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Contents Issue No. 1084 Tuesday 1 November 2011 PLEASE NOTE: All entries for giveaways are now via our Facebook, so head to facebook.com/drummedia for details.

TIM FINN

LADYSMITH PAST AND FUTURE South African a cappella men’s choir Ladysmith Black Mambazo have been popular visitors to these shores for more than two decades, first visiting not long after they were introduced to the wider world through Paul Simon’s Graceland album. They come to the State Theatre Friday night and we have three double passes to give away.

NEW MODEL TIM FINN The popularity of the tribute albums based on the songs of he and his younger brother Neil prove just how much Australia loves Tim Finn, and he’s back in town Friday night to present his latest album, The View Is Worth The Climb, at the Metro Theatre. We have five Finn packs, each with a double pass to the show and a copy of the new album, collectable at the concert, to give away.

WATCH THAT CROOKED FIDDLE They took a punt, called up Steve Albini, whose credits include producing albums for Nirvana, Pixies and Joanna Newsom, and he said yes. So Sydney four-piece The Crooked Fiddle Band, who describe themselves as chainsaw folk, for want of a better description, headed to Chicago and returned with a debut album, Overgrown Tales, which they’re launching at The Factory Friday, and we have three double passes to the show to give away.

GUN LOVING HITS SPECTRUM With a reputation for ferocious live performances, Chicks Who Love Guns are heading into Spectrum Friday night to launch their second EP, Stutter, the first single from which, Run People, you’ll have heard copping some serious airplay of late. We have one double pass to the launch to give away, and the winner can collect a copy of Stutter at the gig on the night, and the winner also gets a double pass to an after party that night at MUM in the World Bar.

GET YOUR FINGERS STICKY You’ll read all about them in this week’s issue, but here’s your chance to score one of three double passes to the launch of the second EP, Happy Endings, from Sydneysiders Sticky Fingers, recorded in the very room in which they’re launching it, the Annandale Hotel, this Friday night.

WHO WILL BE AUSTRALIA’S LATIN KINGS? This Saturday night, the Hordern Pavilion hosts the grand final of the inaugural battle to find Australia’s Best Latin Band. Over the past month, bands have gathered in Melbourne, Sydney and Brisbane to battle it out for a place in the final and the chance to win a $25,000 prize pool and all expenses paid educational trip to the heart of Latin music – Cuba. We have one double pass to the grand final to give away.

SOME TIMELESS MORPH Out in online virtual world Second Life, he’s The Visor Guy but in this world, he goes by the name Dexter Morph, and he’s released his debut single, Timeless, as such, though he created the film clip for it in something of a world first, in Second Life. Morph launches it and himself in this plane with a run through the Lizotte’s venues – Thursday in Newcastle, Saturday in Kincumber and Sunday in Dee Why – and we have five copies of the single to give away to celebrate.

DYNAMITES TO BURN IT DOWN Fresh out of Nashville, Tennessee, The Dynamites featuring Charles Walker are your real deal; serious straight-up funk soul revue in the grand tradition. Here last year for Bluesfest, the guys are heading back to play the Queenscliff and Mullumbimby festivals, but they’re also doing a double header at The Basement Circular Quay Saturday 19 and Sunday 20 November. To celebrate, we’ve got two Dynamites packs that each include a 12” vinyl LP of their Kaboom album, a copy of their latest album, Burn It Down, a T-shirt and a double pass to the Saturday gig, to give away. Please note – prizes that are to be collected from the office must be done within four weeks of notification of winning. • 24 • THE DRUM MEDIA 1 NOVEMBER 2011

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DRUM MEDIA Giveaways – Look to your left for free stuff, silly! 24 The Front Line hits hard with industry fact and conjecture, plus we look at the timeline of Flo Rida’s eventful no show on his recent Australian tour. 26 Mailbag – your say on what floats your boat or makes the red mist descend, plus Backlash and Frontlash. 28 The News – just like it says, with tours, releases and more. 30 Florence + The Machine create a new kind of poetry. 36 360’s album has no rules and no barriers. 38 Faker emerges from a period of confusion. 38 Canyons bit off more than they can chew. 40 The Getaway Plan takes you for a ride. 41 Because of The Crooked Fiddle Band’s own warped minds, things tend to come out being quite complex. 42 Emma Louise has moved on from the shitty, corny love songs she used to write. The gazillion awards she’s won recently are testament to that. 42 The Flaming Lips reckons every band would want do stuff like they do, such as including music in gummy skulls. 43 Joe Boyd and Vashti Bunyan remember Nick Drake with Way To Blue. 44 Ladysmith Black Mambazo are trying to preserve the history of traditional South African music. 44 Touring with acoustic artist Donavon Frankenreiter proves influential to Sticky Fingers to make an acoustic EP. 44 Mad Sin doesn’t play fake music for fake people. 46 What Destruction lacked in polish they made up for with passion and aggression. 46 These Kids Wear Crowns are fun, honest, hard-working guys. 46 I Am The Avalanche wants to be part of the punk legacy and be the real deal. 46 Much like Tron, Shapeshifter isn’t stuck to a grid. 47 What do you do when commercial record labels don’t touch the kind of music you want to pursue? Form your own label. That’s what Mark Dynamix did. 47 On The Record reviews new release albums and singles from The Getaway Plan, Canyons, Jinja safari and more. 48 Chris Maric gets local with hard rock and metal in The Heavy Shit. 52 Sarah Petchell brings us local and international punk news in Wake The Dead. 53 Adam Curley muses on all things pop culture The Breakdown. 54 Viktor Krum asks you to Get It Together with the latest in hip hop. 54 Dave Drayton gets Young & Restless with all ages goings on. 54 Cyclone gives you urban and R&B news in OG Flavas. 54 Dan Condon features the world of blues and roots with Roots Down. 55 Michael Smith delivers some Blow with jazz and world music news. 55 Go south as you enter Pedro Manoy’s Swamp Shack. 55 Tom Hawking sends us a snapshot of life in the Big Apple with New York Conversation. 56 Robbie Lowe gives you a dose of music that makes him tick with Lowerider’s house, progressive and techno vibes. 56

FRONT ROW This Week In Arts lists plans out your week ahead; artist Shaun Gladwell talks about his new exhibition; with street art festival Outpost opening on Cockatoo Island this weekend, we talk to a few of the artists involved. 57 We review a bunch of stand-up comedy shows; Joel Edgerton talks about his new film, Warrior; Sam Simmons discusses the world of him; Made You Look goes on a gallery opening crawl. 58 Cultural Cringe wraps up the week’s arts news and whispers. 59 Belvoir artistic director Ralph Myers talks about the theatre company’s 2012 season. 60

LIVE It’s all here: gig reviews, tour guide, what’s happening this week, charts, gig guide, club guide, random shit and the music needs Cameras to double in size on stage, while Witch Hats are not as bratty anymore. 61 Backstage and BTL – your guide to studios, recording, gear, courses and more. 74 The Classies – need a singer/bassist/ drummer/any other service/product you can think of? Your answer is here. And on iflog.com.au. 77


national tour dates VIC ALL AGES ALBUM LAUNCH Saturday November 26th @ The Phoenix Youth Centre Footscray. In collaboration with, and in support of the Maribyrnong City Council’s Youth Services “URBAN VOICES” CD & DVD LAUNCH VIC Friday December 16th @ The Espy - St Kilda Reason f/ AJ (UK) & Bids Mass MC / Ciecmate & Newsense / Briggs / Art of War DJ’s Jase & Peril / Hosted by Nevs

“This album brings the career of a true pioneer of the Australian Scene full circle, as Reason takes on all before him with one last, heartfelt & monumental contribution to a scene he has helped to create ...”

NSW Thursday December 8th @ The Factory Theatre Support act for Jedi Mind Tricks (US) & Outerspace (US) Reason f/ AJ (UK) / MASS MC / more tba SA Friday December 23rd Homegrown 3 @ HQ Reason f/ AJ (UK) & Bids / MASS MC / more tba Tix from venuetix, da klinic, clinic 116.

