members visibly revelling in the challenge of recalling how to play material they

TIM ROGERS

LEENA DIAMOND QUILLS

HELMET @ MANNING BAR. PIC: JOSH GROOM

PAPA VS PRETTY

REDCOATS I KNOW LEOPARD

Annandale Hotel 23/06/11

Annandale Hotel 24/06/11

Diamond Quills sang songs about catching buses and Parramatta Rd. The duo performed a quirky set, with a lot of their songs playing on local nuances that captured the attention of the half filled room. Rob Clarkson’s voice was starting to grate by the end of the set however, which seemed rather long for an opening act.

There’s a lot of buzz surrounding Papa Vs Pretty at the moment. Sometimes it’s hard to know what’s genuine excitement about a great new band and what’s just industry fuelled hype designed to score a band some recognition. With this young Sydney three-piece, it’s clear that this is the real thing.

Leena was personable, her set was interspersed with stories, and she took the trouble to introduce each song, which was nice. Fire In My Heart, which she said was her first ever ‘non-depressing song’, was much more uplifting than the rest of her set, even though it contained the lyrics “I’m gonna be myself/Even if I hate myself”.

Adelaide expats I Know Leopard opened the night. After a move to Sydney and a name change (they used to be Former Child Stars), the band played indie rock with a definite Brit-rock influence. There were shades of Maximo Park, Editors and Kasabian but the songs never really stood out, although some of that may have been due to the poor sound quality.

Which is kind of where the magic of Tim Rogers comes in. Even when he is down he always manages to find a seed of hope with which to plant something positive. The ‘blues’, or feeling blue, have inspired Rogers’ songwriting since the early You Am I days, even though there may be different things to feel sad about nowadays.

Melbourne quartet Redcoats was a much more exciting prospect. Led by the commanding presence of Emilio Mercuri, the band traded on a sound that had a rumbling throb and hum to it. Deep stoner grooves were given added oomph by Mercuri’s lithe and sultry frontman moves at the mic. It was nice to see a frontman with a little Jim Morrison in him after years of indie rockers being anchored to the mic by their guitar.

Rogers started the set with a poem, Ode To The Annandale, before kicking off the music with some You Am I classics, starting with What I Don’t Know ‘Bout You. Stripped down to their basic elements, the songs were still delivered with as much rock attitude as poor Rogers could muster. Tonight Rogers was self-effacing, sounding older and wiser maybe. Rogers’ stage presence managed to hold the audience’s attention, even if not all the songs hit the mark. There’s a new humility to Rogers these days which is endearing. As a showman, Rogers is never too arrogant to please and he was happy to play some well known tunes to keep the audience content. Damage sounded great – a song that has never needed much embellishing – and he ended the formal set with Heavy Heart. The audience called for an encore and Rogers played a few more songs, including a duet with Leena; however, the song he finished the set with, Dylan’s Boots Of Spanish Leather, had everyone spellbound. Rogers’ emotion was so palpable during this performance, it was heartbreaking. Francesca Palazzolo

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Thomas Rawle, the 20-year-old frontman of Papa Vs Pretty, may have been anchored to his mic by a guitar, but the youngster was anything but boring. Already the singer has developed a pretty strong stage presence, but it was his guitar playing that was most impressive. The three-piece played songs from their debut album United In Isolation and when these songs were taken out for a run live, they took on a whole new dynamic. For a band barely out of their teens, the three were impressively tight. The rhythm section – Tom Myers and Gus Gardiner – was as locked in as they’re ever going to need to be, giving Rawle the chance to really let loose with some crazy shredding. Though Rawle has obviously spent a lot of time honing his guitar soloing skills, he rarely lets it overpower the other instruments, giving the songs a very balanced but full sound. There were a lot of genuine reasons to get excited about Papa Vs Pretty and this felt like the start of many years of seeing this band selling out venues. Danielle O’Donohue


KATCHAFIRE

the keyboard. Chords on a cover of Tears For Fears’ Everybody Wants To Rule The World stayed true to the original, but he made it his own with unique vocal inflections. You’d take this one home to meet your mum.

THIS VERSION

Enmore Theatre 24/06/11

Rewards come to those who do the hard work and Katchafire has certainly been doing that for the last decade, with relentless touring and four albums of exceptional roots reggae music. For a band that probably gets next to no radio airplay in Australia, attracting a large crowd to the Enmore Theatre showed just how large an audience they have gathered over the years. Up and coming local reggae act This Version was impressive in the opening slot, warming up the punters and loosening the joints for the main act. They too trade in a fairly traditional reggae form, but the vocals of Ray Te Oranga Nolan contain traces of hip hop and R&B, adding up to a more contemporary feel. With a still growing crowd and the large Enmore stage, the connection with the audience wasn’t complete, but the band did an admirable job of bridging the gap. After a ‘hypeman’-type intro, Katchafire took the stage to a rousing reception from the audience seemingly made up of mainly fellow Kiwis. The great thing about reggae is that it is pretty much impossible to stand still. That offbeat rhythm has a way of seeping into your hips and knees and before you know it your head is nodding away. Katchafire has the knack of keeping the tempo just right for maintaining perpetual movement without relying on faster songs or excessive audience call and response antics. Their new album, On The Road Again, featured prominently, with the title track opening the set and name-checking the myriad of places they have visited on their tours. Alongside older tracks like Love Letter, Rude Girl and Who You With, Katchafire showed the strength of writing they’ve been able to maintain over their career. They included one cover, a little predictably, of Bob Marley’s Three Little Birds, which sounded positively congregational with the audience almost drowning out the band at times. Props should go to both guitarist Grenville Bell for his beautiful solos and the understated and rock solid rhythm section. Katchafire is a band that relies on a sense of community and family in its music and its audience, and there was definitely a strong sense of that (and ganga smoke). Chris Familton

JOSHUA RADIN

ANDY BULL JIM BIANCO

Enmore Theatre 21/06/11 How not to win over an audience: announce that the next song you’re going to sing is about following a completely unaware girl in your car. It’s called I Got A Thing For You. Creepy. Sing said song in red lighting, breathing heavily between husky lyrics. Those already initiated to LA singer/songwriter Jim Bianco’s music seemed to find it a hoot, but for those less familiar it was a little jarring. Bianco was armed with only an acoustic guitar for his set, which involved a lot of palm-muting and more semi-awkward banter, though his strong, passionate voice left a decent enough mark. Kicking off with a cover of The Shins’ New Slang, Andy Bull had only a keyboard and his stunning voice for company. Bull charmed the crowd with hilarious spoken and sung stories of ex-girlfriends (My Street) and foul-mouthed bogans (Small Town Asshole), claiming the stage while weaving lovely electro-pop pictures with

Joshua Radin’s only previous Sydney performance in 2009 was lacking, perhaps because the Cleveland singer/ songwriter was ill then, or because his music hadn’t fully adapted to band format quite yet. Tonight saw a marked improvement, with the band now very much a part of it all, especially on songs like Brand New Day, where backing vocals shone, the raucous The Ones With The Light and the massive Nowhere To Go, with its Americana vibe really picking up in a live capacity. The incredibly chatty Radin – a little too chatty tonight, spending almost more time talking than playing – had witty stories to tell about every song, also engaging in flirtatious chitchat with an overenthusiastic punter who made her marriage plans clear early on. Both the full band songs and those involving just Radin and acoustic guitar had their charms, plus a couple of unreleased new songs aired beautifully – So Long, Sunshine was a shy acoustic highlight and I Missed You, Radin’s “foray into pop music”, was a real toe-tapper. The set was heavy on songs from latest album The Rock And The Tide, but it was older, simpler tracks like Closer and Today, played simply, that resonated most. The beautiful Winter closed the night on a hushed note, reminding us of the musician’s modest beginnings. Giselle Nguyen

JOSH PYKE

JACKSON MCLAREN

GoodGod 23/06/11

Jackson McLaren bore the brunt of a crowd that seemingly was only interested in the main event, with his emotive performance almost completely drowned out by chatter. Those who listened carefully were rewarded, though – the young Victorian singer/songwriter, through songs like the harmonica-dashed Pouring Down and guitar-led The Right Turns, is developing into a real storyteller. The beauty in his performance lay in paying close attention to the detail of the lyrics, where he really shines – there’s a definite distinction between old material and new in that aspect and every song really does tell a story, brought to life by watching his poignant live passion. As Josh Pyke has been taking time off for the last 18 months or so, his first live show in a long time tonight was a matter of high anticipation. Beginning his return to the stage with a carefree Forever Song, the set that followed had two purposes – to provide fans with sing-along opportunities for their favourite old songs, like Memories And Dust and Make You Happy (the tempo of which he messed up at first, to no loss), and to showcase a couple of newbies from Pyke’s upcoming album, Only Sparrows. The latter saw the affable musician employ loop pedals and iPhone electronic sounds – rather daring considering his usual performances – to introduce songs like the electronic buzz-addled Clover Suns and the joyous No One Wants A Lover, vocals multiplied in harmonic lines and infectious hand claps on loop. Pyke’s time off the road has not taken away his ability to entertain – whether singing or bantering tonight, he had the packed room soaking in his signature twang and often singing loud enough to almost overpower it. Considering the material showcased tonight, Only Sparrows looks to be a change in direction for the so far safe singer/songwriter and contains some brave tracks that shift him out of his comfort zone. It will be his first record in three years and after tonight’s brief

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THE GRATES

The encore featured the wildly popular Trampoline, as well as Hodgson performing in some sort of bear suit, from which she pulled confetti and showered the audience with this. Why? Who cares – it looked like fun.

GUINEAFOWL BIG SCARY

Oxford Art Factory 24/06/11

Brent Balinski

Big Scary was much more full-sounding than a twopiece should be. Their songs have an overall sadness consistent throughout, despite the varying tempos and dynamic levels. The duo of Tom Iansek and Jo Syme aren’t busy or even particularly brilliant players, but the way they mesh together and the quality of their songs make them sound much, well, bigger than the space they occupy on stage suggested they should. Local disco/pop/art/rock/delay pedal enthusiasts Guineafowl are doing well at the moment and it’s not hard to see why: ever-present, danceable rhythms, anthemic, pulsating, radio-ready, fuck-off catchy ditties like Little Fingers and a palatable stage presence all mean this band, by rights, should be headlining stadium gigs in the future. Their compositions, their look and pretty well everything about them is completely un-dangerous and unchallenging, but they are bloody good at what they do. The Grates needed a song to get into the mood (Carve Your Name seemed a little sedate as an opener), but by the next song, Science Is Golden, they were on top of it. Their reputation as a live act is good one and they lived up to it tonight. The crowd appeared a bit “cool” to look like they were enjoying what they had paid to see, and they received the headline act warmly rather than with huge amounts of enthusiasm. Singer Patience Hodgson is as exuberant and almost as energetic as you might expect and touring members Ben Marshall (drums) and Miranda Deutsch (bass – yes, The Grates have a bassist now) fit the bill just fine, fuelling the songs’ quirkiness and drive and adding a bit of beef (and fuzz) to older numbers. Things picked up towards the end of the set, with Hodgson crowd-surfing and the band closing with the first single, Turn Me On, from the new album.

THE GRATES @ OXFORD ART FACTORY PIC: LINDA HELLER-SALVADOR

taste, there is great anticipation to discover what he has in store come August – until then, a warm welcome back to our favourite bearded buddy. Giselle Nguyen

ROSE TATTOO

MELODY BLACK NAT COL & THE KINGS

Sandringham Hotel 24/06/11

Nat Col & The Kings kicked the night off with their stomping fun of energetic blues and roots hard rock. Guitarist/vocalist Nathan Cavaleri was mesmerising to watch – his playing style is somewhat reminiscent of Jimi Hendrix, almost making love to his guitar and creating wonderful music. The drum fills of Col Hatchman were equally impressive. The excitement and energy of his high impact drumming that often lifted him from his stool kept the set as high paced, good time rock‘n’roll fun. They could have done without the “sex” appeal of the female backing vocalist however, as seemingly uncomfortable on stage and doing more dancing than backing vocals, she didn’t seem to complement the otherwise great set.

Melody Black was up to getting the ever-growing crowd pumped for Rose Tattoo. Singer Johnathan Devoy was in full form tonight, letting his acrobatic background show as he moved like a contortionist as the lyrics surged through him. The members of Melody Black always put everything they have into their shows, playing a full throttle set from beginning to end. They even played a “surprise” encore of their speed version of Motorhead’s Ace Of Spades. It was now time to get ‘up close and dangerous with Rose Tattoo’. The room at the Sando was bursting with old and new fans – everyone just trying to get a glimpse of this iconic Australian rock band. Have Rose Tattoo changed since the ‘70s? Well, of course they have definitely gotten older. Do they still rock like it’s the ‘70s? Hell yes! They may not move around on stage like they’re 25, but they know how to put on a rock‘n’roll show. Nothing was sloppy about the music; they belted out their bad boy music like the rock‘n’roll outlaws they were – and still are. Vocalist Angry Anderson slurred and mumbled a bit as he explained the back story to almost every song they played, though when it came to singing, his vocals couldn’t be clearer. Rose Tattoo played the Sando like a stadium venue and rocked like it was 1979. Christine Caruana

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THE DRUM MEDIA 28 JUNE 2011 • 59 •


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FOR NEUROTICS

VEER THIS WAY

Melbourne punkabilly boys Fireballs are currently on their Psychotic Music For Neurotic People tour, Mohawks, leather and all. They play the Sando with The Dark Shadows this Friday and the Great Northern Saturday.

Veora, Sound Of Seasons, Caulfield and Ghosts On Broadway are all piling into the Bull & Bush this Thursday. Veora have just come out of the studio, recording tracks Chinese Whispers and Arsenic.

TRIPLE STACK URTHBOY

BERESFORD OPENING WEEKEND This weekend marks the first that the Beresford Hotel is in business as a live music venue. Friday check out Urthboy, Toni Toni Lee and DJ Kato from 8pm, tickets $15 on the door. Saturday sees World’s End Press, DJ Magic Happens and DJ Cassette take on the venue, with doors opening 7pm and tickets $15.

single FOCUS

Pop rockers Short Stack pull into the Enmore Theatre this Friday as they continue on their This Is Bat Country tour. Supporting them will be pop/punk act Heroes For Hire and Because They Can.

OH MY JESUS Cowpunk/country band Spurs For Jesus takes their tunes to the Botany View Hotel Sunday for a free show.

MAD MAN Mad Men and Broadway star Bryan Batt is jazzing up The Basement Circular Quay this week. Batt On A Hot Tin Roof on Thursday, Friday and Saturday will see this show taking you back to Manhattan circa 1960.

SAVE FERRIS This week’s ‘60s dance party Twist & Shout at Tone is holding a movie theme night. DJs Mr Chad and Dylabolical will be spinning classic songs from movies like Ferris Bueller’s Day Off, Pulp Fiction, Rushmore – and that’s only the start. It’s this Friday.