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NEWS FROM THE INDUSTRY WITH SCOTT FITZSIMONS

COLDPLAY NABS TOP SPOT FROM ADELE Coldplay’s new album, Mylo Xyloto, has knocked Adele from the top spot of the ARIA Albums Chart this week, with the latter’s 21 slipping to two. The last time the vocal-problem-ridden Adele was off top spot was when Gotye released Making Mirrors. She regained top spot shortly after, though. Kelly Clarkson’s Stronger debuted at three, Darren Hayes’ Secret Codes And Battleships 10, Tom Waits’ Bad As Me 11 and Justice’s Audio Video Disco 18. Washington’s Insomnia debuted at 24 and Husky’s Forever So 33.

MICROSOFT ANNOUNCES MUSIC PLATFORM Last week it was announced that Microsoft would launch its new music service Zune in Australia 16 November, with the company hinting to Your Daily SPA that they have struck deals with all four major labels. With an alleged 11 million tracks part of the subscription model’s library, Microsoft Australia’s Marketing and Product Manager Jeremy Hinton told the daily newsletter, “We’ve not announced specific partners yet… but to have that many songs you need everyone on board.” Along with the music tracks, there are reportedly “tens of thousands” of music videos. A Zune Music Pass will cost $11.99 a month or $119.90 annually. The service will operate with both cloud and download formats across Windows Phones, PCs and Xbox stations. The announcement occurred at the launch of voice command ability for Microsoft’s motion sensor system, Kinect.

ADELE SUFFERS FROM HEMORRHAGED VOCAL CORD There are significant concerns for Adele’s voice after her inability to attend the Q Awards last week. The singer, who is taking the rest of the year off, was “too ill to speak”, according to the Evening Standard. The international chart-topper cancelled multiple US shows due to a haemorrhaged vocal cord, which has caused her troubles since January this year. The songstress told fans on her blog, “Guys, I’m heartbroken and worried to tell you that yet again im experiencing problems with my voice. It’s ridiculous I know! I can’t believe it myself. I follow all the advice im given and stick to regimes, rules and practices to the best of my ability but it seems to simply not be enough… I’m gonna be starting up vocal rehab as soon as, and start building my over all stamina in my voice, body and mind. I will be back and im gonna smash the ball out the park once im touring again.” On top of her no-show at the Q Awards, where she won Best Female Artist and Best Track for Rolling In The Deep, Adele previously could not perform at the Mercury Music Awards and had to pull out of a Dancing With The Stars TV spot, which was filled by Delta Goodrem.

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

KYLIE, WIGGLES JOIN ARIA HALL OF FAME

Kylie Minogue and The Wiggles have been announced as this year’s inductees into the ARIA Hall Of Fame. The two heavyweights of Australian music and two of the country’s leading exports will be inducted at the main events night – Sunday 27 November at Sydney Olympic Park’s Allphones Arena. In previous years the Hall Of Fame has had its own primarily industry-only night prior to the main awards ceremony. Joining the likes of AC/DC, John Farnham, Olivia Newton John, Dame Joan Sutherland, Slim Dusty, Paul Kelly, INXS and more, Minogue – who will celebrate 25 years in the industry next year (The Wiggles celebrated 20 this year) – will reportedly attend the event to be inducted. Commenting on the announcement, red Wiggle Murray Cook said, “We thought in the beginning we’d record a one off album. We had no thoughts of it being a career and here we are still going strong and still really enjoying it… When I heard that we were to be inducted into the ARIA Hall Of Fame I looked up past recipients and read a virtual roll call of all the bands and artists that I grew up watching and listening to. It is quite overwhelming to think that we will be given the enormous honour of joining that company.” With tickets now on sale, the ceremony will be screened live on Network Nine’s digital channel Go!.

THE JEZABELS’ ARTWORK ON SHOW Artist Christopher Doyle will display the standout artworks he has done for Sydney band The Jezabels at an upcoming exhibition this December in Sydney. Doyle has been responsible for the band’s artwork, through their three EPs and one album (Prisoner). The imagery and artwork of the band has remained cohesive, which Doyle, a renowned artists in his own right, admits has been a challenging process. “As a designer I find the process of designing for music fairly terrifying. Essentially you are creating art, in response to art. It’s tricky and subjective ground, but thankfully the band have been able to articulate the themes around each release.” The Jezabels’ guitarist Sam Lockwood said Doyle “has repeatedly been able to understand the underlying message of our music, as well as our somewhat strange musical aesthetic. He has time and time again come up with beautiful, surreal, sublime and uncanny visual translations of the music we make.” The artworks will be on show from 8 – 14 December at Sydney’s Mart Gallery, featuring the artworks as large framed prints in their original format and for sale, along with some unreleased artwork and test shots.

MUSICAL ROCK OF AGES POSTPONES SYDNEY STINT The musical Rock Of Ages has pulled the plug on its Sydney shows, it was announced, as the ‘80s-rock themed production cited poor ticket sales in the city. Featuring End Of Fashion’s Justin Burford in the lead role, the production will soon end its Melbourne run of shows before moving to Brisbane 12 November. An announcement by the musical organisers stated that “the current economic down turn in Australia impacting on single ticket sales in Sydney” was to blame. Other productions have also struggled to build an audience for Sydney, with Annie The Musical, set for 29 December, offering “special” preview tickets for just $69 and Andrew Lloyd Webber’s Love Never Dies (due to open in January) offering tickets for as little as $55. These tickets are down as much as $100 in some instances. No new dates have been suggested for Rock of Ages’ Sydney shows as yet, and refunds are now being offered.

EURYTHMICS MEMBER SPEAKS LIVE

LABEL LAUNCH PARTY STREAMED COUNTRY-WIDE

Dave Stewart – famed for his time with Eurythmics as well as his solo work – will hold a one-on-one live interview this December dubbed Dave Stewart In Conversation. Presented by Song Summit and produced by APRA and Kobalt Music Publishing, it will be held Tuesday 6 December at the Domain Theatre, Art Gallery of NSW. Tickets are $55 and on sale now.

The Black Wreath, an Alice Springs-based label/ collective, hopes to create an Australian first with their upcoming launch event for their label. The label was formed primarily by the members of three bands – Uncreation, Miazma and The Horror – who make up a team of 13 including musicians, filmmakers, artists and producers. In a small community, they decided they’d take money out of the equation for their art if they were able to pool their skills. The team has built its own studio, with volunteers putting in 14-hour days over the last three months. The label plans to launch its label and a six-track compilation on the same day – 11/11/11 – with the gig to be streamed on their website. It will also be shown live at venues around the nation: Adelaide’s Squatters Arms Hotel, Darwin’s Happy Yess and Sydney’s Dirty Shirlows. Negotiations are ongoing

LIZOTTE’S DUBBED NATION’S BEST Lizotte’s Newcastle has been awarded the Best Entertainment Restaurant in Australia at the recent Savour Australia Restaurant & Catering HOSTPLUS National Awards For Excellence.

with venues in Melbourne, ACT and Brisbane. The label expects 500 to 600 at their event, to be filmed by four cameras and edited live – organisers believe it is an Australian first for a joint label and EP launch to be streamed online and throughout Australian venues.

TICKETFINDERS ACCUSED OF SELLING FRADULENT TICKETS Ticket on-seller Ticketfinders has been accused of selling fraudulent tickets, days after another ticket website, Ticketman, admitted its own problems. Live Performance Australia has warned against Ticketfinders, which The Australian reported was circulating fraudulent tickets. One example by the newspaper included NSW farmer Steve Taylor, who spent $622 on two Bon Jovi tickets last year, only to receive them four months later with a $99 face value printed on them. The tickets were then rejected by the concert venue as they only sell tickets through Ticketek. Frontier’s Michael Gudinski told the paper, “You’re getting me angry – I’m surprised it’s still going on. I’m glad LPA is doing something about it. People have to be very careful; the complicated thing is there’s different laws in different states. We need this dealt with at a federal level.” However, Director of Policy & Programs at LPA, Suzanne Daley, told The Front Line, “LPA does not support the introduction of legislation to combat ticket scalping as we consider that it will be difficult to enforce”. She said the LPA prefers to educate punters to the dangers of buying on-sold tickets.