DONJOUR!

What’s the song about?

French electro fidget act Don Rimini is heading to Chinese Laundry this Saturday as part of an insane lineup for the night. Also playing will be Asylum, John Glover, Neon Stereo, Darrius Bassiray, Dirty D & Ahab, Nick!, DJ Say What?, Murray Lake and Mike Hyper.

It’s about feeling like I got setup by someone. No matter what I did or said, I couldn’t change it.

MOOMBAHTON

Is this track from a forthcoming/existing release?

The newest electronic dance craze, Moombahton, will be heating up Chinese Laundry’s dancefloor this Friday with The Mane Thing, drum’n’bass act Rollers Music, Alf, Ritual, Bounce Crew DJs and more.

ANGELAS DISH

Crash

It’s the first single off our new record – Walk Into The Sky.

How long did it take to write/record? I had the melody and music for the song for a while whilst we were writing the album at home but the only lyrics I had was “...you know you set me up, you set me up to crash.” After I showed it to the other guys, it didn’t take long for the rest of the song to come out of my head.

FALL IN Rabbit Hole is launching at Tone this week and from now on it’ll be held the first Saturday of every month. For this week’s launch they have The Khans, Hailer, Estaban, Andy & Mike and at 2am for a late headliner, Rufus.

STEVE AND FRIENDS Steve Edmonds Band has a few shows planned this week, starting with the New Orana Hotel on Friday before moving to the Warilla Bowling Club on Saturday and finally the Wickham Park Hotel on Sunday.

JUST JAMMIN’

JOHN KENNEDY’S 68 COMEBACK SPECIAL

Jim Finn is just playing the Muso’s Club Jam Nights this week – on Wednesday at the Bald Faced Stag and Thursday at the Carousel Hotel.

68 REASONS TO COME

MAD SCIENTIST Tassie dance duo The Scientists Of Modern Music is heading to Sydney in support of new single, Because If I Die. They play World Bar Friday and CBD Hotel Saturday.

On the back of new album, Is This Not Paris?, John Kennedy’s 68 Comeback Special makes a rare live appearance Friday night at the Rose of Australia Hotel from 9pm. Check out their blend of pop, rock, folk and country tunes.

SPOOKED The Spooky Men’s Chorale will be performing at the Joan Sutherland Performing Arts Centre this Sunday from 3pm as a farewell concert before they head to the UK.

CHAOS Prophecy Chaos Rising is at the Sydney Showground this Saturday as a huge list of DJs play all night including Neophyte, Evil Activities, Alpha2, Tha Playah, Neophyte Record All Stars, Max Enforcer and more.

GLEBE GIRLS Thursday at the Excelsior Glebe there are a few singer/ songwriters spinning their craft on stage, namely Francesca Sidoti, Fiona Treloar and Lila Swain.

SARAH MCLEOD

JAZZ FOR JAPAN

SHE’S SUPER, JESUS

It’s good to know people haven’t forgotten about Japan’s natural disasters and are still helping out. Jazz For Japan will be held at Ultimo TAFE’s Turner Hall this Thursday from 7pm. Rufus Records will present artists like The catholics, Wanderlust, Roil, SNAP and more.

Sarah McLeod, known both for her solo work and as the frontwoman of ‘90s sensations The Superjesus, gets up close and personal Thursday at Lizotte’s Dee Why and Friday at Lizotte’s Kincumber. The Firetree joins the shows.

BOOK CLUB The Jane Austen Argument is launching its new EP, Plan Behind, at the Camelot Lounge this Friday with Brendan Maclean from 8.30pm.

Was anything in particular inspiring you during the making? I was struggling a little with my faith and what it meant to me during the writing of this album. In some ways these feelings inspired most of my songs on the new record. What’s your favourite part of the song? I really like that Mike and I share the vocals. He sings the verses and I sing the choruses. We hadn’t ever done anything like that on an album before.

Do you play it differently live? We try not to.

Will you be launching it? Friday – Oxford Art Factory

For more info see: www.angelasdish.com

• 60 • THE DRUM MEDIA 28 JUNE 2011

DIRTY NICE CRAIG LAIRD

RAY BEADLE

MARLY MADNESS

RAYGUN

From 8.30pm at the Marlborough Hotel on Thursday, check out acoustic music from Craig Laird.

Sydney-based blues guitar maestro Ray Beadle plays at Vault 146 this Friday from 7pm. Tickets are $18.50.

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SHARP EDGES Dirty Nice is playing at the Lewisham Hotel’s Sharp Edge Festival this Saturday as part of an awesome lineup featuring Moth, Run The Avalanche, Carni Meat and more. Tickets are $10.


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HEY, WHERE’S YOUR DJ?

F

ollowing the success of Phatchance and Coptic Soldier’s dual-disc acoustic hip hop EP, The Sound Of Wings, the two are taking the concept on the road forgoing DJs and pre-programmed beats for the intimacy of a live acoustic show. Drum talked to the two rappers before their show on Saturday at Oxford Art Factory. What opportunities does an acoustic approach to hip hop offer? Coptic Soldier: The extreme freedom to do things we are generally limited doing. It gives us the opportunity to create and control every instrument, note, structure and energy from the word go. We aren’t necessarily limited to the vibe or bpm of a beat a producer created for us – its creating music from the ground up – as all music should be created in my opinion. Phatchance: For me it’s in both the accessibility and the flexibility. Being able to delve further into the subtleties of the instrumentation and really strip things back not only leaves a lot of room for the impact of the actual writing, but it breaks down a lot of genre barriers to boot. I feel like the acoustic sound works in

single FOCUS

a natural way with hip-hop and having an excuse to lean more on the other side of the vocals – mainly in harmonies and hooks, is really fun.

RICK BREWSTER’S ANGELS FEATURING DAVE GLEESON

You can sample one acoustic guitar riff in a new song, what do you choose and why? CS: Potbelleez – Don’t Hold Back. It’s the most awesome riff I’ve heard from pop music since forever.

Waiting For The Sun

P: Honestly I’d probably hit up something by Jose Gonzalez, maybe Crosses. That guy really knows how to work an axe, can you call an acoustic guitar an axe? Either way, he knows what he’s doing. Bet someone beats me to it now.

I like lyric to be interpreted, not explained.

What’s your favourite song to translate to an acoustic setting? CS: Liquid Company – it was a lot of people’s favourite songs on the Sound Of Wings 1 so when it came time to turn it acoustic I wanted to make a whole new track of it, almost make it unrecognisable. Jon Reichardt absolutely killed both lyrically and musically on the re-creation, it was so great to work with him and now I have two completely different-

What’s the song about? Is this track from a forthcoming/existing release?

sounding songs which share no similarity besides the same story.

Yes. We recorded five tracks for a soon to be released EP.

P: Definitely Build It Up on Inkstains. It was one of my favourite songs but it never really built any traction on radio, or even particularly with my wider fan base, I think transforming it to the acoustic setting really allowed us to do it ‘right’ and it seems to be the song people gravitate towards, which is great because it’s a really personally important track to me. It also has the lovely girls from Charlie Mayfair crooning on it, that helps.

How long did it take to write/record? Joe Burnham wrote the lyric. Rick and I wrote the music one morning at my house at Encounter Bay.

Was anything in particular inspiring you during the making? To capture the spirit and sound of our earlier Alberts recordings. We recorded these tracks at Albert’s by the way.

What’s your favourite part of the song?

SATURDAY STYLE

I like the whole performance, Dave Gleeson’s vocals are excellent, but the outro chant vocals with Dave’s hook lines is particularly good for me.

Excelsior Glebe’s Saturday lineup includes 3 Wise Monkeys, Forgotten Passengers and more.

Do you play it differently live?

SUPER DUPER

Just the same.

Will you be launching it?

super FLORENCE jam is launching their fifth single in as many months – this time the track Your Word. They’ll be supported by The Last Cavalry and Distorted Sound Theory this Friday at the Town Hall Hotel.

KARAMAJAR

ROCK SHOW Valve’s rock show this Friday will see Kang, The Gap Players, Hook Elation, Karmajar and Scarlet’s Revenge all taking the stage.

YOUTUBE SENSATION With more than 12 million channel views on YouTube, it’s no surprise singer/songwriter David Choi is touring Australia, playing the Macquarie Atrium on Saturday.

3 THINGS The 3things’ Hip Hop Approach is being held at Oxford Art Factory this Thursday, a unique event where hip hop artists talk about global poverty and injustice. The night will feature Ozi Batla, Dialectrix, Tuka, The Last Kinection, DJ Gabriel Clouston and beatboxers Rivals and LC Beats.

FLY IN Tin Sparrow will be launching a new EP at The Brass Monkey Wednesday and The Vanguard Friday, joined by folksters Charlie Mayfair and Boats Of Berlin.

THORNY

JULIAWHY?

Y U NO COME

F

For more info see: www.difrntentgroup.com.au/rickbrewstersangels

Garage/folksters JuliaWhy? are heading into Tone this Thursday for their last gig before heading down to Melbourne to record their debut EP. They’ll be hitting the stage with Day Ravies, Cautious Horses and Shannon Cranko.

Rose Of York will be launching their second EP, Shine, at The Brass Monkey this Saturday.

DOUBLE DAY Sunday’s a huge day for Valve with a midday hardcore show featuring Caulfield, Ghosts Of Broadway, City Falls and Uncorrected playing. At 4pm, Anthony Hughes And The International Love Experiment, Brave It Through The Night and Paryce play an alt/ acoustic show.

PARTY BREWING Rick Brewster’s Angels are part of the fun that is the Annandale’s 11th Birthday week, but this time they’re performing with Dave Gleeson of The Screaming Jets out front, and Black Label their guests. They play this Thursday from 8pm.

MEOW KAPOW

CAT CALL

LEONIE COHEN TRIO

Meow Kapow plays the Lansdowne on Thursday and Oxford Art Factory Saturday, the latter with The Rubens and Made In Japan.

Your music is…? Contemporary mainstream instrumental jazz.

Which acts inspired you to produce your own music and why? So many – Herbie Hancock, Chick Corea, J.S. Bach, Ella Fitzgerald, Dianne Reeves, Beatles, Bowie and many, many more…

THE SOUND OF SYDNEY

Bi Radio is holding its third Sydney Sounds Like, a mid-winter showcase of Sydney music taking place over two weekends and two venues. This weekend is the first one, Choose Your Own Adventure, taking place at The Factory on Saturday. Drum grabbed a few of the acts on the lineup – namely Step-Panther’s Julio, Domeyko/Gonzalez aka James and Jaie, Faker and Deep Sea Arcade – to talk all things Sydney, adventures and sounds.

Thursday – The Annandale

What’s your wildest ambition for your music?

and fucked up music (the boring and lame stuff too) that is made in Sydney allows them to be inspired by something that they didn’t see on television and to figure out how to do it better than us by the time they’re 18, which is very important! F: I started to really get into music when I was about 11. Seven years is a long time to wait to just be able to go and see a band any old night. Some of my favourite bands broke up before I was old enough to go and see them play. DSA: I’d imagine all ages shows play a part in Sydney having a healthy music scene down the track. I used to go to afternoon shows at the Metro every weekend when I was in my early teens and learning guitar and I used to come home really inspired. I think I saw Regurgitator, Spiderbait and The Avalanches on one bill and I remember going home and really wanting to put a band together. Aside from all that, some of the best audiences we’ve had have been all ages. They’re always really enthusiastic, genuine music lovers who deserve to see shows.

What is the non-musical sound of Sydney? Anything from public transport to weird things you hear elsewhere... Step-Panther: The sound of air conditioner exhaust fans endlessly twirling towards freedom. Outside of every window ever. Domeyko/Gonzalez James: Today I listened to the drones of buses combined with school kids bribing each other to plank on the road. Last night it was cold whistling breezes, clicking streetlights and reverberant open spaces. Faker: The sound of clinking champagne glasses and the clatter of a rollercoaster… It is the jangle of cash registers and the screeching of bats overhead. Deep Sea Arcade: Our guitarist Simon has a bird outside his house and every morning it goes “awwwwwwwww gimme a break, gimme a break maaaaate.”

If someone asked you what Sydney sounds like in ten words or less, what would you say? S-P: I already did. D/G James: A comprehensive sonic multivitamin. F: A herd of wild animals let loose in a theme park. DSA: FBi Radio, of course. Ten words. Including this sentence now.

What’s the importance of all ages gigs? S-P: I see how they are important for people underage who like gigs. It fits together in my brain. D/G Jaie: Giving kids the opportunity to see the weird

You have a week off and in that week you can embark on any adventure you choose, money and distance notwithstanding. Where do you go and who do you take?

I really love accompanying singers and dream of the chance to work with Dianne Reeves.

Why should we come and see you?

FAKER S-P: Japan with Sarah. Oh wait, our unborn child would mutate into a lizard. D/G James: A cruise boat with the world’s loudest amps pointing out to sea. I’d take a list of musicians too long to name here and create tidal soundwaves of varying densities pointed at the sky to see if we could sculpt the clouds with sound. If it didn’t work we’d still all have great memories, bones shaken and ears bleeding blissfully. D/G Jaie: We’d go to Saturn and jam with Sun Ra. With us we’d bring Bez. And of course Fenton. F: If money and distance were no issue whatsoever I’d like to go into space. I would take David Bowie with me and if we had a time machine I would make sure we were in 1978. DSA: I’d love to go back to Brighton in the UK. We were there recently and we all fell in love with it a bit. Guess I could go to the Amazon though. See some pink dolphins. Or space. Yeah I’d totally go into space and I’d take a pink dolphin. And a bag of snakes.

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Check out a sample of my stuff and if you’re into it, come along. Also it’s a treat to hear and see Hugh Fraser (double bass) and Simon Barker (drums) live.

How do you find the local live scene? Love it. Lots on of an extremely high standard and great diversity. It’s also very supportive.

What’s your greatest rock’n’roll moment? More of a jazz-disco moment... Packing up from a gig at the Opera Bar, a well-presented gentleman came up saying he really enjoyed the gig. He mentioned he used to play in a band. I was too immersed in rolling up leads to pay much attention and didn’t catch the name of the band. He handed me his business card – on it a picture of a good-time cowboy and the text “Randy Jones – the original cowboy for the Village People”. Leads down, camera out!