TROPSCORE – MORE MONEY FOR MUSOS Tropfest and APRA have partnered for this year’s Tropscore competition, which will see composers score or soundtrack a short film. The winning entry will perform live at Tropfest in front of an expected audience of 100,000 and receive $5,000 cash thanks to APRA. The competition emphasises the new trend towards syncing and licensing songs to television, advertising and films, plus is an emerging way for musical artists to make extra money to support their careers. APRA’s Michelle O’Donnell, Manager Film & TV Writers, told The Front Line that her advice for entrants was to create “something that’s a bit different, a bit unique. Something that’s not predictable but not something that’s going to stomp on the film and the tone of the film”. Entries opened last week and close on 12 January.

SYDNEY WANTS TO THRIVE AFTER DARK The City of Sydney has been outlining plans for the future of Sydney during its after-dark hours. New late night initiatives have been discussed, with Lord Mayor Clover Moore saying, “Sydney’s night time economy has boomed over the years, but infrastructure and services just haven’t kept pace.” The mayor added, “We’ve got an amazing array of ideas to consider, including licensed areas for late night busking to late night food trucks in areas where no dining options currently exist to night markets and late night openings of gyms, basketball courts, skate parks and pools.” Sydneysiders have been consulted on the topic and other suggestions, including 24-hour services like pharmacies, gyms, supermarkets,

music

• 26 • THE DRUM MEDIA 1 NOVEMBER 2011

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KYLIE MINOGUE hairdressers and health clinics, using shop windows as spaces for displaying artworks and live music in libraries or car parks, are being considered. City of Sydney Late Night Economy Manager Suzie Matthews said, “We’re already taking steps to make things better with more secure taxi ranks, precinct ambassadors to assist with overcrowded footpaths and portable urinals to prevent anti-social behaviour.”

SHOCK SIGNS BUCKLEY WARD Described on their website as stylistically versatile and a musical chameleon, Melbourne band Buckley Ward has become a member of the Shock Records family just as they get ready for a string of shows in Adelaide and Melbourne. The band’s new album, So Pretend, will be released early next year by the label, and was mixed by Tony Espie (Architecture In Helsinki, The Avalanches).

BREAST CANCER UNPLUGGED RAISES $6,000 On Friday 21 October, the not-for-profit organisation Chords for Causes raised $6,000 for breast cancer research after hosting their Breast Cancer Unplugged event. The music performances on the night featured Amy Meredith, The Art, Sarah McLeod’s new band Screaming Bikini, Luchi and Isac Cole, with the host Simon Day performing Ratcat hits to close the evening. Event producer and breast cancer survivor Yvette Luciano was thrilled with the result and the support from the event-goers – “I am overflowing with gratitude for all the volunteers, artists and sponsors who supported this event and ensured it was a great success,” she said. “I’m so proud of us for raising close to $6,000 in one night! It’s exciting to think what we will achieve next year with more lead time.”

THE JARA – NEW JAZZ AWARD Last week, Jazzgroove and Eastside Radio announced a new award called the Jazzgroove Association Recording Award ( JARA), which will recognise new jazz music and composition. The top four finalists win the opportunity to perform at the 2012 Jazzgroove Summer Festival, where the top performer will be announced. The winner will also receive recording and mastering for two days, CD artwork and design, advertising and more. The applicant must be a 2012 Jazzgroove member and have not released an album in the past two years. Entries close on 6 December, with info on the Jazzgroove website.

ESKIMO JOE COMPETES TO PROVIDE FREO CLUB ANTHEM Aussie Rule football club Fremantle Dockers is giving club members the chance to vote for a new theme song for 2012. The club redesigned their logo and jersey this year and now members can vote for one of four theme song tracks – one of which was composed by Eskimo Joe, Freo Freo. The band said in a statement, “Freo Freo was written with Fremantle as a town in mind, and how we bring the fight to the east coast, like the roaring of an ocean across the Nullarbor. The song was written as something that everyone in the crowd and on the team could sing with the same gusto that we all sing T.N.T after a home game win!”


front

WHY YOU NO SHOW, FLO?

IN THE PAST, RAP STARS HAVE CANCELLED TOURS AFTER FAILING TO LEAVE THEIR HOME COUNTRY, BUT IT’S RARE THEY MAKE IT TO AUSTRALIA AND THEN DON’T SHOW UP. THE STORY OF FLO RIDA AND FAT AS BUTTER SAW EXACTLY THAT HAPPEN. BY SCOTT FITZSIMONS.

A

merican rapper Flo Rida has been involved in an ongoing back-and-forth with Australian promoters after he failed to show at Newcastle’s Fat As Butter festival and a club show at Sydney’s Mounties two weekends ago. The rapper was due to perform at the festival at 5pm on Saturday 22 October, but promoters started to worry when he hadn’t showed and they received a message from Rida’s tour manager at 3pm that the entourage was having issues with accommodation. Not involved with the accommodation arrangements, and knowing it was a two-hour drive from Sydney, organisers attempted to re-shuffle the line-up until at 4.45pm they received official word that he wouldn’t be appearing. The festival’s promoter Brent Lean told The Front Line, “It took us that long to get back in touch with them.” He then faced the task of determining the best way to inform punters of the schedule change – with only 25 minutes until show time – and took to Facebook as well as alerting punters at the event. On Facebook they put it down to “transport issues” initially, before Lean jumped in to comment, “We’re as upset as you are. We paid Flo to appear months ago and since he’s been on his Australian tour, he’s been an absolute Tonk. He’s been in Sydney today, and he’s had a hissy fit.” Lean told us the following Monday, “Our obligation was to supply the ground transfers. So we had limousines in Sydney but he wouldn’t leave the hotel… We’re still trying to get to the bottom of it.” It wasn’t the only engagement Flo Rida missed that day, as he also missed his set at Mounties. The club took to Facebook, too, to tell their side of the story after dealing with disappointed and annoyed punters throughout the night. They wrote, “We understand the level of disappointment everyone must have felt, especially his younger fans. We too are extremely disappointed given the pride we take in presenting professional live music events. Mounties (like the Fat as Butter Festival in Newcastle) pre paid his performance fee in full. We were also contractually obligated to run the event as an all ages show so it is reasonable to assume that if these are the demands of the artist and his management, then they would respect the need to arrive to the venue on time…

my tour because I didn’t think that was the appropriate way to handle things,” he was quoted as saying. “Now I’m forced to, because the things that are being said about me are not true.”

“And every time we got our hopes up that he was in transit to the venue, we would find out that he had not in fact left his hotel room. The most difficult part was then turning him away from the Club when he finally arrived nearly three hours after he was due on stage. We did not believe he was in a suitable condition to perform.”

Apparently confusing the festival with the club appearance, Lean offered an exclusive statement to Your Daily SPA which seemed to kill the incident, publicly at least. “In regards to the response from Flo Rida, it would appear he is confused with what event he is even talking about and is getting his [non] appearance at Fat As Butter possibly confused with his later appearance at the Mounties Club on Saturday night. This is also supported by the fact he never made it to Fat As Butter – late or otherwise. We were originally to pick him up from his confirmed accommodation being the Marriott Hotel in Pitt St, but were advised on Saturday morning that he was now staying at the Four Seasons. When our transport arrived at the Four Seasons we were told he was no longer staying there and had booked himself into the Shangri-La, and this is where we found him.