For more info see: www.jazzgroove.com www.myspace.com/leoniecohen

Next available at: Tuesday – 505, Surry Hills Thursday – Tony Bilson’s One Winebar THE DRUM MEDIA 28 JUNE 2011 • 61 •


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3THINGS

3

things, an initiative of Oxfam Australia, is back to create a hard-hitting hip hop event with a huge social conscience. 3Things – A Hip Hop Approach gets Australian acts talking about their opinions and solutions to global poverty and injustice. Hosted by Kween G (of the KillaQueenz) the lineup features VJ Spook, DJ Gabriel Clouston, plus beatboxers Rivals and LC Beats. Drum grabbed Tuka, Dialectrix and Ozi Batla from the upcoming Thursday night show at Oxford Art Factory to talk all things hip hop and the number three. What are three things you can’t go on tour without? OZI BATLA: Phone charger – although it’s amazing how many times I forget. Ear plugs – for snoring band mates and sleeping on planes. Poker set – for fleecing the support act. DIALECTRIX: Clean T-shirts, sun glasses and a Rubix cube/book. TUKA: We’d have to be pretty silly to forget our gear (turntables, mixer, laptop etc...), my tech deck (finger skate board) for sound checks and other boring periods

[V] SATURDAY 8AM MUSIC VIDEO CHARTS The Edge Of Glory

of time there is nothing to do, and pants. What three things best describe your approach to hip hop?

T: Instead of indulging in egotistical attempts to make myself look better, I much prefer trying to find charm in the ugly. I like to be as honest as possible in songwriting. I try to be involved with the genre as a whole (graphing, DJing, emceeing, beat boxing and breaking). There’s a huge community out there and sometimes I feel like the head forgets to talk to the arms and legs. “Good things come in threes” True or False?

Ready to play some new songs, Marlow will be headlining the Fitzroy Hotel this Saturday with locals Vangate, Minus House and Kaleeko.

• 62 • THE DRUM MEDIA 28 JUNE 2011

TUKA

D: True, especially when it’s Dialectrix, Joe New and DJ 2Buck we’re talking about! T: That can be true, but it would also mean bad things can come in threes as well – yin to the yang and all that jazz nah mean? What are three things you can do to help change

OB: Educating myself so I can reach others. Speaking my mind in the hope that others will too and confronting ignorance and prejudice when it happens D: Improve selflessness. Make better music and stop hating so much. T: Disarm everyone, no weapons allowed. A peaceful revolution that would see our entire society shift from a monetary-based economy to a resource-based one. Invest more time in the study of things that are cool and that make everyone feel good.

ACCOMPLICES

FOLK AT NOTES

We Run The Night DJ HAVANA BROWN Jet Lag SIMPLE PLAN FT. NATASHA BEDINGFIELD Rolling In The Deep ADELE Champagne Showers LMFAO FT. NATALIA KILLS Into The Fog THE WOMBATS

the world?

OB: Good things come in all forms – so threes definitely.

STUDY HARD GET LOW

ADELE KATY PERRY

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

D: Persistence, practice and refinement.

Folk/roots singer/songwriter Kristina Olsen is performing at Notes Saturday, along with Russian cellist Anatoli Torjinski and Jim Conway’s Little Wheel.

MARLOW

Someone Like You Last Friday Night (T.G.I.F.)

OB: Integrity, honesty and passion.

.

LADY GAGA

Party Rock Anthem LMFAO FT. LAUREN BENNETT & GOONROCK

Fait Accompli is launching a double A-side single (No Fool and On A Blue Day) and heads to the Beach Road Hotel this Wednesday to celebrate. They’ll be playing with The Melodics and Mary Of The Moon.

CHICKS WHO LOVE GHOSTS

For most, uni exams are over but you can still head to The Study at The Gaelic Wednesday with Shivon Coelho, Femme Da Funk and Frances Madden.

Ghostwood heads to the Harp Hotel this Thursday, where they play with Chicks Who Love Guns.

CROOME’S A CROONER

I CAN SEE CLEARLY NOW

Melbourne songbird Gossling (AKA Helen Croome) is on her War Tour this week. She stops by GoodGod Wednesday, the Beach Road Hotel Thursday, Otis Bar Friday and Northern Star Saturday.

Clarity is back in action, taking dance pop fun to GoodGod on Thursday night for the first time in two years. It’s a double headline show with The Vaudeville Smash, launching their EP Love, Yachts, Geronimo.

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FBI’S FAVOURITE NEW AUSSIE TRACKS The Woods GOLD FIELDS Collective Resolution TAYLOR KING 2 Phreeky TONI TONI LEE Peppermint Tongue VACANT FIELD No Holiday WESTERN SYNTHETICS Mix Tape BIG SCARY Quarter THE FAULTS Space Elevator THE LEAFS The Night Won’t Start Without Us THE GRATES Signs Of Life THE HERD

ON THE DRUM STEREO High Violet THE NATIONAL Revelator TEDESCHI TRUCKS BAND Different Class PULP Ethereal Surrogate Saviour COERCE BBC Radio 1 Live In Concert NEW ORDER The Best Of Nick Cave And The Bad Seeds NICK CAVE & THE BAD SEEDS

The Fan And The Bellows Smoke And Mirrors SBTRKT Sin Sin Sin

THE CHAMELEONS BITROK SBTRKT LE BUTCHERETTES


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 28 JUNE 2011 • 63 •


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haveYOUbeenTO

JONNY GRETSCH’S WASTED ONES

RUFUS

RABBIT HOLE The concept: We take a drunk Alice and make her dance to Sydney’s best party tunes!

The sounds: Indie bands handpicked to make you groove long into the night with sexy party DJs to match.

CARAVÃNA SUN

WASTED

A CARAVAN SUMMER

SO SNEAKY

Bottoms up everyone, so you can party with Jonny Gretsch’s Wasted Ones at the Excelsior Glebe this Friday. The night starts at 7pm and entry is free, so all you have to pay for, really, is beer.

Caravãna Sun will release their newest single, Feel Better, this week at The Brass Monkey. They’ll be supported by Andy Kelly and Toys Of Counter Culture.

Sneaky Sound System head to The Metro this Saturday to launch their new album, From Here To Anywhere, aptly titled as they’ve been working on it between Paris, London and New York City. They’re supported by Beni and Jonny Pow!!! on the night.

OTHERWORLDLY

HARRI FOR HOURS Scottish DJ Harri plays a four-hour set this Saturday at a secret inner city location. Find Co-Op’s Facebook page and stalk it for more details…

FELONY

World Bar’s Propaganda End Of Semester Party this Thursday is sure to be a rager, with Slow Down Honey, The Vines DJ set, Teen Spirit DJs and DJ Urby all ready to kickstart the party after exams. MUM on Friday will have Butcher Blades, Peppercorn and The Scientists Of Modern Music, as well.

The talent:

Steve Tyson & The Industrious Felons are playing the Illawarra Folk Club on Friday, the Roxbury Hotel on Saturday and The Artist’s Shed on Sunday.

RüFüS + Khans + Hailer + Rabbit Hole DJs + Esteban + Andy & Mike.

FRONT ON

Chart-topping singer/songwriter Pete Murray is playing at Notes this Wednesday, armed with some new material

Jack Carty, Jordan Millar and Leroy Lee head out together on the Hope, Smoke And Everything tour this week. The trio will be playing their first date in the Front Gallery on Friday.

GET KINKY WITH KINKY

The money shot: Ever wanted to dirty dance with your favourite Disney character?!

The sales pitch: It’s Sydney’s best house party that’ll NEVER get shut down!

Details: 8pm, $10, $7.50 Mad Hatters till 5am!

Rabbit Hole @ Tone, Saturday.

• 64P • THE DRUM MEDIA 28 JUNE 2011

BENI

SIN-THETIC Metalheads Synthetic Breed play The Basement Belconnen with Elysian, Ignite The Ibex, Alice Through The Windshield Glass, Anno Domini and Mytile vey Lorth this Friday. On Saturday they’ll play Venom at the Agincourt Hotel with Mortal Sin, A World Less Cruel and Tensions Arise.

NOTES FROM PETE

Legendary Texan singer/songwriter Kinky Friedman is playing yet another show, this Saturday at Petersham Bowling Club.

ALL THAT GLIMMERS The Glimmer will launch its debut album, Start A Fire, at the Lansdowne Hotel on Friday, supported by Medicated Youth, Bambino Koresh and Nic Dalton & His Gloomchasers. Entry, as always, is free.

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MY BELOVED MONSTER

FOOT IN THE WALL The Bald Faced Stag this Thursday wants to get your Foot In The Wall, as they’re holding an industry night. Bands playing include Empire Rising, My Beloved Monster, Jeremy Harrison and Bones Atlas from 7.45pm. Entry is $8 on the door.


SHIVON COELHO

DAMIEN LOVELOCK With the 40th anniversary of the passing of Jim Morrison upon us, Light My Fire – A Tribute To The Doors, takes place Saturday at Dee Why RSL, Sunday at Beaches Thirroul and Friday 8 July at The Basement Circular Quay. Here one of the performers on the night, Damien Lovelock, gives us his top five Doors songs. 1) Break On Through – Early Doors, a real forerunner of things to come. Exciting music and exciting lyrics to me. 2) Peace Frog/Blue Sunday – One of my favourite pieces of wah wah ever recorded. A more political side to Morrison’s lyric writing and killer feel. 3) The Wasp (Texas Radio And The Big Beat) – really nasty piece of Doors-style talking blues. Morrison at his most lyrically out there, love it or hate it. 4) Riders On The Storm – Just an incredibly atmospheric and beautiful song. Hearing it played live and played well is a real revelation. Still one of my favourites despite golden oldies radio’s best efforts. 5) L.A. Woman – For me their magnum opus. The idea of a song that is built on the rhythm of driving on the LA freeways when they actually moved. Great lyric and an incredibly powerful song when performed live. Irresistible.

GAELIC GOLD

MOON HOLIDAY

RED INK

SUCH AN OAF

GIG OF THE WEEK

Melbourne outfit Red Ink is launching a new single, What My Friends Say, and touring in support of it this week. They stop by The Gaelic on Friday, so stop by and say hello.

ENTER THE TEMPLE Got a purple note to spare? Take it down to Valve on Thursday, where you’ll find Tiger Temple, Lasue, Enter The Ninja and Peppermint & Fox playing some jams.

MOVE ALONG Sydney’s newest dubstep and bass-centric weekly evening, Movement at the Beach Road Hotel, is happening Friday, with DJ Kato and Mason & Bennet providing the beats. They’re launching Wiley’s 100% Publishing this week with giveaways.

Up and coming jazz artist Shivon Coelho will charm The Gaelic with her melodies on Wednesday from 8pm. Come along to check out a rising star.

The Oxford Art Factory Gallery Bar is hosting a bunch of acts this Thursday, including Moon Holiday, Mrs Bishop, Berluscronies, The Townhouses, Oh Reilly Factor and No Dice DJs. The fun kicks off at 8pm.

HERE WITH JAKE Thursday at The Vanguard, check out Jake Nauta launching his new solo project. He’ll play new material, including his latest single, Here With You. Tigertown plays in support.

WALL WEEKEND Head along to The Wall on Friday night to see Vendetta Of The Fallen, Flaming Wreckage, Silent Rose, Mind At Large and The Paradox Unseen. Entry is $12 on the door.

BELLY RUB

UNDERLIGHTS

GETTING MESSY The Annandale 11th Birthday Party Week rages on. The Mess Hall, 78 Saab and Underlights will be celebrating on Friday from 8pm onwards.

ALL ON BLACK

The Potbelleez are kicking it around Australia on a huge tour in support of their newest album, Destination Now. They hop by the Southern Cross Club this Friday.

Aside from their Thursday support slot at the Annandale, boozy rockers Black Label head their own gig Saturday at The Wall, with Mad Charlie and Ugly Little Secret.

PLUG OUT

GET YOUR SHIT IN

Check out Wolfden Unplugged at Chingalings tonight, a new weekly evening that’ll happen every Tuesday from now on. The Walking Who and Bell Weather Department’s Jake and Tom playing live and unplugged. Entry to the night is free, and it’s promising to play out like a live version of triple j’s Like A Version.

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!

LIVE AND LOCAL Live ‘n’ Local at Lizotte’s Dee Why this Wednesday presents sets from Phoebe Eve, Jasmine, Ashton Tremain and Nativo Soul. 7.30pm is the time to be there, with $15 handy.

SHORT MUSIC COURSES FOR ADULTS AT THE CON

a tribute to

Classes starting in July include: t

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Tuesday July 12, 6-9pm "SFZPVQMBOOJOHUPBVEJUJPOGPSBUFSUJBSZEFHSFFJOKB[[BU5IF$PO  &OTVSFZPVSFQSFQBSFEXJUIUIJTXPSLTIPQMFECZ$SBJH4DPUU







 





jeff duff - vocals damien lovelock - vocals sam joole - vocals simon bruce - vocals nick meredith - guitar tim jenkins - keys dave kirby - drums 40th Anniversary of Jim Morrison’s death

Performing at:

bookings: 9251 2797

The Basement- Friday 8th July

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THE DRUM MEDIA 28 JUNE 2011 • 65 •


GIG GUIDE TUE 28

AAMAZING ENTERTAINMENT KARAOKE: Penrith Htl ADAM PRINGLE, + FRIENDS: Sandringham Htl downstairs BASS KLEPH: Onefiveone - Wollongong BONDI COMMUNITY CHOIR: Bondi Pavilion Brackets & Jam: Bangalow Hotel CULT SINEMA: Annandale Htl DAVE WILKINS: Coogee Bay Htl, Beach Bar FIONA SCOTT NORMAN: The Basement JOHN HARKINS: Jazsushi Surry Hills KID FINLEY, JOHNNY B: The Gaff, Darlinghurst LEONIE SMITH TRIO, ELANA STONE, JAMES MULLER: 505, 280 Cleveland St Surry Hills MATT JONES DUO: Scruffy Murphys MEREWETHER HIGH SCHOOL MUSIC SHOWCASE: Lizottes, Newcastle PETER HEAD: HARBOUR VIEW HOTEL ROB HENRY: Observer Htl ROCK-STEIN TRIVIA: The Gaelic SHANE FLEW: Dee Why RSL STEVE TONGE: O’Malleys City THEY CALL ME BRUCE: Maloney’’s Hotel City UNDERGROUND TABLES FEAT, MYME, ATO, GEE WIZZ: Valve Bar and Venue, Tempe

WED 29

ANDY MAMMERS DUO: Maloney’’s Hotel City

BEN FINN DUO: Mean Fiddler Htl - Sub Bar BEST OF JAGER UPRISING: Annandale Htl BRAD JOHNS: Dee Why RSL BRIAN MCKNIGHT, BARRY SOUTHGATE, DWELE: Metro Theatre CATCH 22: Scruffy Murphys CLARE BOWDITCH, LANIE LANE: Lizottes, Newcastle DARRYL BEATON: Civic Underground DEVA PERMANA TRIO: Jazsushi Surry Hills DJ MOUSSA: Marlborough Htl FIONA SCOTT NORMAN: The Basement GARY ECK, JEREMY KEAST, ASH JATTAN: Roxbury Htl Glebe GEMMA: Observer Htl GOSSLING, RYAN MEEKING, BOY OUTSIDE: Good God Small Club GREG NIVEN, THE FORGOTTEN FEW: Valve Bar and Venue, Tempe HAMMERHEAD: 505, 280 Cleveland St Surry Hills JAMIE LINDSAY: Northies Cronulla HtlSport Bar JIMEOIN: Cronulla Sharks JULIAN KUO QUINTET: Slide Darlinghurst LIVE & LOCAL: Lizottes, Dee Why LOCKDOWN, BRIDGES, GET REAL!, DEADLY VISIONS: Caringbah Bizzos MAL’S OPEN MIC NIGHT: Royal Htl Bondi MEN WITH DAY JOBS, CHRISTINA PANIE, SANITY’S COLLISION, DAN CRESTANI, ANDREW