At the time, Lean said he believed it to be an artist issue and therefore didn’t hold the tour manager or Australian promoter to fault. However, they will be seeking a full refund of the fee – which was paid in full previously – and auxiliary costs due to the broken contract. “We’ll definitely be going for a full refund of our fee… We hope that everyone does the right thing and it’s not lawyers at 30 paces.” Angry fans took to social networking sites to vent frustration, which soon turned ugly with racial and homosexual slurs thrown at the artist. Squabbles broke out on the page, with one user reacting to the language used by Campbell McNolty, a radio host on Melbourne’s community station PBS. The station is listed his employer on his Facebook profile. He posted, “Weak as piss flo rida. I hope you and your weak ass crew never get booked for another show. Your certainly not welcome down under. fucking bitch ass n****. Go read a book on how to be a good bloke. we should have a fucking public apology!!!” PBS was quick to point out to music newsletter Your Daily SPA that “the comments were not published or broadcast on PBS. PBS does not endorse the comments made.” While this was going on, reports emerged from Townsville that Flo Rida’s hotel room had been raided by police and a member of his entourage charged with drug and weapon offences. It is reported they found cannabis, Viagra and a taser. Dakari Dalawn Phillips received a fine of $1,800 and in covering the case, the Townsville Bulletin reported, “The 33-year-old refused to answer any questions from the media about what the arrest meant for his employment but was happy to flirt with a female reporter calling her “cutie” and wanting to exchange numbers.” With all the media exposure surrounding the events, Flo Rida eventually responded (beyond a brief “unfore-

LINE

FLO RIDA seen circumstances” tweet) to website AllHipHop.com. Denying that his room was raided, he said that there had been no transport to the Fat As Butter festival and that he had tried to take a taxi – but had arrived late. “I didn’t run to the media to discuss a business issue with

“It was here that he actually got in the car and requested the driver to take him to a Subway shop for food, while also requesting that the driver only play his music and to turn his mirrors so he couldn’t look him in the eye. Following this the driver was told to take him to Star City where apparently he had now booked another room. According to our driver when they arrived at Star City he then had some sort of dummy spit, entered the hotel and never returned. Once we were officially advised that he was cancelling his appearance at Fat As Butter, we asked the vehicles to return to Newcastle where they were to meet their scheduled requirements for other artists playing at the event. “Again I’d like to stress Fat As Butter had nothing to do with the sourcing or booking of any accommodation, and that we provided his exact requirements for ground transfers [a Mercedes Viano and a 12 seater Mini Bus], and that at no stage was there any dispute or complaint about the standard of vehicles or those driving them.”

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THE DRUM MEDIA 1 NOVEMBER 2011 • 27 •


YOUR SAY

LETTERS@DRUMMEDIA.COM.AU

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

AUSSIE, AUSSIE, AUSSIE Dear Drum, I have been to three great events over the last seven days. I caught awesome bands like Iron Mind, Deceiver, Relentless, Shinto Katana, Phantoms, Hand Of Mercy, Confession, Thy Art Is Murder, The Bride and Antagonist AD. Bar Antag (NZ), all the bands are Australian! How good is that!?! The only bad thing I can see is Drum Media did not review ANY of those mini-fests. All this talk about supporting Aussie bands and Aussie venues seems to be a bit what’s good for gander isn’t good for the goose if you catch my meaning. I pick up Drum every week and am pretty disappointed not to see a review of any of these shows. Less US hipster wank, more Aussie love.

So, fellow readers, what are your thoughts? Are earplugs super dorky or a smart move to prevent hideous deafness in old age? Newfound old fogey Wentworthville What? Speak up sonny, we can’t hear you. Where’d we put our ear trumpet? – Ed

FINAL SIREN

Cheers,

Dear Drum,

Ben

While it sounds like Flo Rida may have been a bit of a knob in his actions while out here recently in Australia and not turning up for scheduled performances, I reckon Rob (Mailbag #1083) should leave Meatloaf out of the line of fire. It seems like pre-game entertainment is hyped in this country and really, when it comes down to it, we’re never going to get to the level of the Superbowl in America when it comes to a “wow” factor for what goes on. Firstly, I’m not sure why the AFL thought he’d be a good get for them. You think fit blokes playing AFL, you don’t automatically link it to Meatloaf. Did they just have a bit of pot luck and grab whichever international star happened to be in the country at the time? Then again, the AFL never has had that good a track record with entertainment. Remember Angry Anderson in a Batmobile? What was that about? At least he was singing Bound For Glory, whose lyrics can be adapted to teams striving to win a grand final. Then of course there’s Billy Idol before the rugby league grand final about a decade ago, coming out in a hovercraft only to have the power cut out during his performance. So probably don’t take aim at the artists taking part in these sporting spectacles, but the organisers.

Waterloo As we always say, as much as we’d like to be at every event across town, we just physically can’t. But if you check out our live reviews this week, you’ll see them full of Aussie acts and nary a US hipster wank in sight. – Ed

NOW HEAR THIS Dear Drum, I have long scoffed at those under the age of about 65 who insist on wearing earplugs to gigs, reasoning that they want to protect their eardrums from being damaged beyond repair by the sweet, sweet sounds of rock’n’roll. I’d always thought that it was a weak way out – that if you were a true believer in the power of music, you’d take it for the team and carry your wasted little ears as a reminder, in old age, of the good times you once had. Hundreds upon hundreds of shows into my gig-going life, I personally have never felt too bad post-gig, save for a bit of ear-ringing once in a while and so the earplug-wearing contingent of our gigging population always made me snort a bit. Went to see The Drones on Saturday night and as soon as they started playing, I physically grabbed the sides of my head as a knee-jerk reaction to the extremely loud sounds produced. Wait, what? Since when has this ever happened? Usually I revel in guitars hammering at my

FRONTLASH

Alan Dee Why Another great grand final memory – remember when pay TV was launching in Australia and one of the companies had a giant TV at the league grand final… which promptly fell apart? Those were the days… – Ed

BACKLASH

KYLIE AND THE WIGGLES

NEIGH

Congrats for being entered into the ARIA Hall Of Fame. Wonder if the respective gold hotpants and coloured skivvies will get their own gong?

So there’s some horse race on. Join us in our entertainment and see which are the Z-list celebrities that get wheeled out for the event that you have no idea who they are or any reason why they should be there.

AIRLINE STRIKES Glad someone has a sense of humour amongst all this. Apparently at one point on the weekend, the hold music at QANTAS was Daft Punk’s Around The World. Well, not at that moment in time they weren’t. Plus a high end escort based at Heathrow was offering her services for anyone in an extended, erm, layover.

COLDPLAY Say what you like about the group, but they’ve been one of only two acts to dethrone Adele from the number one spot in the ARIA album charts. Guess it remains to be seen whether they have the staying power.

PUBLISHER Street Press Australia Pty Ltd

GROUP MANAGING EDITOR Andrew Mast

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ASSOCIATE EDITORS Michael Smith, Scott Fitzsimons

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

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STAFF WRITER Bryget Chrisfield

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

• 28 • THE DRUM MEDIA 1 NOVEMBER 2011

head, but on this particular night the feeling was more painful than anything else. Once the gig got going I became accustomed to the extreme loudness – great gig, too – but now I feel slightly more sympathetic towards those who feel the need to protect their ears at shows.

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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

AIRLINE STRIKES Doesn’t matter whose side you’re on, this was a massive disruption. Don’t know how many tours were affected by this, but hopefully everyone got to where they were supposed to be in enough time.

LOSS OF LIFE It’s interesting though how the loss of three diggers in Afghanistan gets relegated to pretty much a footnote compared to the QANTAS strike and surrounding kerfuffle. Have we become desensitised to the issue?

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

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NEWS@DRUMMEDIA.COM.AU French beatmaker Onra is in Australia for the first time and will be doing his thing Thursday night at Oxford Art Factory.

NEXT UP

Joining These Kids Wear Crowns on their first visit to our fair city at The Lair in The Metro Sunday are our own Sound Of Seasons.