GOANNA ENTERTAINMENT Presents…

– FRI 1 JULY CHATSWOOD CLUB Y TR $10 EN TSWOOD) HELP STREET, CHA (LEVEL ONE, 11 ILABLE FROM 6PM FOOD/BISTRO AVA S) RDS GOAT (PUNK/90’

8PM HOWA BLUES) 9PM TOBRUK (ROCK/ RRICANE (60’S/70’S/80’S) HU E IR SF (ROCK 80’S) 10PM CROS & THE GRIPPERS 11PM TRIPLE GRIP REE) (F LY JU 2 TEL – SAT GARRY OWEN HOLE) (776 DARLING ST,

ROZEL

7PM TOBRUK (ROCK/

BLUES)

rtainment.com www.goannaente tertainment.com E: paul@goannaen

2 ox 615 Gordon 207 d copy Demo’s: P.O.B Wanna play? Post har www.goannaaudiovisual.com Goanna Ent use X/Staging/Vision. for all their Audio/L

• 66 • THE DRUM MEDIA 28 JUNE 2011

28 JUNE - 4 JULY 2011 gigs@drummedia.com.au DENNISTON: Mars Hill Café MITCH ANDERSON, + FRIENDS: Sandringham Htl downstairs MUSOS CLUB JAM NIGHT: Bald Faced Stag NICKY KURTA: Summer Hill Htl NOVA SMITH: Northern Star Htl Newcastle PETE MURRAY: Notes, Newtown PETER HEAD: HARBOUR VIEW HOTEL ROBERT SUSZ & THE CONTINENTIAL PLAYBOYS PARTY: The Rose Hotel ROYAL CHANT: ROCK LILY - STAR CITY RUSSELL NEAL, + GUESTS: Blaxland Tavern SANDI HOTROD: BANK HOTEL - NEWTOWN STORM LARGE: The Vanguard TAOS, + GUESTS: Coach & Horses Hotel, Randwick THE POD BROTHERS: Ettamogah Htl THE POD BROTHERS: Ettamogah Pub THE SMITH: Artichoke Café Manly THE SNAKEMEN, MARK WILKES, CAROLYN CRYSDALE, + GUESTS: Kogarah Hotel THE SPIRIT OF MOSES: Macquarie Htl - City THEY CALL ME BRUCE: Coogee Bay Htl, Beach Bar TIN SPARROW, CHARLIE MAYFAIR, BOATS OF BERLIN: Brass Monkey TRAV & ROSCO SHOW: O’Malleys Kings X TRIVIA: Vineyard Htl VELVET ROAD, BOBBY MCCLOUGHLAN, WYNFALL, NATHAN MCKENNA, DaNIEL HOPKINS: Taren Point Htl WILDCATZ: 3 Wise Monkeys

THU 30

AAMAZING ENTERTAINMENT KARAOKE: Penrith Htl ADAM FERRIER, PAUL LATHAM, ADAM MORRIS, STEVE WOODSTER: Great Northern Hotel ANDY MAMMERS: Northies Cronulla HtlSport Bar BLOODY LOVELY AUDREY’S, MEOW KAPOW: Landsdowne Hotel

BRIAN KING: Campbelltown Catholic Club BRYAN BLATT (USA): The Basement CAPTAIN MATCHBOX WHOOPEE BAND REIGNITED: Parramatta Town Hall CARAVANA SUN, ANDY KELLY, TOYS OF COUNTER CULTURE: Brass Monkey CAROLYN CRYSDALE: Artichoke Café Manly CAULFIELD, SOUND OF SEASONS, + GUESTS: Bull & Bush CHARLIE MAYFAIR: Old Manly Boatshed CHICKS WHO LOVE GUNS: The Harp, Wollongong CHRISTA HUGHES: 505, 280 Cleveland St Surry Hills CLARE BOWDITCH, LANIE LANE: Lizottes, Kincumber CRAIG THOMMO: Gymea Bay Hotel DAN USHER, HELMUT UHLMANN, + GUESTS: Lone Pine Tavern Rooty Hill DAVE WHITE EXPERIENCE: Marlborough Htl DAVID AGIUS: Harbord Beach Htl DUCK & COVER: Woollahra Htl FRANCESCA SIDOTI, FIONA TRELOAR, LILA SWAIN: Excelsior Glebe GOSSLING, RYAN MEEKING: Beach Rd Htl Bondi IGNITION: 3 Wise Monkeys JAZZ FOR JAPAN: Ultimo Tafe JEREMY HARRISON: The Wall (The Bald Faced Stag) JIMEOIN: Club Menai JO FABRO, REYES DE LA ONDA: Macquarie Htl - City JOE GUIDO: Slide Darlinghurst JOHN WILLIAMS: CLUB BELMORE JOHNNY ROCK & THE LIMITS: Revesby Workers JONATHON DEVOY: Sandringham Htl downstairs JP: Toxteth Hotel JULIA WHY: Tone, Sydney KATRINA BURGOYNE: Dee Why Hotel KID FINLEY, PEE WEE PETE: The Gaff, Darlinghurst KIERAN GLASGOW: Five Islands Brewery, Wollongong

KIRA PURA & THE BRUISE: The Vanguard LIONEL ROBINSON: Dee Why RSL LITTLE RED, WORLD’S END PRESS: Great Northern Byron Bay MAL’S OPEN MIC NIGHT: Appin Htl MATT JONES: O’Malleys Kings X MICHAEL MCGLYNN: Greengate Htl MICK ON WHEELS: Lakes Hotel, The Entrance MONIQUE LYSIAK: Jazsushi Surry Hills MOON HOLIDAY, MRS BISHOP, BERLUSCRONIES, THE TOWNHOUSES, OH REILLY FACTOR, NO DICE DJS: Oxford Art Factory Gallery MUSOS CLUB JAM NIGHT: Carousel Inn Rooty Hill NEWCASTLE COMEDY SHOWCASE: Lizottes, Newcastle PETER HEAD TRIO, + FRIENDS: HARBOUR VIEW HOTEL PETER JONES, PETE SCULLY, ALEX HUGHES, UNDER THE PURPLE TREE, + GUESTS: Red Lion Htl PLATINUM BRUNETTE: Sandringham Htl Upstairs PROPAGANDA: World Bar Kings X RECKLESS: Coogee Bay Htl, Beach Bar REPLIKA: Scruffy Murphys RICK BREWSTER’S ANGELS, BLACK LABEL: Annandale Htl ROYAL CHANT: Blush Nightclub, Gosford SAM & JAMIE TRIO: Maloney’’s Hotel City SARAH MCLEOD, FIRE TREE: Lizottes, Dee Why SHARRON BOWMAN: Guildford Leagues SKIPPING GIRL VINEGAR, KIERAN RYAN, COLLEEN HIXENBAUGH (CANADA): Clarendon Guest House STEVE FRANK, JOHN YOUNG: Home Nightclub STEVE TONGE: Observer Htl - Afternoon STONE & THE SKY: Kurrajong Htl Erskineville SYNDICATE, THE LAZYS: The Gaelic THE HONEYMAKERS BIG BAND: Petersham Bowling Club

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THE VAUDEVILLE SMASH, CLARITY: Good God Small Club TIGER TEMPLEr: Valve Bar and Venue, Tempe TONY MAZELL & THE FOUR TUNES, LISA PAGE, RICKY ORGAN: South Sydney Juniors TRIVIA: Riverwood Inn TY PENSHORN: Northern Star Htl Newcastle

FRI 01

2 OF HEARTS: Brewhouse Pub St Marys 2 WAY SPLIT: Customs House Sydney A DEATH IN THE FAMILY, THE SMITH STREET BAND, FORMER CELL MATES (UK), JEN BUXTON: Cambridge Htl Newcastle ACOUSTIC CRAVING: Commercial Htl Parramatta ADAM BYRNE, BIG J, LIKEWISE DJS: Home Nightclub ALMOST FAMOUS: Rooty Hill RSL AM 2 PM: Ingleburn RSL ANDY MAMMERS DUO: PANTHERS - TERRACE BAR, PENRITH ANTHONY LEE: Cessnock Supporters Club ARMCHAIR TRAVELLERS DUO: PJ Gallaghers Parramatta BEN FINN: Castle Hill RSL BIG BEN DUO: Mercantile Htl BLACK DIAMOND HEARTS: Crows Nest Htl (Late) BLACK LABEL, Ugly Little Secrets, MAD CHARLIE: The Wall (The Bald Faced Stag) BLISS BOMB: Western Suburbs Leagues Club BNO ROCK SHOW: The Ranch Hotel, Ryde BRUCE MATHISKE: Laycock St Theatre Nth Gosford BRYAN BLATT (USA): The Basement CAMBO: O’Malleys Kings X CLARE BOWDITCH, LANIE LANE: The Factory Theatre CRAIG THOMMO: Lone Pine Tavern Rooty Hill CREEDENCE CLEARWATER RECYCLED: Penrith RSL, Showroom DAN LISSING DUO: Crows Nest Htl DAN SPILLANE: Red Cow Inn Penrith

DAVE WHITE, LUKE DIXON: Woolloomooloo Bay Htl DAVID AGIUS DUO: Hillside Htl Castle Hill DEREB THE AMBASSADOR, LO FIVE: Good God Small Club DI SOLOMON: Greengate Htl DIRTY DEEDS - AC/DC SHOW: Wentworthville Leagues DJ: Ettamogah Htl DJ: Mounties Mt Pritchard Terrace Bar DJ ANDERS HITCHCOCK: The Watershed Darling Harbour DJ JEDDY ROWLAND, DJ MIKE SILVER: Cohibar DJ MICHAEL STEWART: Cronulla RSL DJ TONE: Oatley Hotel DOC JONES & THE LECHERY ORCHESTRA, ON THE STOOP, VASHTI HUGHES: El Rocco Kings X DOUG WILLIAMS: Old Manly Boatshed DOUGIE DE KROO’S KENTUCKY MOON: Town & Country, St Peters DR DAVE: Charlestown Bowling Club EBONY & IVORY: Matraville Htl FALCONA FRIDAYS, Devola, HOBOPHONICS, JULIAN SPARRO, STARJUMPS, KRISTY LEE: Kit & kaboodle, Kings Cross FIREBALLS, THE DARK SHADOWS, DUNHILL BLUES, JARREN ZEN & THE SWITCHBLADES: Sandringham Htl Upstairs GARY ROBERTSON: Guildford Leagues GIRLS TALK: Kingswood Sports Club GOLD CADILAC: Club Singleton GOSSLING, RYAN MEEKING, BOY OUTSIDE: Otis Bar, Wollongong GREEN DAY SHOW: Penrith Htl GTS: St Marys Band Club HAPPY HIPPIES: Narrabeen Sands HELMET, HYTEST, ARC ICARUS: UniBar, Wollongong HIT SELECTION: Coogee Bay Htl HIT SELECTION: Coogee Bay Htl, Beach Bar

HOORAY FOR EVERYTHING: Parramatta Leagues HORNET: Exchange Htl Newcastle IDOL KARAOKE: North Richmond Hotel INTIMATE LOUNGE MUSIC: Fairfield RSL, Supper Club JEREMY KIRSCHNER, PAUL MASTER: BANK HOTEL - NEWTOWN JESS DUNBAR: Grand Htl Rockdale JESSE: Crown Htl City JIMEOIN: South Sydney Juniors JJ DUO: Colonial Hotel, Werrington JOHN FIELD DUO: Harbord Beach Htl JOHNNY GRETSCHS WASTED ONES: Excelsior Glebe JP DUO: Mean Fiddler Htl KANG, The Gap Players, HOOK ELATION, KARMAJAR, SCARLETS REVENGE: Valve Bar and Venue, Tempe KERRY LEIGH: Oasis Hotel, Campsie KIM SANDERS & FRIENDS, THE VAMPIRES: St Luke’s Hall Enmore KISSTERIA: Towradgi Beach Htl KOTADAMA: Belmore Htl Newcastle LA VISTA: Petersham RSL LJ: Chatswood RSL MAD SEASON: Illawarra Yacht Club MANDI JARRY: Royal Oak Htl Parramatta MARK SEYMOUR, MARK WILKINSON: Canberra Southern CrossTop Of The Cross MARTYS PLACE: Hornsby RSL MATT JONES: Parramatta RSL MATT PRICE: Macquarie Htl, Liverpool MENTAL AS ANYTHING, JADE GANNON: Lizottes, Newcastle MICAH P HINSON (USA), MYLES MAYO, MAJOR CHORD: Brass Monkey MIKE MATHIESON, CHRIS ALEXANDER: Dooley’s, Lidcombe MISSION JONES: CLUB RIVERS MOTOSOUL, COL WATSON: Kauri Foreshore Htl Glebe NATIVOS SOUL: Artichoke Café Manly NEILL BOURKE: Panthers North Richmond


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161 GEORGE STREET, WINDSOR • PH: 02 4577 3396 INFO@FITZROYHOTEL.COM.AU www.fitzroyhotel.com.au & myspace.com/fit FOR BAND ENQUIRES CONTACT: bec@ otel.com.au

THE DRUM MEDIA 28 JUNE 2011 • 67 •


GIG GUIDE ONE HIT WONDERS: Campbelltown Catholic Club ONE HIT WONDERS: Campbelltown Catholic Club - Caf‚ Samba ORCHARD & O’FARELL: Mosman RSL PANORAMA: 3 Wise Monkeys PINK SHOW, KATY PERRY SHOW: Marlin Htl Ulladulla PURPLE SNEAKERS PRESENTS: LAST NIGHT, JOEL GION (BRIAN JONESTOWN MASSACRE) DJ SET, RED INK, PARTICLES: The Gaelic QUEEN - WE ARE THE CHAMPIONS: Club Menai RADIO BANDITS: Kro Bar, East Leagues Club, Bondi Junction RAPTURE: Richmond Club RAY BEADLE BAND: The Vault, Windsor REBECCA JOHNSON BAND: Harrigans Irish Pub Hunter Valley RESIDENT DJs: Jacksons on George ROB HENRY: Observer Htl ROCKIN EDDIE BAND: Belmont 16ft Sailing Club SAM & JAMIE TRIO: Kirribilli Htl SARAH MCLEOD: Lizottes, Kincumber SHORT STACK, HEROES FOR HIRE, BECAUSE THEY CAN: Enmore Theatre SINGLED OUT: Moorebank Sports Club SKIPPING GIRL VINEGAR, KIERAN RYAN, COLLEEN HIXENBAUGH (CANADA): Notes, Newtown STEVE EDMONDS BAND: Orana Htl, Blacksmiths STEVE TONGE: PJ Gallaghers Drummoyne STEVE TYSON & THE INDUSTRIOUS FELONS, RUBY FOR LUCY, STEWART HOLT: City Diggers Wollongong SWINGING SIXTIES: Unity Hall Htl SYNDICATE, MOFOISDEAD: ANU Bar ACT TALK IT UP: Scruffy Murphys THE BANDITS: CLUB CRONULLA THE BLACK ANGELS (USA), DJ JOEL GION, THE LAURELS: Metro Theatre THE CAPITOLS: Club Five Dock THE CONSCIOUS PILOTS, NINJA THE BUNGEE:

• 68 • THE DRUM MEDIA 28 JUNE 2011

505, 280 Cleveland St Surry Hills THE DOORS EXPERIENCE: Collaory Beach Services THE DOORS EXPERIENCE: Collaroy Services THE DOORS SHOW: Engadine Tavern THE GLIMMER, MEDICATED YOUTYH, NIC DALTON & THE GLOOMCHASERS, BAMBINO KORESH, SAM SHINAZZI: Landsdowne Hotel THE JANE AUSTEN ARGUMENT: CAMELOT LOUNGE THE MESS MAKERS, 78 SAAB, UNDERLIGHTS: Annandale Htl THE POT BELLEEZ, DJ CHRISTIAN LUKE: Canberra Southern Cross Club - Top Of The Cross THE SCIENTISTS OF MODERN MUSIC: World Bar Kings X THE WINSTONS: Vineyard Htl THIRD TIME LUCKY: Taren Point Bowling Club TIN SPARROW: The Vanguard TOM T DUO: Revesby Workers TWIST AND SHOUT: 60’S DANCE PARTY: Tone, Sydney VILLAINS: Heathcote Hotel WARDS XPRESS, AL BRITTON: Kyle Bay Club WHITE BROS: Quakers Inn WILDCATZ: Marlborough Htl WINDSOR: Hawkesbury Htl YUM: Penrith Gaels

SAT 02

3 WISE MONKEYS, FORGOTTEN PASSENGERS: Excelsior Glebe ALAN SOLOMON JAZZ: Penrith RSL, Castle Lounge ALMOST FAMOUS: Wentworthville Leagues AM 2 PM: Miranda RSL ANDY MAMMERS DUO: Maloney’’s Hotel City BACK TO THE 80’S, DJ: Mounties Mt Pritchard Terrace Bar BADJANE, NEVILLE K, LAWRENCE OSBORN, GARTH BROOKS TRIBUTE SHOW, RUSSELL NEAL, + GUESTS: TERRY HILLS TAVERN BARNSTORMING - THE BARNES/CHISEL SHOW: Budgewoi Soccer Club BEN LUCID: Q Bar Darlinghurst

28 JUNE - 4 JULY 2011 gigs@drummedia.com.au

BEN SUNDAE: The Belvedere Htl BIG RADIO DYNAMITE: Bankstown Sports Club BIG SHOTS DEULLING PIANO SHOW: Club Five Dock BLISS N ESO: Coffs Harbour Showgrounds CODE RED: Belmore Htl Newcastle COUGAR DUO: North Ryde RSL Club CRASH AVENUE DUO: Kro Bar, East Leagues Club, Bondi Junction CRASH AVENUE TRIO: Easts Leagues CREEDENCE & BEYOND: New Brighton Golf Club DAN SPILLANE: Mean Fiddler Htl DANIEL LAWRENCE: Harbord Beach Htl DAVE STEVENS: Observer Htl DAVID AGIUS DUO: PANTHERS - TERRACE BAR, PENRITH DAVID CHOI (USA), JAYESSLEE, AMELIA JAE: Macquarie Uni DES GIBSON: Lansvale Htl DIRTY NICE: Lewisham Livehouse DJ MIKE SILVER, DJ ANDERS HITCHCOCK: Cohibar ENDLESS SUMMER BEACH PARTY: Bull & Bush FBI’S SYDNEY SOUNDS LIKE feat., FAKER, PARADES, DEEP SEA ARCADE, MATT CORBY, ANDY BULL, WIM, + more: Factory Theatre FEARLESS VAMPIRE KILLERS: Good God Small Club FIREBALLS, THE DARK SHADOWS, THE CASINO RUMBLERS, GLORY MEAT: Great Northern Hotel FLUX: Scruffy Murphys GOSSLING, RYAN MEEKING, BOY OUTSIDE: Northern Star Htl Newcastle GREG COFFIN TRIO, KRISTIN BERARDI: 505, 280 Cleveland St Surry Hills HAILER, CAPTAIN KIRK, RUFUS: Tone, Sydney HEATH BURDELL: Sir Joseph Banks Hotel HELMET, MOTHERLODE, MEMORIAL DRIVE: Newcastle Leagues HYPE DUO: Courthouse Htl IGNITION: Marlborough Htl

IL DAGO 2: Belmont 16ft Sailing Club JAZZ & CHILI CRAB NIGHT: Lizottes, Dee Why JAZZ NOUVEAU: Fairfield RSL, Supper Club JEFF LANG: Lizottes, Kincumber JELLYBEAN JAM: Macarthur Tavern Campbelltown JIM CONWAY’S LITTLE WHEEL, KRISTINA OLSEN: Notes, Newtown JJ DUO: Parramatta Leagues JOSE CALUNA: Mars Hill Café KINKY FRIEDMAN (USA): Petersham Bowling Club KOTADAMA: Exchange Htl Newcastle LATE SHIFT: R.G.McGees, Richmond LIGHT MY FIRE - 40TH ANNIVERSARY OF JIM MORRISON: Dee Why RSL MAINLINE: Engadine Tavern MAL BARNES: Hills District Bowling Club MAL’S OPEN MIC NIGHT: Panania Htl MARK COREY: Kirribilli Htl MARK DA COSTA AND THE BLACK LIST: Crows Nest Htl (Late) MARK HOPPER: Artichoke Café Manly MARK SEYMOUR: Milton Theatre MARK TRAVERS: PJ Gallaghers Drummoyne MATT JONES: Northies Cronulla HtlSport Bar MATT PRICE: Castle Hill RSL MEOW KAPOW: Oxford Art Factory - Gallery MICAH P HINSON, MYLES MAYO, MAJOR CHORD: The Gaelic MICHAEL PETER DUO: Richmond Club MICHAEL STEWART, RESIDENT DJs: Jacksons on George MYSTERY GUEST: Coogee Bay Htl, Beach Bar NEOPHYTE, EVIL ACTIVITIES, ALPHA2, THA PLAYAH, MAX ENFORCER, MAD DOG, PANIC, NIK FISH, S DEE: Sydney Showgrounds Homebush NOVA TONE: Revesby Workers PAIGE DELANCEY BAND, CHARLIE MEADOWS, NICK HOORWEG: Searock Bar - Circular Quay

PANORAMA: ROCK LILY - STAR CITY PARTY CENTRAL: Campbelltown Catholic Club PAUL SUN, STANN VALACOS, JOHN BLENKHORN: LARRIKINS CAFÉ & LOUNGE PAUL SUN, STAN VALACOS, DIDI MUDIGDO: Organic Food Markets, Kings Cross PEPPERMINT JAM: Penrith RSL PETE GELZINNIS: Bank Htl Newcastle PETER HEAD: HARBOUR VIEW HOTEL POP FICTION DUO: Northies Cronulla Htl RAPTURE: Coogee Legions RAY BEADLE BAND: The Bridge Hotel Rozelle RECKLESS: Ettamogah Htl ROCK, SOUL & SALSA SHOW: Matraville RSL ROSE OF YORK: Brass Monkey SARAH MCLEOD: Sussex Inlet Tavern SHARRON BOWMAN: Brewhouse Pub Marayong SKIPPING GIRL VINEGAR: Lizottes, Newcastle SKY BAR: The Watershed Darling Harbour SKYSCRAPER: Kingswood Sports Club SLYNK, BUSTA: BANK HOTEL - NEWTOWN SNEAKY SOUND SYSTEM, BENI: Metro Theatre SNOWDROPPERS, AREA 7, THE ANCHORS, THE OUTSIDERS, SMITH STREET BAND, JEN BUXTON & JAMIE HAY, THE CORPS, THE HEADACHES, + more: Annandale Htl STEVE EDMONDS BAND: Warilla Bowling Club STEVE TONGE: Observer Htl - Afternoon SWINGSHIFT, ORIGINAL SIN - INXS SHOW: Blacktown RSL SYNDICATE, MOFOISDEAD: Dicey Rileys TAKE TWO: Petersham RSL TERRY BATU: Vault 146, Windsor THE BEATELS: Towradgi Beach Htl THE BLACK & WHITE BIG BAND, THE HOLLYWOOD HONEYS, THE COCKTAIL CABINET, SARAH J HYLAND: Balmain Town Hall

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THE BUDDYS: Rockdale RSL THE FURIOUS FIVE, THE FUNSTERS: Jannali Inn THE GLEN MEAD BAND: CLUB CRONULLA THE JACKS: Oatley Hotel THE LAST EMPEROR: State Theatre THE NEVILLES: 3 Wise Monkeys THE ORGAN GRINDERS: Kareela Golf Club THE POD BROTHERS: Sydney Rowing Club THE TRIPS, NEW MANIC SPREE, + SUPPORTS: Landsdowne Hotel THE WINSTONS TRIO: Carousel Inn Rooty Hill TIMES LIKE THESE: Kellys on King Newtown TOM T DUO: Ryde Eastwood Leagues Club TONY WILLIAMS: Guildford Leagues TOO MANY GUITARS: Cronulla RSL TRILOGY: Orient Htl TWO MINDS DUO: Mercantile Htl VELVET HOTEL: Brighton RSL WINSLOWS CANCER, INDILERIUM, WHEELER, LION & THE LOTUS, MACHO DISTORTO: Valve Bar and Venue, Tempe ZANE PENN DUO: Cessnock Supporters Club

SUN 03

8 BALL AITKEN: Sandringham Htl downstairs A DEATH IN THE FAMILY, THE RUMJACKS, FORMER CELL MATES, GAY PARIS, GRENADIERS, CASINO RUMBLERS, THE GUN RUNNERS, + more: Annandale Htl ACE KARAOKE: Brighton RSL ANDY MAMMERS: Woolloomooloo Bay Htl ANTHONY HUGHES, THE INTERNATIONAL LOVE EXPERIMENT, BRAVE IT THROUGH THE NIGHT, PARYCE: Valve Bar and Venue, Tempe (Afternoon) ANTOINE: O’Malleys Kings X APHRODISIAC INDUSTRY NIGHT: Jacksons on George BLUES SUNDAYS: Artichoke Café Manly BRENDAN RAYMOND, BELINDA ROBINSON, MIGNON LEE-WARDEN,

MELISSA & DAMIEN, DARREN BENNETT, + GUESTS: Palm Court Htl CAULFIELD, GHOSTS OF BROADWAY, CITY FALLS, UNCORRECTED: Valve Bar and Venue, Tempe CHRIS TURNER & THE CAVEMEN: Bald Rock Htl Rozelle CHRISTIE LAMB: Campbelltown Catholic Club CLARE BOWDITCH, LANIE LANE: Lizottes, Dee Why CRAIG LAIRD: Richmond Club DAVE BERNOTH: Campbelltown Catholic Club - Caf‚ Samba DAVE WHITE DUO: Northies Cronulla Htl DAVID GOYEN: Club Five Dock DJ BRYNSTAR: The Watershed Darling Harbour DJ TONE: Oatley Hotel DRIVE W/ PETER NORTHCOTE & BARRY LEEF, Virginia Lillye: The Bridge Hotel Rozelle FINBAR FUREY, BRENDAN GRACE: Rooty Hill RSL GARRY OWEN DOYLE: Belmont 16ft Sailing Club GEORGIA FAIR, DANIEL LEE KENDALL: The Rails, Byron Bay JASON LEE: Penrith RSL, Castle Lounge JOHN FIELD DUO: PANTHERS - TERRACE BAR, PENRITH KICKSTAR DUO: Oatley Htl, afternoon KITTY GLITTER: BANK HOTEL - NEWTOWN LEON GORT: Waverley Bowling Club LIGHT MY FIRE - 40TH ANNIVERSARY OF JIM MORRISON: Beaches Htl Thirroul LONESOME TRAIN: Bombaderry Htl MANDI JARRY: Harbord Beach Htl MARK DA COSTA: 3 Wise Monkeys MARTY STEWART: Cabramatta Leagues MATT PRICE: Woolwich Pier Hotel MICAH P HINSON (USA), MYLES MAYO: Clarendon Guest House MICHAEL PETER SOLO: Coogee Bay Htl, Beach Bar MIKE BENNETT, ROB HENRY: Observer Htl MISSION JONES: The Belvedere Htl

NEILL BOURKE: Observer Htl - Afternoon PETER HEAD TRIO, + FRIENDS: HARBOUR VIEW HOTEL POP FICTION: PJ’s Irish Pub Parramatta SHANE MACKENZIE: Cohibar SKIPPING GIRL VINEGAR: Lizottes, Kincumber SKYSCRAPER: Ravesi’s on Bondi SPURS FOR JESUS: Botany View Htl STEVE EDMONDS BAND: Wickham Park Htl Newcastle TERRY BATU: Wisemans Ferry Inn THE DOORS EXPERIENCE: Lizottes, Newcastle THE JAZZ JUMPERS: Barcelos, Naremburn THE LAST EMPEROR: State Theatre THE SLOWDOWNS: Grand Junction Htl Maitland THE THINGOS: Sandringham Htl THE WHITE BROS: Ettamogah Htl TOM & DAVE SHOW: Northies Cronulla HtlSport Bar TOM T DUO: Opera Bar TONE RANGERS: Kro Bar, East Leagues Club, Bondi Junction VENUS: Mean Fiddler Htl

MON 04

BERNIE: Observer Htl BERNIE MCGANN QUARTET: 505, 280 Cleveland St Surry Hills CHRIS TURNER, PETER MILLER ROBINSON, ERNIE GARLAND: The Hive Bar, Erskineville CHRIS TURNER SOLO: Hive Bar, Erskineville JJ DUO: OLYMPIC HOTEL MANDI JARRY: Opera Bar PAT O’GRADY, MONII, RUSSELL NEAL, + GUESTS: Kellys on King Newtown STEPHANIE JANSEN: Coogee Bay Htl, Beach Bar