The Last Kinection’s latest album, Next Of Kin, is their second and is an emotional exercise in power and melody, shaped by events in the trio’s respective lives. The Indigenous group has won five Deadly Awards across its career, and the new album features guests including Trials from Funkoars, Ozi Batla of The Herd and Lotek. They’re out on tour over the next couple of months pushing the record, playing Saturday 26 November at GoodGod and Saturday 3 December at the Cambridge in Newcastle, with Ozi Batla.

Releasing their new single, Pick Up Your Tricks, on 11 November, as in 11/11/11, Amy Meredith will also be opening for Good Charlotte at Selina’s in the Coogee Bay Hotel that very day. Winners of the Best Alternative Act prize at the 2011 Exposure Music Awards in the UK, four-piece The Lost Souls Club are returning to Australia for another tour, playing the Cambridge in Newcastle Wednesday 7 December and The Metro Thursday 8. Mass MC and Reason & Kerser will be the special guests of American underground hip hop crew Jedi Mind Tricks when they hit The Factory Thursday 8 December on their first Australian tour. Indie-folk singer/songwriter Amy Vee has not only scored the opening spot on some of the forthcoming national tour by Tim Freedman & The Idle, but she’s also a member of the Idle, featuring on keyboards, guitar and backing vocals. She’ll be on double duty Thursday 17 and Friday 18 November at the Street Theatre Canberra, then Tuesday 13 and Wednesday 14 December at Lizotte’s Newcastle. In an effort to combat ongoing ticket scalping activity, Cold Chisel is releasing limited numbers of new tickets to most shows in the days leading up to each of their remaining concerts on the Light The Nitro national tour. This covers their Wednesday 9 and Thursday 10 November Allphones Arena, Tuesday 15 Sydney Entertainment Centre and Sunday 11 December Newcastle Entertainment Centre concerts, while new release tickets may be available on the day for the Sunday 13 November WIN Entertainment Centre and Thursday 17 November AIS Arena concerts. All new tickets will be available from box offices and by phone only. Due to the huge demand by fans, the Friday 25 November Metro Theatre show by The Getaway Plan has become a licensed, all ages show. The Cambridge Hotel Saturday 26 and Zierholz at Canberra Uni Sunday 27 shows remain over-18s events. North Queenslanders The Medics will be joining The Grates and Last Dinosaurs when they play Waves in Wollongong Thursday 10 November, the Cambridge in Newcastle Friday 11 and The Metro Saturday 12. Loene Carmen and bleedingintoradio are the special guests of Ron S. Peno & The Superstitions when the former Died Pretty frontman launches his new album, Future Universe, at The Vanguard Friday 18 November. Fresh from opening for Pete Murray on his national tour, Busby Marou are hitting the road in their own right on their What’s Yours Is Mine tour with Winter People and Ben Salter along for the ride, playing The Gaelic Friday 9 December.

IN PERFECT HARMONY

TWILIGHT AT TARONGA

Forming only a year ago, Harmony has already become one of the more rapidly rising bands in Australia. They’ve released a 7” and an AIR-nominated debut album, played all over the country, been added to the Golden Plains lineup for 2012, sold out of records… It’s all coming up, so it seems. They’re planning to head out once more on an East Coast tour across the next couple of months, playing the Pot Belly Bar Canberra Friday 25 November and FBi Social Saturday 26 here in Drum parts.

Taronga Zoo’s Twilight concert series is set to give zoo and music lovers alike some grand musical experiences every weekend from late January until late March in 2012. The series features some of the country’s best bands, both old and new, kicking off Saturday 28 January with rock icons the church. ABBA tribute Bjorn Again plays Friday 3 and Saturday 4 February, before James Reyne and Mark Seymour team up on Friday 10 and Saturday 11 to perform their hits. Tom Burlinson’s big band show follows the week after on Friday 17 and Saturday 18, and Broadway comes to Sydney courtesy Marina Prior, joined by guest Kane Alexander Friday 24 and Saturday 25. March kicks off with an All-Star Salute To Queen on Friday 2 and Saturday 3, the following week welcoming singer/ songwriter Diesel for one night only, Friday 9. Michael Jackson is remembered Saturday 10 with a Celebration of Michael Jackson, featuring singers, dancers and more. Back in time we go with Rock Around The Clock – ‘50s Night on Saturday 17, and Richard Clapton and Wendy Matthews take the stage Saturday 24. The final show of the series happens Saturday 31, with jazz superman James Morrison closing it all out. Tickets are all unreserved so punters can enjoy a picnic or drink while watching the show, but be warned that the 2012 season will see a restricted alcohol policy that allows you to bring in one bottle of wine per couple and a six-pack of beer per group of four. No one wants you going ape!

HEAVEN FORBID Rural rockers Heaven The Axe have just released their debut album, Sex, Chugs And Rock’N’Roll, a heady mix of explosive metal and catchy hooks, all at the mercy of frontwoman Phoebe Pinnock. For the last two years they’ve been gigging hard, recently supporting the likes of Crashdïet and Rose Tattoo. It’s their turn to take the spotlight on Friday 25 November, the Annandale stage roaring to life with their tunes as they officially launch the album. They will also be playing at Summernats in Canberra in January.

RISING STAR Melbourne singer Emmy Bryce is just about to release a brand new single, Every Star Is A Setting Sun To Someone, a breezy pop song perfect for a lazy summer day by the water. She’s been praised by Gotye himself and also scored a grant from the Victoria Rocks program, and is currently working on her debut album, set for release in 2012. She’s in our neck of the woods this month, playing at El Rocco on Friday 18.

IT’S A RAP With a new EP, Le Chat Et Fiddle, just a few weeks away from release, Rapskallion takes to the road once again this summer, heading all around the East Coast areas to peddle their wares. The EP covers ground from femme fatales to gangster felines and is a taste of the upcoming full-length release, Vagabond King, which will hit shelves in both vinyl and CD formats in March 2012. Le Chat Et Fiddle is out 25 November, and the band will play The Front on Thursday 8 December with Mr Fibby and, with Emma Dean, the Clarendon Guesthouse Friday 9 and the Camelot Lounge Saturday 10.

Back from Hollywood, Gold Fields are getting on with touring their self-titled EP down the East Coast, kicking into the Transit Bar in Canberra Thursday 10 November, Oxford Art Factory Friday 11 and Level One in Newcastle Leagues Saturday 12.

Hobart six-piece Ben Wells & The Middle Names are hitting the mainland showcasing their second single, A Good Read, and more, pulling into The Front Sunday 4 December, FBi Social at the Kings Cross Hotel Wednesday 7 and the Great Northern in Newcastle Thursday, before joining Festival Of The Sun in Port Macquarie Saturday 10. Could their music be as surrealistically dark as the UK TV series from which they take their name? Four-piece Royston Vasie are touring their new single, That’s My Girl, showcasing it and their forthcoming debut album Friday at World Bar’s MUM. • 30 • THE DRUM MEDIA 1 NOVEMBER 2011

SWAMP DANDIES

BROTHERLY LOVE

FINE AND DANDY Combining the sounds and moods of ‘60s and ‘70s pop with acoustic delights, Melbourne’s The Swamp Dandies are releasing their debut album, Fall, this week. Headed by ARIA Award winner Greg Arnold, the members of the band come from across all sorts of Australian groups, bringing their expertise in as one. Though this is the band’s first album, they’ve actually been touring together in 2000, when they formed as an acoustic act. Catch them live at the Lewisham Hotel on Saturday 3 December with The Lucky Dutchmen.

TAPES AND TAPES Wrapping up 2011, Bluebottle Kiss frontman and solo muso in his own right, Jamie Hutchings, is embarking on his final East Coast headline tour for the year. The prolific songwriter released a new album, Avalon Cassettes, earlier this year, brimming with personal narratives and soundscapes. With The Maladies and Mark Moldre, he plays Notes on Friday 18 November, and then Yours & Owls on Saturday 19.