CLUB GUIDE TUE 28

5@5: The Beresford Hotel CLUB JAZZ: MARK GORDON: The Manhattan Hotel DAVE WILKINS: The Coogee Bay Hotel DESIGN SOCIAL: The Beresford Hotel FIONA SCOTT NORMAN: The Basement JAMES VALENTINE’S SUPPER CLUB: The Golden Sheaf JOEL OZBORN, CHRIS RADBURN, CHRIS NORTH: Cargo Bar POKER TUESDAYS: Soho POP PANIC!: World Bar TRIVIA TUESDAYS: Royal George Hotel

WED 29

ARTHOUSE ACOUSTIC: The Arthouse DARRYL BEATON BAND: Civic Undergound DICE NIGHT: Green Park Hotel FIONA SCOTT NORMAN: The Basement GOSSLING, RYAN MEEKING, BOY OUTSIDE: GoodGod Small Club LADIES NIGHT: Bank Hotel Newtown MENAGE A TROIS: Cargo Bar STUDENT NIGHT: DJ MOUSSA: Marlborough Hotel THE MELODICS, MARY OF THE MOON, FAIT ACOMPLI: Beach Road Hotel THE PIANO MAN: SCOTT FINNIE: The Piano Room THE WALL: GLOVECATS, SPENDA C, DITHER AND JITTERS, ALISON WONDERLAND AND MORE: World Bar TRIVIA: The Marlborough Hotel WEDNESDAY KARAOKE: The Albion Hotel

THUR 30

3THINGS HIP HOP APPROACH: OZI BATLA, DIALETRIX, TUKA, THE LAST KINNECTION AND MORE: Oxford Art Factory BETH YEN: Hugos BRYAN BATT (USA): The Basement DCE SALSA ON THE ROCKS: Cruise Bar DJ FRESH: The Albion Hotel DJS TENZIN, CADDELL, ZANNON, K-NOTE: Greenwood Hotel FLAUNT THURSDAYS: Sapphire Lounge GOSSLING, BOOM! BAP! POW!, KIRA PURU, THE BRUISE, BENTLEY: Beach Road Hotel INHALE: Eleven IVY LIVE: The Ivy JULIA WHY?, DAY RAVIES AND MORE: Tone LIVE @ THE PARK: Green Park Hotel MOJITO CENTRAL LATIN NIGHT: The Arthouse MOON HOLIDAY, MRS BISHOP, BERLUSCRONIES, THE TOWNHOUSES, OH PROPAGANDA END OF SEMESTER EXTRAVA-

28 JUNE - 4 JULY 2011

The Bristol Arms Retro Hotel STAR SPANGLED SATURDAYS: Hotel CBD SWEET TABOO: Civic Underground SWITCHUP: Melt Bar THE INSTITUTE OF MUSIC: Cargo Bar THE SCIENTISTS OF MODERN MUSIC: CBD Hotel Newcastle THE SUITE: JO FUNK, STEVE S, CHARLIE BROWN, TROY T AND MORE: Sapphire Lounge TUNNEL SATURDAYS: DJ CADELL, SANCHO, FRANKIE J: Tunnel ULTIMATE PARTY VENUE: RESIDENTS: Jacksons on George WHAM!: World Bar WORLDS END PRESS (LIVE), DJS MAGIC HAPPENS & CASSETTE: Upstairs Beresford

GANZA: SLOW DOWN HONEY, THE VINES DJS, TEEN SPIRIT DJS, DJ URBY: World Bar SOUL IN THE BAR: DJ ANDY GLITRE: The Basement THURSDAYS I’M IN LOVE: Cargo Bar THURSDAY NIGHT LIVE: Favela UNIPACKERS: Home Nightclub UP CLOSE & PERSONAL: LIVE ARTISTS: The Marlborough Hotel VELVET UNDERGROUND: Civic Underground

FRI 1

13TH ANNUAL CANADA DAY CELEBRATIONS: The Arthouse 16 BIT (UK), SINGHA, BAD CHANNEL AND MORE: Oxford Art Factory ADDICTION FRIDAYS: The Bank AFTER DINNER FUNK VIBES: Green Park Hotel BRING ON THE WEEKEND!: DJ MATTY ROBERTS: The Watershed Hotel BRYAN BATT: The Basement DEREB THE AMBASSADOR, LO FIVE: GoodGod Small Club DJ CADDELL: Greenwood Hotel DJ GUISEPPI, DJ CADELL: Castle Hill RSL DJ SHAMUS, DJ JEDDY ROWLAND, DJ ANDERS HITCHCOCK: Cohibar FALCONA FRIDAYS: DEVOLA, HOBOPHONICS, JULIAN SPARROW AND MORE Kit & Kaboodle FRIEND DJ SET, THE GLIMMER, MEDICATED YOUTH, NIC DALTON: The Lansdowne Hotel GAME ON FRIDAYS: The Bristol Arms Retro Hotel GLAMMED UP: Tokio Hotel GOOD FOOD AND WINE SHOW: Sydney Convention & Exhibition Centre GOOD FRIDAYS: Cargo Bar GRAZ: Hugos HANG THE DJ: DJS KID MINCE, THE SCORCHER: The Cambridge Hotel JOHNNY VINYL, STRIKE: Cruise Bar JUST DANCE FRIDAYS: The Star Bar KITTY GLITTER: Civic Hotel LETS GET THIS PARTY STARTED: DJ NOBBY GROOVES, DJ KAREY, DJ JORJIE JAY, DJ CHARLIE JAY AND MORE: The Albion Hotel LIQUID SKY: J.I.A, 2BUSY2KISS, DIRTY CUTLERY, CALIBRA AND MORE: Candys Apartment LOVE GUNS: The Ivy MAKE YOUR MOVE: JO FUNK, MISTA KAY, DJ RUBZ, DJ SUSHI: Tunnel MUM: World Bar NICHE PRODUCTIONS PRESENTS MOVEMENT: Beach Road Hotel OH MY!: DARK BELLS, MYTHS & TROPICS: Home

WORLDS END PRESS: SATURDAY 2, BERESFORD PURPLE SNEAKERS PRESENTS LAST NIGHT: RED INK The Gaelic SCOTT PULLEN AND THE GROOVE ACADEMY (LIVE): Water Bar SIDEWAYS FRIDAYS: Club 77 STARS AND STRIPES PARTY: The Bristol Arms Retro Hotel SUBLIME: Home SUMMER SUMMER SUMMER TIMES: CLAMBAKE DJS, OWEN PEE: FBi Social RESIDENT DJS: Bank Hotel Newtown RESIDENT DJS: The Marlborough Hotel TEEN SPIRIT: 90S NIGHT: 34b/Spectrum THE SCIENTISTS OF MODERN MUSIC: World Bar TWIST AND SHOUT: DYLABOLICAL: Tone ULTIMATE PARTY VENUE: RESIDENTS: Jacksons on George URTHBOY (LIVE), DJS KATO & TONI TONI LEE: Upstairs Beresford WE GOT SOUL: Tone ZAIA: MC SUGA SHANE, DJ SEFU AND MORE: Space Nightclub

SAT 2

ADULT DISCO: Civic Hotel ALPHAMAMA: Tokio Hotel BIRD AUTOMATIC, THE SATURNS, THE UPSKIRTS: Kings Cross Hotel BLACK LABEL: The Wall BRYAN BATT: The Basement CASA, DANNY PRESTI, SIMON NEAL, BEN VICKERS, THE JACKEL: Cruise Bar CO-OP’S SECOND BIRTHDAY: HARRI (SUB CLUB/UNDER THE SHADE): Secret Inner City Venue DJ LOK, BEN KELLY: Bank Hotel Newtown DJ MATTY ROBERTS, DJ BRYNSTAR: Cohibar DOLSO: Hugos

DON RIMINI: Chinese Laundry FAKE: DJs G-WIZARD, TROY T, DEF ROK, EKO, LILO: Establishment FEAST OF KINGS: The Vanguard FESTIVAL OF FIRE FIRE SHOW: The Coogee Bay Hotel FLYING HIGH PARTY: Bristol Arms Retro Hotel FRIEND DJ SET, THE TRIP, NEW MANIC SPREE AND MORE: The Landsdowne Hotel GOOD FOOD AND WINE SHOW: Sydney Convention & Exhibition Centre HOMEMADE: Home INSPECTOR DUBPLATE, GEMINI (UK): The Gaelic JAMROCK: 202 Broadway JUNK (LIVE), SMOKING PONIES, DJ RAVEN: Beach Road Hotel KITTY KITTY BANG BANG: MISS T, GABBY, CASSETTE, ALISON WONDERLAND: Kit & Kaboodle MASIF SATURDAYS: TONESHIFTERZ, BIOWEAPON, STEVE HILL AND MORE: Space Nightclub MELBOURNE DEEPCAST EP LAUNCH: ANDY HART, SOFTWAR, DJ JUNGLE SNAKE, DJ DREAMCATCHER: GoodGod Small Club MICHAEL STEWART: Jacksons on George PHATCHANCE, COPTIC SOLDIER, JON REICHARDT: Oxford Art Factory PROPHECY CHAOS RISING: NEOPHYTE, BALISTIC, EVIL ACTIVITIES, ALPHA2, PANIC, BEHOLDER AND MORE: Sydney Showground POOL CLUB SATURDAY NIGHTS: The Ivy PURE HOUSE DJS: Water Bar PURE IVY SATURDAYS: CADELL, JEFF DRAKE, NAT CONWAY, MISS MATCH, DIGITAL LOVE AND MORE The Ivy RABBIT HOLE: THE KHANS, HAILER, RABBIT HOLE DJS: Tone RESIDENT DJS: Bank Hotel Newtown RESIDENT DJS: The Marlborough Hotel

SATURDAY SOUND SYSTEMS: Green Park Hotel SATURDAYS AT CARGO: INSTITUTE OF MUSIC: Cargo Bar SATURDAY NIGHT LIVE & STIFFYS: DJ NATHAN TIGHE: Northies Cronulla SATURDAY NIGHT DELUXE: PURE HOUSE DJS: Water Bar SFX: St James Hotel

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SHAKE SHAKE SHAKE!: SLIPPERYWHENWET, SWEET DISTORTION, DISCO VOLANTE, DOS BANGERS: Candys Apartment SITUATION SATURDAYS: The Star Bar SKYBAR: The Watershed Hotel SNEAKY SOUND SYSTEM, BENI: Metro Theatre STARS AND STRIPES PARTY:

SUN 3

AFTERNOON DJS: DJ BRYNSTAR: The Watershed Hotel APHRODISIAC INDUSTRY NIGHT: Jacksons on George BERESFORD SUNDAY DJS: Beresford Hotel DJ JAMIN (THE TRIP), THE LIVE COLLECTIVE: Beach Road Hotel GOOD FOOD AND WINE SHOW:

Sydney Convention & Exhibition Centre MASQUERADE EXTRAVAGANZA: Favela SAPPHIRE SUNDAYS: DIM SLM, DJ TROY T: Sapphire Lounge SNEAKYS SUNDAYS: Hugos SPICE: Fakeclub STAR SUNDAYS CHILLED OUT GROOVES: The Star Bar SUNDAYS CRUZ LOUNGE: Green Park Hotel SUNDAY LOUNGE SESSIONS: Cargo Bar SUNSETS: Northies Cronulla SUN SETS: DJ STRIKE: Cruise Bar THE RUBY REVUE: The Arthouse THE SUNDAY CLUB: The Bank

MON 4

5@5: The Beresford Hotel ARTHOUSE LIFE DRAWING: The Arthouse Hotel DJ PIPEMIX: World Bar FREE JUKE BOX MONDAY: Jacksons on George MARGARITA MONDAYS: Cruise Bar OPEN MIC NIGHT: The Albion Hotel

THE DRUM MEDIA 28 JUNE 2011 • 69 •


BROUGHT TO YOU BY

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

BRENDAN GALLAGHER MASTERCLASS Not only is singer songwriter and guitarist Brendan Gallagher the hitmaker in Karma County as well as a solo artist, member of various other little side projects and a producer, having worked with Jimmy Little among others, but he’s also the author of The Open Tuning Chord Book For Guitar, and it’s in this last capacity that he will be presenting a masterclass on open tune and slide guitar 11am-1pm Saturday 9 July at Bondi Pavilion. For tickets, contact djoldbrendo@ mac.com. Gallagher will then join fellow songwriters Tania Bowra and Jason Rooke 11am-4pm Saturdays 16 and 23 for a Songwriting Workshop and Masterclass as part of the Bondi Wave, which will cost $100 for the two days and will once again be held at the Bondi Pavilion. For more information, call the Music Co-ordinator at the Bondi Pavilion on (02) 8362 3400.

MARK OPITZ PRODUCTION MASTERCLASS A reminder that veteran Australian producer Mark Opitz (INXS, Cold Chisel, AC/DC) is running a two-day production masterclass at Studios 301 in Alexandria this Saturday and Sunday, so for details and bookings, call (02) 9698 5888.

CLASSIC NEW JBL STUDIO MONITORS Drawing on their classic professional studio high performance monitor speaker range of the ‘70s and ‘80s, JBL have introduced two new speaker models to their range of high performance speakers – the 4429 and 4319 Studio Monitors. Inspired by JBL’s 4425 studio monitor, introduced in 1985 as the company’s first compression driver system with a Bi-Radial horn and large format woofer, the new JBL 4429 incorporates a number of important improvements including a UHF transducer, an improved HF compression driver and horn design, a new crossover network and improved internal bracing, all combining to give the 4429 an advantage in the naturalness, clarity and detail of its sound comparative to previous models. The 4429 speaker features a 12” woofer with pure pulp-cone, cast frame and edge-wound voice coil, a 50mm pure titanium HF compression driver and 19mm pure titanium UHF compression drivers with a one-piece SonoGlass horn and comes in classic walnut veneer with polyurethane topcoat and dual bass ports in a distinctive blue front baffle and grille. The JBL Studio 4319 meanwhile is inspired by the JBL model 4310, once found in more professional recording studios than any other monitor. The JBL 4319 studio monitor, with its unmistakable blue baffle and grille, has been engineered to play loud and long with unequalled dynamics, sonic clarity and tonal accuracy, and once again features a 12” woofer driven by a Differential Drive dual voice-coil assembly, a large inverted-dome midrange driver and a fast magnesium/ aluminium dome tweeter. Die-cast transducer frames dissipate heat to minimise distortion caused by power compression, and a heavily braced enclosure virtually eliminates unwanted internal resonances.

SOUND BYTES Last year, second generation Nigerian Afrobeat exponents Sean Kuti & Egypt 80 took themselves off to Cia Dos Tecnicos Studios in Rio de Janiero to record the second album, From Africa With Fury: Rise, with veteran producer/mixer Godwin Logie, before taking it over to London where Kuti then coproduced the record with Brian Eno and John Reynolds. Bay Area metal band Machine Head are currently recording their as-yet untitled next album, due September, at JingleTown Studios in Oakland, their frontman Robb Flynn producing. Engineered by Christian Lauria, who co-produced with singer and guitarist Jordan Howe at Machine Men Studios in Sydney, the debut album, The New Messiah, by new all-star Australian metal band, Saint Lucifer, due for release August, was mixed by Adrian Grigorieff (Henry’s Anger, Cryogenic, Tumbleweed) and mastered in the US by Howie Weinberg (Slayer, Pantera, U2). Sydney four-piece FisherKing took themselves into Revolution Studios in Alexandria, owned and operated by Genevieve Maynard (ex-Bughouse, Stella One Eleven) who produced, engineered and mixed everything on their debut album, Circles, bar two tracks that were mixed by Cameron Potts at Sebastian Trios Studios in Yowie Bay, with William Bowden mastering it all. Boy & Bear recorded their debut album, Moonfire, in Nashville with producer Joe Chiccarelli (The Strokes, White Stripes, The Shins). • 70 • THE DRUM MEDIA 28 JUNE 2011

WRAP IT UP

WHEN YOU’RE JAMMING WITH A MEMBER OF THE BEATLES, ALL THE COLLABORATIONS IN THE WORLD WON’T STOP THE GOOSEBUMPS. BEN HARPER TALKS TO DAVE DRAYTON ABOUT BEING IN THE STUDIO WITH A DRUMMING LEGEND.

Since releasing his debut album Welcome To The Cruel World in 1994, Ben Harper has amassed an impressive resume of collaborations, working alongside gospel gods The Blind Boys Of Alabama, Brazilian singer Vanessa da Mata, surf music golden boy Jack Johnson and most recently Blues Fest performers Fistful Of Mercy, alongside Dhani Harrison (son of George) and Ohio-based singer songwriter Joseph Arthur. When Drum meets Harper, in his 22nd floor hotel room overlooking the Opera House, however, there is one particular collaboration at the forefront of his mind – that with Ringo Starr on Harper’s latest album, Give Till It’s Gone. “Ringo and I met about four years ago and became friendly; that was in LA. That friendship, communication, dialogue, translated into me guesting on his last solo record, Why Not, and that resulted in him inviting myself and my band R7 to be his back-up band for some things,” Harper recalls. He stops mid-sentence and looks out the window – he often seems to get lost in some rumination – “Oh a rainbow. And we’re talking about Ringo. There’s a big old rainbow out the window,” he says with a smile before continuing. “He said, ‘I know you’re going in to make your record, I’d love to return the favour. With you guesting on my record, just so you know, I don’t say this often, but for you I’d do it.’ And my jaw hit the floor, but I held it together and next thing you know we’re in the studio writing a song.” That song quickly became two: the optimistic, pianodriven Spilling Faith and the sprawling, improvised Get

There From Here. Listed back-to-back, they stand as the 11-track album’s centrepiece and are both duly credited with Starr as co-writer. “It came from us. It started with a 90-minute conversation in the studio when he got there and we just sat around laughing and talking. I am known in my circle of friends for jotting down notes and ideas that come from conversations. So we were talking and I was writing and I see Ringo watching me write and then we had nothing. Ringo came in but we were gonna just build out; we were gonna just throw up our antenna and see what we caught. “I actually had something that I was hesitant about [showing Ringo] which I still have to this day, but what happened was, after the conversation Ringo said, ‘Alright, let’s go.’ And the bass player, for whatever reason, sat down at the piano and started going on with this riff. Ringo jumped on with the drums and started backing him up, he says, ‘Yeah! I like that! Let’s do that.’ So next thing you know it’s piano and drums and Jordan [Richardson] came in – Jordan’s the drummer in R7 – and did some percussion stuff. Jason got his guitar, I got on my lap steel and lo and behold we fleshed out a song – you know, beginning, middle and end. Then we were ready and Ringo is like, ‘Okay, roll tape, we’re ready,

we’ve got it down.’ So we play out the song,” Harper impatiently and excitedly recounts the structure, “Verse chorus verse chorus bridge verse chorus out. Then we were all like okay, we’ve done the song structure we’re looking to wrap it up and we look at Ringo and Ringo just waves the stick like, ‘Come on! Let’s go!’ and he keeps playing,” Harper is positively beaming by this point, bursting with energy, chasing his own words like a puppy chases its tail. “You can hear us start to sort of wind the song down and so the song is kind of done and then he just picks back up and the next thing you know – I mean, it is the purest moment of improvisation I have ever experienced on record – and we just keep playing and we’re watching Ringo and so help me God man if he was still playing I’d still be right there right this second, however many months, I’d never end it! We’re playing and we look up and we’re just jamming and he’s just got his head down and he’s playing and around, oh I dunno, the ten, eleven minute mark we look up and he looks up and he goes, ‘Alright, wrap it up.’ We just follow him right down. “And you can hear him lay his sticks on the snare drum like he has for so many years and goes, ‘Yeah boys, that’s how we used to do it – the song’s two minutes and the fade is an hour.’ It’s just awesome,” Harper recalls bursting into elated laughter. If you listen closely to the track you can hear Starr saying just that as the residual buzz of warm amps subsides. The one-take track was so unexpected that Harper felt it deserved to stand on its own. “That instrumental – that came out of nowhere man. That had to have its own autonomous name and voice and part of the record. Because it wasn’t part of the song, it came after, but we didn’t rehearse that for one second. That was the first and only time we played that so far. “I get high and get goosebumps; my palms even sweat a little bit talking about it, it was such an experience,” says Harper, going as far as to role up his sleeve and reveal the blue and red tribal tattoo that covers his forearm. True to his word, the hairs stand on end. Give Till It’s Gone is out now through EMI

A SHARP RECORDING STUDIO

Jeff Cripps – owner

What’s the studio set up you have there equipment-wise? We have a big old classic analogue desk, 32-channel, and it sounds GREAT. We record onto hard-drive and edit in ProTools. Monitors are Acoustic Research and Tannoy. We also have many “classic” microphones. Though I also have some new models, the older Neumanns and AKGs are just wonderful and sound way more ‘expensive’ than new mics. I’ve got a 1938 RCA-44 ribbon mic that just sounds great on vocals and drums, it’s a killer. I can hear some current CDs that have used all new mics when recording and they just sound cheap and when you turn them up, they hurt. When you use older mics, the sound is way better, smoother and you can crank the hell out of them and they don’t grate on your ears… Any tips for artists entering a studio for the first time? Like everyone who’s answered this question before, it has to be ‘organisation… I had a girl singer in with some hired session jazz guys and they were discussing what keys the songs that they were going to record were in… So rather than doing this on the phone for FREE, they were doing it at $80 an hour, which I thought was just crazy. Know your songs top to bottom. Which notable artists have worked at the studio? Probably the biggest of all our bands/artists we’ve done is The Vines. Glenn Santry, one of my engineers, did the tracks that got them the Capitol Records contract and that CD went top 5 worldwide… That’s a BIG one. Who do you have on staff and what’s their background in the industry? I have Jordan Lane, Glenn Santry and Steve Zitkus, all of whom are musicians, have great ears and are nice guys. I’m amazed at the amount of engineers who don’t have people skills; it’s important to serve your clients and make them feel comfortable. That’s what we do.

Analogue vs digital – discuss. I think it’s agreed universally that drums and guitars just don’t sound ‘right’ on digital – that’s why the big end of town records on analogue, the ones with all the money and all the choices, they do analogue and edit in digital, which is where digital really comes in handy. Can bands bring in their own engineer or do they have to solely use a house engineer? I’m fine with bands bringing in their own guys, you always end up learning something from everybody. Is the studio capable of holding a full band at once for recording? Yes, that’s one of our strengths, we have four separate rooms. That’s what bands need to remember, if you hire a ‘project’ studio, they might be cheaper, but as is often the case, if you need to record drums, then bass, then guitars, then vocals, that’ll take longer and though the hourly rate might be lower than a larger studio, it’ll take you longer and end up actually costing more with way less fun into the bargain… Bands ALWAYS sound better recording together rather than separately. That’s why the major bands record as a unit when making a CD, it sounds better.

himself as an artist, so he understands that scene. Glenn Santry also has had a lot of success in the JJJ market, with lots of chartings for the artists he has recorded. Do you have any in-house instruments at the studio acts can use, or is it totally BYO? We have everything, Gibson/Fender guitars, a drum kit, Fender “P” bass, grand piano and our secret weapon, original classic amps, ‘60s, ‘70s and ‘80s Marshalls and Fender amps, not the re-issues, the real ones, and let me tell you, they sound like the real deal… There’s nothing like the real amps from that era to get that great guitar sound. What’s the access to the studio like with regards to parking, flat load, etc? Lots of parking, easy load up one flight. Working in the studio can be arduous and we’ll need a break – what are the amenities in the local area? We’re right in the middle of everything, 30 seconds from anything you want. What are your contact details?

We’re an impoverished indie band – do you offer any deals for acts in our situation?

A Sharp Recording Studio – Riverwood, Sydney

Yes, Jordan Lane does all my indie bands; he’s in that scene

(02) 9153 9988

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asharp.com.au


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• 72 • THE DRUM MEDIA 28 JUNE 2011


EMPLOYMENT ADMINISTRATION ‘ALEXI’ NEED NEW GUITARIST Original Rock band ‘Alexi’ require a new Guitarist/songwriter. We have gigs coming up and plans to write new material and record later this year. If interested please contact Adam0405005130 or Chantell-chantellalexi@iinet.net.au iFlogID: 14091

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

Drummer wanted for Sydney Grunge Band. In Carlingford/Paramatta area 24 years and under. Influences: Silverchair, Nirvana, AIC, Sabbath etc Contact Daniel on 0403 885 433 for more info and demos. iFlogID: 13938

GOOD DRUMMER WANTED

Skate Rock,Heavy Metal & 80’s Punk- Metallica, Foo Fighters, Sex Pistols, Pantera,Fugazi, Silversun Pickups, Suicidal Tendencies, Magic Dirt. Pixies. Contact Lincoln 0402 901 789 or lincoln666@optusnet.com.au iFlogID: 14019

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

SQUARE CD RECORDING Record in Blacktown with Square CD. We have studio and live recording with live sound. See www.squarecd.com. au contact@squarecd.com.au or call Brendan on 0408 677 378 for more information. iFlogID: 13889

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THE FLOWER KINGS - Unfold the Future Limited Edition 2 CD Set with bonustrack (Hard Digipak) $25. PROG ROCK LEGENDS Ph0449713338 iFlogID: 14056

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

ROLAND DRUM SYSTEM V-COMPACT Percussion Sound Module, Kick Trigger Unit, Hi-Hat Control Pedal, Pad x 4, Cymbal Pad x 2, Tuning Key, TD-3Kit Manual, Stool, Headphones + Sticks. Bought $3000, selling $1,500 Collect in Surry Hills 0414 400 807 iFlogID: 13657

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

Zildjian K Dark Thin 18” crash cymbal brand new $290. Also Zildjian K Dark Thin 16” crash brand new $260. Bargain, ph 0419760940

iFlogID: 13779

ZILDJIAN K DARK THIN CRASH CYMBALS, 16” $275 AND 18” $290, BOTH BRAND NEW IN PLASTIC BAG, BARGAIN. PH 0419760940

iFlogID: 14028

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

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

Manager Required, go all the way to the top with a local keyboard player, singer-songwriter ‘excitement machine’. Successful live shows, Album on iTunes. Unlimited commission-based earnings. Phone Geoff, 99691179. Mosman.

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

SALES & MARKETING

Ibanez AW10CE-NT ac. gtr. for sale. great condition, bright, comes with hardcase and new set of elixirs. $400. feel free to try it. balmain. txt 0430052961

iFlogID: 13794

Looking for fun, ethical, paid work? Love meeting great people? Looking for a little more out of your career? Check out www.funwaysing.com iFlogID: 13785

People needed to send eMails offering a new music Book for sale. Must have own computer - payment by commission via Paypal. Contact Bill on (02) 9807-3137 or eMail: nadipa1@yahoo. com.au iFlogID: 13289

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

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

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

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

roland cube-30 and crate gt212(120watt) amps for sale. both great condition. $200 each. located balmain. can travel. feel free to try it out. txt me on 0430052961 if interested iFlogID: 13987

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

iFlogID: 13086

iFlogID: 13985

SCHECTER OMEN-6 ELECTRIC GUITAR - - BRAND NEW-- ,best offer, Craig -0449156490 iFlogID: 13732

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

MURS 3:16 The 9th Edition Vinyl LP. Sleeve and Record in excellent condition. $20 Ph0449713338 iFlogID: 14058

NINE INCH NAILS Closer 12” Vinyl: further away (part one of a two record set), 1994. SEALED!!! VERY RARE! $85 ono Ph:0449713338 iFlogID: 14076

NINE INCH NAILS Year Zero Triple Gatefold 2 x Vinyl LP. Special Edition Heavy Etched Vinyl w/16 page book! Sealed! $50 Ph:0449713338 iFlogID: 14078

PETE ROCK NY’s Finest 2 X Vinyl LP. Sleeves and Records are brand new. $20 Ph0449713338 iFlogID: 14068

TYPE O NEGATIVE Dead Again Gatefold 2 x Green Vinyl LP. Sleeves and Records are brand new - Sealed. $20 Ph0449713338 iFlogID: 14072

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

iFlogID: 13134

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

CD /DVD DUPLICATION

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

BUCK 65 Situation 2 x Vinyl LP . Sleeve and Record are Brand New. $20 Ph0449713338

Want your music on CD? forums.indiemunity.com

iFlogID: 13803

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

P.A hire using top quality outboard gear; Lexicon, Allen & Heath, Sure 4.800, DBX drive-racks, 160SL compression, 4-way front-of-house, 3-way active fold-back. 30years+ experience in the music industry. Old-school sound. iFlogID: 13264

PA System and operator available for parties, pub, club and function work. New professional equipment at competitive prices. All areas. Contact 0414 724 473, 0414 PA HIRE iFlogID: 13628

PORTABLE RECORDING/ PRODUCTION I can come to your rehearsal space, home, church, school, wherever you are creative. Acoustic Demos, Band Rehearsals, Digitizing, Pre-Production, Remixing, Re-amping. All budgets. Call 0438382873 iFlogID: 13966

Sydney PA Hire: Best quality equipment, small to large 2, 3 and 4 way systems, packages for all occasions, competitive prices servicing Sydney and environs. Details; http://www.sydneypa.biz, Chris 0432 513 479 iFlogID: 13943

PHOTOGRAPHY Cardboard Box Studios, specialising in providing high quality creative images to a diverse range of clients, www. photodane.com iFlogID: 13711

POSTERS

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

Are you after something fresh and unique? Things we design include Posters, Flyers, T shirt graphics, CD covers and so much more Need more convincing? Check out our website at www.redenginegraphics. com.au