SOLDIER ON The brutality of Western Sydney’s Thy Art Is Murder has seen them rise rapidly over the years as a local act to watch and now, with the release of their debut fulllength album, The Adversary, the band is heading out as a headliner on the Soldiers Of Immortality tour. It’s a fairly massive bill for the gigs – joining the headliners are War From A Harlots Mouth from Germany, The Bride and Make Them Suffer. The East Coast tour hits The Wall on Sunday 4 December, the Cambridge Hotel on Wednesday 7 and Unanderra Community Centre in Wollongong Thursday 8. The Newcastle show is 18+, but the other two are open to fans of all ages.

SHOW ME THE MONEY Insert Coin(s) is back once again at Oxford Art Factory on Thursday 10 November, the newest night out in Sydney that’s full of games, live music, art and more. For $10 on the night, you’ll get access to a heap of retro games – including pinball and standing arcades – and DJs will spin ‘80s, ‘90s and modern tunes to soundtrack your evening. The live music this time will come from Glass Towers, and you’ll also get a sneak peek of the upcoming Assassins Creed game. Free candy, alcoholic milkshakes and heaps more are also on hand, as well as art from Scale and Alex Lehours, so it’s sure to be a unique night if you’ve not yet checked it out.

FALLING DOWN UNDER Not to be confused with the Central Coast band of the same name, US rockers After The Fall are heading our way all the way from Albany, New York to bring their melodic hardcore to Australian stages. It will be the group’s first visit to our fine country and they’ll be heading into venues on the East Coast with Melbourne’s Anchors. Friday 18 November they’re at the Hamilton Station Hotel with The Hollow and Safe Hands, Saturday 19 at Hermann’s Bar with Easy Company, 10 Paces and True Gentlemen, Sunday 20 at Black Wire Records for an all ages show with Mary Jane Kelly and Firearms, and finally Wednesday 23 at Bar 32 with Yoko Oh No and Snakepit.

SINGING SIREN Perth singer/songwriter Felicity Groom’s newest single is called Siren Song, the first track taken from her debut album, Gossamer. The musician was named a feature artist on triple j Unearthed and went on to win the Western Australian award for the program, also having picked up other awards over the years and supported various Australian artists. She’s also played Glastonbury, so there are surely plenty of tales to tell from the biggest rock festival in the world. Saturday 3 December, she launches the album at the Upstairs Beresford. Entry is free.

GOLD FIELDS

The Bride are opening for House Vs Hurricane on their Moving On tour, which will see them play an all ages show at St John’s Hall in Sutherland Saturday 26 November followed that night by an over-18s show at Nowhere.

WHIP IT GOOD Whiplash Festival makes its debut in Canberra on Saturday 12 November, ripping up The Basement Belconnen. The lineup is positively enormous, featuring Australian talent Norse, Mad Charlie, Hemina, Dawn Heist, Humonic, Engage The Fall, Devine Electric, Nekrofeist, Katabasis and more. Blind Image has been freshly announced, but unfortunately Tasmania’s Taberah has had to withdraw from the event. Nothing can stop Whiplash though, so it’ll still be going ahead, with heaps and heaps of bands to check out across the day and night.

JAMIE HUTCHINGS

The Hailey brothers, K-Ci & JoJo, are headed back our way in December once again to perform the hits from across their R&B career. The tour is called Love Life and that’s just what the pair has been doing, after coming clean from drug and alcohol problems and taking on a whole new outlook on life. Since the ‘90s, the brothers have issued a string of successful albums, spawning singles like the chart-topping All My Life and scooped up plenty of awards for their contributions to the genre. They play the Enmore Theatre on Friday 9 December, with tickets on sale Monday.

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THE CHURCH

RELIGIOUS EXPERIENCE Veteran Australian rockers the church are a big part of this year’s Homebake bill, and they’ve also played some huge shows over the year, including some for which they played albums in full. They’ve got yet another impressive tour planned – an acoustic one, on which they’ll be performing their two acoustic albums, El Momento Descuidado and El Momento Siguiente, in their entirety. It’s called Does Momentos Especiales – two special moments – and you can expect to hear stripped down versions of all your faves when it comes to Lizotte’s Kincumber Thursday 8 December and Lizotte’s Newcastle Thursday 15 and Friday 16.


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OH, HONEY Indigenous musicians OKA are releasing a new album, Milk And Honey, this week, the sixth such offering over a career that’s seen them travel the world and independently sell hundreds of thousands of albums. The group’s music traverses genres including dub, electronica, hip hop, jazz and plenty of brands of world music, their three members all contributing something special. They’re back in town for the warm weather this week, playing Petersham Town Hall Friday, the Rhythm Hut Saturday and the North Steyne Hotel in Manly Sunday, before hitting a few festivals in the coming months.

M A R L E Y FESTIVAL NEWS www.thehouseofmarley.com.au

URGE OVERKILL

GOING TO THE CIRCUS ARIEL PINK’S HAUNTED GRAFFITI

Hailing from Melbourne, singer, songwriter and flautist Susy Blue wants to take you to the circus with her. That’s the title of her latest single anyway – Circus – and it’s just as whimsical and delightful as it sounds. The folkie musician has been recognised with award nominations and plenty of radio airplay, and it’s on the back of the new single that she’s heading to our parts this month to launch it, as well as its fan-funded video clip. She hits the Excelsior Glebe on Friday 18 November with Achoo Bless You and more special guests.

DEFEND POP/PUNK ROKY ERICKSON

ARCTIC MONKEYS

FIRST AID KIT

Last in Australia at the start of the year as a part of the Laneway festival tour, the eccentric Los Angeles sensibilities of Ariel Pink’s Haunted Graffiti will be returning in 2012, appearing on the Golden Plains and Adelaide Festival bills. Rising to prominence and popularity with the 2010 album, Before Today, the experimental pop artist leder is one of the most unique voices in independent music today, as well as a firm favourite of Pitchfork. Aside from his festival performances, Ariel Pink will appear at Oxford Art Factory on Friday 2 March.

ROK ON The legendary Roky Erickson, who’s been in the music business for almost 50 years now, will be making his maiden voyage to Australia in 2012 to partake in the Golden Plains and Adelaide festivals. The singer, who cut his teeth as a member of The 13th Floor Elevators, last released an album in 2010 – True Love Cast Out All Evil, featuring Okkervil River. He’s now announced two sideshows while he’s in the country, for which tickets are on sale Monday 31 October. The Sydney date happens Wednesday 14 March at The Factory.

URGE, RISING It’s been 15 years between drinks, but finally in 2011, Chicago rockers Urge Overkill have returned with a new album, Rock And Roll Submarine. They’ve been announced as one of the acts on the expansive Golden Plains lineup in March, their first visit here since a brief stopover in 2006. While they’re here, they’ll also be heading to Sydney, Melbourne and Brisbane for some headlining shows. Tickets for these gigs are on sale Friday 4 November, with the Sydney show happening Saturday 10 March at The Gaelic.

COMING TO YOUR AID Already announced for a number of upcoming festivals, namely Golden Plains and WOMADelaide, the Swedish sisters who call themselves First Aid Kit are also set to play some sideshows while they’re in the country. The pair came to international attention after posting a video of their cover of Fleet Foxes’ White Winter Hymnal on YouTube, which has led to an enormous amount of recording and touring worldwide. Their second album, The Lion’s Roar, is due out in early 2012. They will play • 32 • THE DRUM MEDIA 1 NOVEMBER 2011

BIRTHDAY BASH Having been in the biz for over two decades now, Detroit techno producer Carl Craig is known as many things – an electronic music icon, a Grammy-nominated composer and a renowned DJ, to name just a few. Craig launched his own record label, Planet E, in 1991. That label has just turned 20 and if there’s a perfect cause for celebration, it’s a birthday! He’ll be in our neck of the woods next month to party with the best of us, playing The Metro on Saturday 17.

CHARGE GROUP

WILD FLAG

ARIEL PINK RETURNS

Gold Coast pop/punkers Skyway have released their new album, Finders Keepers, and are celebrating in style by heading down the East Coast to play the songs to any ears that happen to be there. The band formed in early 2008, and since then has released two EPs and supported plenty of Australian talent, including The Amity Affliction. On the December tour, they’re taking buddies Milestones and Apart From This along with them, hitting SFX at the St James Hotel on Saturday 10 and The Wall Sunday 11, the latter an all ages gig.

The Standard on Thursday 15 March, with tickets available Friday.

MONKEYING AROUND Visiting for the upcoming Falls and Southbound festivals, British indie faves Arctic Monkeys have proven so popular that their Hordern Pavilion show in Sydney has already sold out completely, with other cities not too far behind. Fans who weren’t quick enough to jump on the Internet and grab tickets to that show can now breathe easy, with another Sydney show announced at the more intimate Enmore Theatre on Friday 13 January. It’s again an all ages show, with guest Miles Kane in tow, and a chance to check out the Monkeys’ latest album, Suck It And See, up close and personal. Tickets are on sale Monday for the extra show, but be quick – they’re sure to go like hotcakes!

HAVE A BALL The eighth Gum Ball music festival is set to be held next year on Friday 27 and Saturday 28 April, at its beloved home of Dashville in the Hunter Valley. This year, the festival is teaming up with Wine Country Tourism for the first time and will provide new exclusive ticket and accommodation packages. First round tickets are to go on sale Wednesday 16 November, and fans are encouraged to become a member on Facebook to secure special discounts. The lineup will be revealed mid-December, and performer and stallholder applications are currently open online until the end of November.

MORE FOR SUBSONIC The organisers of next month’s Subsonic music festival, held in Barrington Tops, has announced a huge list of artists as new additions to the lineup. They include Marc Antona, A Guy Called Gerald, SQL, Spoonbill, Tim Richards, Heyoka, Phaeleh and heaps more, representing both Australian and international music scenes. To see more artists, check out our own Summer Festival Guide website.

MOMENT IN THE SUN Entries are now open for budding North Coast bands to join the competition that will see one lucky group added to the Festival Of The Sun (FOTSUN) lineup, thanks to triple j Unearthed. If you think you’ve got what it takes, head to triplejunearthed.com.au and click on the competitions page. There, you’ll be able to upload your tracks to the website, and if you click Mid North

Coast NSW as your region, you’ll go into the running to win the slot. A panel of triple j experts will judge the entries and you have until midnight this coming Sunday 6 November to get your submission in – so be quick! Winners will be announced live on triple j on Thursday 10 November.

CHARGE AT EXPLOSIONS With tickets flying out the door, local supports have been announced for the Explosions In The Sky east coast sideshows. The Texan post-rock instrumental quartet will perform at the Meredith Music Festival with sideshows on the East Coast. Local band Charge Group, who has just released a new single, Run, will support Explosions In The Sky when they play in Sydney at The Metro on Sunday 11 December.

WAVING THE FLAG Wild Flag, the new project of Sleater-Kinney’s Carrie Brownstein and Janet Weiss, as well as members of other influential bands, has announced a series of sideshows they’ll play when they hit Australia for the first time in March 2012. The group put out its debut, self-titled album this year and has been heftily praised for work both recorded and live. If you’re not heading to Golden Plains, you’ll still get a chance to check them out at Manning Bar on Tuesday 13 March.

THE FUTURE OF RACING Spring has sprung and Future Music has caught spring racing carnival fever, announcing recently that the first ever Future Music Festival Handicap will run on Saturday at Royal Randwick Racecourse. The day celebrates the course’s Grandstand Finish – the last race day before the venue begins its $150 million redevelopment. You’re invited to get all dressed up for the event; think classic with a twist of the future. There are opportunities to win VIP tickets to Future Music Festival if you rock up on the day, and there are also bars, garden areas and an official after party at Cargo Lounge.

www.summerfestivalguide.com.au

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A DEATH IN THE FAMILY

RESISTMAS TIME Christmas is just around the corner already, and everyone knows it, with a slew of festive gigs popping up all around the place. The latest comes courtesy of Resist Records, who are putting on a show at the Annandale on Saturday 17 December, featuring A Death In The Family, I Exist and new signees Toy Boats all performing live. The gig is free of charge but you’ll have to RSVP if you’re keen to get along, so email resistmas@ resistrecords.com with your full name and how many peeps you’re planning to bring along by Friday 2 December. And of course, the show will be happening while the Annandale is running its annual Smith Family Drive, so feel free to bring along a little wrapped something to make an underprivileged kid smile this holiday season.

GATHER ‘ROUND Swiss DJs and producers Round Table Knights have been enjoying a couple of years of massive successes, including EP releases, deft mixes of hip hop, rock, electro and more, kudos from the likes of Pete Tong and Annie Mac… The list goes on, and to top it all off they’ve released their debut artist album, Say What?! It’s all very exciting and there’s no better way to congratulate them on their achievement than to see them in action, Saturday 17 December at Cream Tangerine in Sydney and Thursday 22 at Trinity Bar.

MONSTER MASH Michael Moebus, who makes music under the name of Meem, has a new album out. It’s called Monsters Don’t Sleep OK! and features the likes of Mr Scruff, Roots Manuva, Raashan Ahmad and The Boom Band Krewe, among heaps of others. It’s the electronic producer’s fifth release and sees him mixing genres ranging from funk and soul to boogie beats. The record is a limited edition release, with only 200 copies pressed in a unique Perspex monster shape. Meem launches the new album next week, bringing the beats to Tonic Lounge in Sydney on Friday 11 November.


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KINKY STUFF Kink is back at The Arthouse this month, with France’s Sébastien Léger coming along for the ride. The DJ and producer will be on hand Saturday 19 November, alongside other electronic experts including Ben Morris, Shamus, Nukewood, Brenden Fing, Digit, Gabby, Trix, Goodfella, Reno, Foundation, Telefunken and heaps more. His set will begin at 1amy.

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Sydney Festival’s Parramatta program has been unveiled, with the Idolize Spiegeltent arriving in Prince Alfred Park for a ten-day program of local and international music. Friday 13 January, Clairy Browne & The Bangin’ Rackettes (pictured) come to the Spiegeltent for their unique brand of girl group harmonising, and Sunday 15 it’s all eyes on Indigenous singer/songwriter Frank Yamma. Born on the Ivory Coast and based in France, Fatoumata Diawara’s jazzy blues and folk sound takes over the tent Tuesday 17 and Wednesday 18 – she also plays The Famous Spiegeltent Friday 20 and Saturday 21, as well as the Sutherland Entertainment Centre Sunday 22. Alternative rocker AA Bondy (pictured) is in the house Thursday 19 and Friday 20, and our very own songwriting legend Ed Kuepper brings his extensive catalogue to the stage Saturday 21 and Sunday 22. As well, there’s Asa & Fefe from France/Nigeria, playing the Riverside Theatre on Tuesday 17.

Swedish house musician John Dahlbäck released his first proper album last year, but don’t think he’s been resting on his laurels since. Currently based in London, the producer is also owner and founder of his own record label and has remixed everyone from Alanis Morissette to Kleerup. His current single, One Last Ride, featuring Erik Hassle, has become a radio favourite in his native Sweden and has also been championed by Swedish House Mafia, and this year he’s made his mark on remixes of tracks by Lady GaGa, Sneaky Sound System and more. He’s planned an Australian visit in January, when he’ll play Home Friday 6 and the Beachcomber Hotel Saturday 8.

RADICAL RODENTS The vinyl edition of Rat Vs Possum’s new album, Let Music And Bodies Unite, is out now, the group’s second record only available on this format. Without a CD release to go with the album, it’s a good chance to get super intimate with the music on wax. The band has, of course, played extensively around the country and beyond the last few years. The popsters are celebrating the vinyl release with a launch at FBi Social Friday 11 November.