HIRE SERVICES

RECORDING STUDIOS

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

7 HRS IN THE STUDIO JUST $300

iFlogID: 13117

iFlogID: 13713

LEGAL / ACCOUNTING

IMPORTANT TAX MESSAGE

Find out how Detax can maximise your tax refund or minimise your tax liability with effective tax strategies before June 30. Don’t wait until it’s too late. www.detax.com.au iFlogID: 13777

iFlogID: 13084

OTHER

OTHER

MASTERING THE BUTLER MASTERING...

iFlogID: 14064

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

iFlogID: 13799

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

iFlogID: 13120

Recording Studio, Parramatta, $30hr casual rate. No kits! Singers, songwriters, instrumentalists for acoustic, world, classical genres specialist. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days. iFlogID: 13154

SEAN CAREY - PRODUCER

iFlogID: 14066

CRADLE OF FILTH Godspeed and the Devil’s Thunder Gatefold 2 x Vinyl LP. Sleeve and Record are brand new Sealed! $20 Ph0449713338 iFlogID: 14074

Desert Sessions Vol 9 & 10 CD. Josh Homme (Queens of the Stone Age, Kyuss), PJ Harvey and Twiggy Ramirez (Marilyn Manson, Nine Inch Nails, A Perfec Circle) etc. $15Ph0449713338 iFlogID: 14062

DIMMU BORGIR In Sorte Diaboli Gatefold Vinyl LP + bonus 7”. Limited Edition No. 1424 of 2000. Sleeves and Records are brand new - Sealed. $35 Ph0449713338 iFlogID: 14070

KING CRIMSON Beat Vinyl LP Signed by Adrian Belew (guitars on Nine Inch Nails, David Bowie, Tori Amos albums). Sleeve and Record in excellent condition. $25 Ph0449713338

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

iFlogID: 13940

REHEARSAL ROOMS NEW CLEAN REHEARSAL STUDIO NORTHERN BEACHES. Terry Halliday Productions is pleased to announce that STUDIO259 is back!! Flat load, Parking, NEW PA, Air con, Equipment hire CALL TERRY259 on 0419 595 298 iFlogID: 13954

Warehouse rehearsal space in hurstville area, rent $100 p/w.practice with gear left how you last played it. play loud & great place to start creative vibe. ring sash for details on 0409579688 iFlogID: 13900

REPAIRS

Drummer and Drum Lessons Drum Lessons avaliable in Gladesville Teach all Levels, ages and experience. Played for 16 years. I studied at Billy Hydes Drumcraft, Obtained Dipolma in Drummming Mob: 0402 663 469 Michael iFlogID: 13703

iFlogID: 13601

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

iFlogID: 13523

A GREAT WAY TO LEARN GUITAR

iFlogID: 13521

D

Additional words 10 cents each.

iFlogID: 13500

iFlogID: 13872

MUSIC PRODUCER & SONGWRITER

BOLD HEADING

Experienced producer will teach you how to setup your own studio on a budget. How to use the software and equipment; how to track, mix and produce your own music. Call Kimon 0439335499.

BOLD HEADING

Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area. $40 hr, $30 half hr. Mature & patient. Harps for hire. Ph: 02 98905578 iFlogID: 13152

OPEN TUNE & SLIDE GUITAR

iFlogID: 13923

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 iFlogID: 13945

$1

iFlogID: 13500

iFlogID: 14093

iFlogID: 11369

CREATIVE GUITAR TUITION

FREE

iFlogID: 13973

AAA EXPERT GUITAR TUITION www.guitartuition.net.au

iFlogID: 13644

30 WORDS

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

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

Affordable singing lessons with experienced female teacher Botany studio. Adults and children welcome - beginners to experienced. Opportunities to perform. $40 per hour Call 9316 4742 / 0403 869 364

NEW!

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

MUSOSREPAIRSHOP.COM.AU Feel like you’re grinding that axe? Get your guitar/bass professionally set-up/ repaired/restored by an experienced luthier. Check out the website or ring 0448559947. From Alembic to Warwick we’ve done the lot.

Options Categories NEW!

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

iFlogID:

SUPER BOLD HEADING 13500

$1.50

SUPER BOLD HEADING

500

iFlogID: 13500

ADD COLOUR TO YOUR HEADING

50c

COLOUR HEADING

COLOUR IMAGE

iFlogID: 13500

COLOUR IMAGE

$3

13500

iFlogID: 13661

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

iFlogID: 13158

COLDCUT Sound Mirrors 2 x LP Vinyl. Sleeves and Records are brand new. $25 Ph0449713338

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

Print & Online Classifieds

Sean Carey (ex Thirsty Merc) is the In-House Producer/Engineer at TRACKDOWN Studios in Camperdown. Multi-platinum ARIA accredited Artist with over 10 years of production experience. Vintage guitars, microphones, gear and industry contacts! Get the most out of your songs! www. myspace.com/seancareyproducer. Ph: 0424923888. iFlogID: 13571

Petersham/ Sydney. Real guitar for committed students. Attentive, one on one guitar lessons in a fully equipped music studio. Learn Jazz, Rock, Blues, Contemporary , Funk, Latin , Gypsy, Folk and other popular styles. Learn at a pace and in a direction you want to go. Beginners to advanced, all aspects of guitar are supported. Incorporate a practical approach, using rhythm, harmony, melody and improvisation. Learn theory and all about scales and modes and how to apply them effectively. Learn songs and practice techniques. Ear training, song writing, composition and sight reading. Learn all about chords, arpeggios, substitutions, synonyms and inversions. Alternate tunings, slide guitar, finger style, chord melody and world music. Study your favourite players and learn how to develop your own sound. Comfortable, airconditioned studio with huge resource library and comprehensive digital recording available to those wanting to demo. Days and evenings, Monday to Thursday and Saturday day. Ask about special introductory offer and gift vouchers. Contact Craig Corcoran: 0430344334 (02)95726702 creative-guitar@ hotmail.com www.creativeguitar.com.au iFlogID: 13593

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: 13569

COLOUR BORDER

iFlogID: 13500

$1

COLOUR BORDER 500

SINGING-LESSONS -THAT->>ROCK<<

OUND

COLOUR BACKGR

COLOUR BACKGROUND

500

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

iFlogID: 13818

iFlogID: 14060

Free online and print classifieds Book now, visit iflog.com.au

iFlogID: 13527

$2

iFlogID: 13555

All prices include GST

VISIT IFLOG.COM.AU TO PLACE YOUR BOOKING NOW.


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

GUITARIST / DRUMMER / SINGER

LEAD SINGER - COVERS/ROCK

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

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: 11667

iFlogID: 13950

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

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: 13525

iFlogID: 13080

VOICE LESSONS

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

iFlogID: 13928

LETS START A BAND!!!

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

PARADIGM AUSTRALIA

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

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 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

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: 14105

BASS,LEAD GUITARIST & DRUMMER

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

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 iFlogID: 13823

GUITARIST WANTED ‘2 Rude: A Tribute to Ska Show’.. Playing the likes of British Beat,Bad Manners,Madness,The Specials. Professional gig with shows booked this spring. Looking for experienced Guitarist to join Drummer, Vocalist & Brass Section. If you’re 30- 50yrs, have a professional attitude, looking to have some fun & playing Ska two tone music. Please call Mark 0432 350 215 iFlogID: 14107

all needed for a covers project with view to include originals. We will target high-class nightclub/restaurant venues & corporate work. When not working as a full band we’ll work as a duo or a small ensemble. You must be experienced, professional & have your own gear and transportation. Style: Electronica-Dance/RNB-Soul/ Jazz. Influences: Portishead, Florence & the Machine, Massive Attack, Groove Armada, Morcheeba, Basement Jaxx, Eva Cassidy. Repertoire may Include: One Day I’ll Fly Away – Randy Crawford, Light My Fire – Erma Franklin, Lady Marmalade (Moulin Rouge), Hey Big Spender – Propeller Heads, You’ve Got the Love – Florence & the Machine, Good Luck – Basement Jaxx, Diamonds Are A Girls Best Friend (Moulin Rouge), Sing It Back – Moloko. Image: Mod-Glam/Burlesque/ Bond 007/Moulin Rouge. Please email me your name, training, experience, photo and demo at andrea8884@gmail.com. iFlogID: 14038

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

iFlogID: 14052

DRUMMER Sydney Progressive-technical metal band PARADIGM seek touring/full time GUITARIST and BASSIST.For an up-coming tour on our new record. Versed in metal, and all styles essential. Looking for someone professional, dedicated, w/ good gear, able to drive and rehearse in Sydney City Area, w/ positive fun attitude. To nationally tour. Would love to hear from you! TXT Thomas: 0404457965. or James: 0416124236. iFlogID: 14034

KEYBOARD PLAYER WANTED ‘2 Rude: A Tribute to Ska Show’.. Playing the likes of British Beat,Bad Manners,Madness,The Specials. Professional gig with shows booked this spring. Looking for experienced Keyboard Player to join Drummer, Vocalist & Brass Section. If you’re 30- 50yrs, have a professional attitude, looking to have some fun & playing Ska two tone music. Please call Mark 0432 350 215

aggressive solid drummer needed for band. have material written and demos recorded. rehearse in the wollonong area, keen to gig asap. age/ sex/skill level not important. contact 0403508102 for demos iFlogID: 14021

DRUMMER WANTED

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

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

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? iFlogID: 13790

BASS PLAYER 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

iFlogID: 13998

SYDNEY FOLK/PUNK DRUMMER Passionate drummer wanted for our Sydney folk pirate punk rock band. Have space in Alexandria. Want to rehearse 1-2/ wk, gig much as possible. Think Flogging/Dropkicks/Social D..Come party! 0414 481 697 iFlogID: 14000

GUITARIST

iFlogID: 13407

iFlogID: 13839

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

Central Sydney originals band hunting urgently for razor sharp Gen X-Y DRUMMER for a gig in late July. Permanent role up for grabs! We sound like The Killers crashing into Ben Folds with Phoenix on the radio having grown up with Pink Floyd. Is this you? Then you’re one of US! To apply, email thepeople@ thepeopledownstairs.com with links to your mad skills - more than one track preferred. Must have own drum kit. Must have two hands and one foot minimum. Must enjoy jelly snakes.

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

SECOND GUITARIST/OR SYNTH

SOCIAL MUSO’SWANTED GUITARIST/BASSIST/ KEYBOARDIST

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

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

Ex Jerk singer seeks drummer for sydney prog band. Influences Tool, Porcupine Tree, Rush, Cog ect. Phone michael 0425907720 iFlogID: 14098

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.

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

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

iFlogID: 13977

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

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: 14036

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

iFlogID: 14100

Looking for a cool DJ to work with in forming a killer club act with live drums/percussion. Call Al on 0400 909 633 drumpercuss@hotmail.com

BASS PLAYER WANTED ‘2 Rude: A Tribute to Ska Show’.. Playing the likes of British Beat,Bad Manners,Madness,The Specials. Professional gig with shows booked this spring. Looking for experienced Bassist to join Drummer, Vocalist & Brass Section. If you’re 30- 50yrs, have a professional attitude, looking to have some fun & playing Ska two tone music. Please call Mark 0432 350 215

iFlogID: 14118

DJ

BANDS

SYDNEY DRUMMER NEEDED

Ex jerk singer seeks bass player for Sydney prog band. Influences Tool, Porcupine Tree, Rush, cog ect. Ph Michael 0425907720

iFlogID: 13211

MUSICIANS WANTED 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

BASS PLAYER WANTED Foo Fighters tribute, acoustic and electric show seeks bass player. Original set also written with goal to cater for different venues. Must have stage experience and be competent/confident on the instrument. Own good equipment and transport a must Call Mick after 6pm on 0415 739 292 or 9586 0405

MOONBOMBS NEED A GUITARIST!

Sydney based singer/songwriter releasing debut single. Looking for a fresh start on the scene with new guitarist (early to mid 20’s) and eventually a new band. Check out www. myspace.com/bryleysings bryley@ hotmail.com iFlogID: 14007

The Net Of Being ambient prog rock/ metal act seeks guitarist, influences isis, pelican, mogwai, rehearse ashfield, www.reverbnation.com/ thenetofbeing call 0401056876 iFlogID: 14015

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 Ex Jerk singer seeks keyboard player for Sydney prog band. Influences Tool, Porcupine Tree, Rush, Cog ect. Ph Michael 0425907720 iFlogID: 14102

Hammond/Rhodes sounds wanted for funky/dubby jams. Influences Meters, King Tubby, Betty Davis. Inner west rehearsals Ph Ken 0413 590 728. iFlogID: 14030

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

OTHER www.ozjam.com.au is free to join, and with over 5000 members its fast becoming the largest online music community in Australia! If your looking to join or form a band, find a band member or get exposure check Ozjam out today! iFlogID: 13743

SINGER 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 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

Blues/Rock outfit (Bass, Guitar & Drums) looking for a dynamic singer (male or female) to front the band. Ability to play harmonica, keyboards or sax to complement other instruments highly desirable.

CAN YOU SING?!!

iFlogID: 14083

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: 13432

iFlogID: 13088

Hard Rock originals band need a singer who can also write lyrics & melodies. Influenced by Led Zeppelin, Van Halen, Audioslave etc. Based at Gosford, weekly rehearsals, gigs waiting. Contact: scottm@y7mail.com iFlogID: 14009

MALE SINGER

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 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

SINGER WANTED FOR SYDNEY GRUNGE BAND. Less than 24 years old please. influences: Silverchair, Nirvana, AIC, Sabbath etc Contact Daniel on 0403 885 433 for more info and demos. iFlogID: 13145

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

iFlogID: 13956

iFlogID: 14054

Sydney 3 piece MOONBOMBS need a guitarist! Influences: Sonic Youth, Die! Die! Die!, Health, Radio Dept & Ratatat. About to release new single & tour. Email moonbombs@gmail. com NOW! No metal freaks!

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!

STROKES SINGER WANTED Singer wanted to complete The Australian Strokes Cover Show. Someone with at the least a similar sound to julian is obviously important. Rehearse with vision for steady, fun cover work. Sydney/Wollongong Area. Bandmates have industry experience and are professional. Contact CJ on 0408489964. iFlogID: 13994

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

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 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: 13813

Wedding singer Wanted with a band in Oct 2011 need a wedding singer with or without a band that sings covers please call me 0405 398 888 or email vivsue@yahoo.com

iFlogID: 13239

iFlogID: 14109

Free online and print classifieds Book now, visit iflog.com.au

iFlogID: 14114

YOUNG MALE R&B SINGERS Looking for male R&B singers, age1830, interested in forming an R&Bgroup in Sydney 0422259451 iFlogID: 13757

VIOLIN Violinist required for Sydney band “LOL@50uff$” based out of Redfern. To play away the pain of another unsuccessful NRL season. Contact Russell C - maximus@gmail.com iFlogID: 14023

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 iFlogID: 13011

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 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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Drum Media Sydney Issue #1066  

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

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