ROCK OUT WITH YOUR, UM..., OUT Head to the Upstairs Beresford Thursday 10 November to help raise funds for SoundSchool Rwanda, with a gig happening for the cause. The headliners will be Bigphallica, the world’s “greatest mock cock rock metal band” – make of that what you will, but they’re here for just one night so be sure to give them a warm welcome. There’ll also be plenty of special guests, and punters will receive a complimentary drink on arrival, in a good cause.

ROPE YOU IN Melbourne band Money For Rope is set to jump into the van and drive up the Hume to hit parts closer to Drum territory, the catalyst being that they’ve just released their third single, I’ve Had Days/ December, on 7” orange coloured vinyl. They’ve got another single just around the corner and have also recently begun working on their debut album. You can catch them around the place this month, at GoodGod Thursday 10 with Made In Japan, The Patch Friday 11 and the Sando Saturday 12, alongside legends The Celibate Rifles.

LOVED UP Local band Underlights locked themselves up in the recently closed Big Jesus Burger Studios (RIP!) in August with legendary producer Paul McKercher to work on two songs that will appear on their upcoming debut EP. The rest is still under construction, but for now you can at least check out the first single, Now That You’re In Love, which has been added to rotation on triple j and met with some rather excellent feedback, including Underlights featured as triple j Unearthed’s artist of the week. They’re playing Thursday at GoodGod and the Annandale Thursday 17 alongside Oh Mercy and more, as a part of the venue’s Christmas party and also the official single launch.

LONG WAY Street Of Dreams is the new collaboration between Mic Conway and Robbie Long, blending the pair’s individual talents into one flawless whole. Including Captain Matchbox classics as well as Conway’s own songs and hits from the 1920s, the album’s variety keeps it fresh and exciting, and the live show includes stompbox, ukelele, musical saw, fire-eating and much more that’ll make your eyes and ears pop. Friday 11 November the pair plays The Vanguard, then Saturday 12 they’re at the Royal Exchange in Newcastle and finally end up at the Clarendon Guesthouse Saturday 3 December.

Melburnians Go-Go Sapien release their second album, This Body Is Wrong For Us, Friday. Also out that day is the latest album, Parallax, from Deerhunter’s Bradford Cox’s solo project, Atlas Sound; Sydney’s own Step-Panther drop their self-titled debut album; Melbourne six-piece Plastic Palace Alice deliver their new album, Like A Light; a live double album, Inni, from Sigur Rós; the debut album, The Vision, from the UK electronic producer who goes by the name Joker; the debut album, As Night Falls, from local folk artist Sarah Calderwood; Californian Cass McCombs releases his second album for this year, Humor Risk; the Aeroplane In Flight Entertainment mix-tape album; San Antonio’s Girl In A Coma release their new album Exits And All The Rest and New Jersey-viaNew York indie-pop outfit Big Troubles release their new album, Romantic Comedy. Friday sees the release of the Immersion and Experience editions of 1975 Pink Floyd classic, Wish You Were Here, the former a five-disc edition with previously unreleased material from their 1974 Wembley dates, while the latter is a two-CD set with a second disc of previously unreleased material. Also released that day is A Foot In The Door – The Best Of Pink Floyd. Out today is the first single, Build A Fire, from Lamb’s latest album, 5, complete with a swag of remixes and “reinterpretations” by, among others, our own Jonathan Boulet, Domeyko/Gonzalez and kyü’s Alyx Dennison. • 34 • THE DRUM MEDIA 1 NOVEMBER 2011

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HE’S GOT THE LOVE

FROM SQUAT PARTIES TO THE MOST GOOGLED NAME ON THE PLANET: THIS IS THE RISE OF FLORENCE WELCH. When Florence Welch was performing at squat parties and dreaming up songs in her bedroom in South London, she could barely have imagined how debut album, Lungs, would be embraced across the world and lead to her becoming a global megastar. As well as selling a remarkable three million copies, Lungs also won the coveted Best Album award at The BRITs. In January 2010 the album reached number one in the UK, after being in the charts for 28 consecutive weeks. It remained in the Top 40 for over a year.

baptism of

In 2010, monster hit, Dog Days Are Over, led to her breaking America. The single took the charts and the airwaves by storm and resulted in her performing the song to a global television audience of almost a billion people at the MTV VMA awards. The following day Welch was the most Googled person on the planet. She went on to write and record a track for the Twilight: Eclipse soundtrack and made a guest appearance on an episode of Gossip Girl, where the band performed an acoustic rendition of Cosmic Love.

FIRE

In the last year she has graced the stages of Saturday Night Live, Good Morning America and The Colbert Report. She performed at the 53rd Grammy Awards as part of an all-girl, all-star Aretha Franklin tribute and was also nominated for Best New Artist. Other notable appearances were at the 83rd Academy Awards, Anna Wintour’s star-studded annual Met Ball and the Nobel Peace Prize ceremony in Oslo. She performed a version of You’ve Got The Love with Dizzee Rascal (titled You’ve Got The Dirtee Love) at the 2010 BRIT Awards. This year saw Gucci dressing Welch for her summer tour. She also performed at the Chanel runway show at Paris Fashion Week. Time Magazine ranked her at number 51 in their 2011 list of the 100 most influential people in the world.

FLORENCE & THE MACHINE’S FLORENCE WELCH EXPLAINS TO ROB TOWNSEND THAT SHE FELT LESS PRESSURE MAKING HER HUGELY-ANTICIPATED SECOND ALBUM THAN SHE DID HER FIRST.

“T

here have been so many bizarre moments,” flame-haired songstress Florence Welch laughs as she recalls the whirlwind that has been the last couple of years of her life. To illustrate this, she recounts her appearance at this year’s Met Ball in New York, which celebrates the annual opening of the Costume Institute at the Metropolitan Museum of Art. “Coming out of the Temple of Dendur with bleached eyebrows dressed as David Bowie, doing some sort of strange jig with Paul McCartney and then spinning around next to Madonna was one of those moments where it was like, ‘My life has become irrevocably weird and I doubt it will ever get back to normal.’” Indeed, from winning the Critics’ Choice Award at the 2009 BRIT Awards before she had released an album, to her debut record, Lungs, receiving worldwide acclaim and selling by the bucket-load, to recently having been cited as an influence by none other than Beyoncé, it’s fair to say that things have been pretty surreal for Welch since she burst onto the scene. Forever in the media spotlight and with an army of fans hungry for new material, one might think that the English singer/ songwriter would have been under a huge amount of pressure to deliver the goods with her new longplayer, Ceremonials. In fact, compared to her first album it seems, the opposite was true. “I didn’t really think about it. I was just happy to be writing,” the charmingly polite and well-spoken 25 year old explains. “The pressure I was under, writing the first record after winning that Critics’ Choice Award and still being at such a raw stage, was so intense. I’d say it was almost a negative thing because it really put me under a microscope before I had anything to be protected by. People really went for how I looked or my personality because that was the only thing that was there. There was no album and to be picked apart like that before you have any music to stand by is terrifying. It was a baptism of fire. I’m really grateful for having got that award; it was a great opportunity and it really helped me in the long run, but at that point it was pretty hard to see the benefits because I was just freaking out the whole time. This time round, with a clearer idea of what I was doing, it was almost easier.” Working once again with award-winning producer Paul Epworth (who also co-wrote and produced Lungs) and • 36 • THE DRUM MEDIA 1 NOVEMBER 2011

Isabella ‘Machine’ Summers (songwriter and member of the band), Welch recorded Ceremonials with her group over five weeks in the English summertime in Abbey Road’s legendary Studio Three. The result certainly doesn’t sound like something that was created under an especially heavy weight of expectation. “I was really lucky because I was working with some amazing people. Working with Paul and Isa, we have such a musical connection. They had all these amazing drum patterns that I could get excited by and Paul would have these great chords. They made it easy to get back into the swing of things. We’d been speaking about it for a year and I had a really clear idea of what I wanted – big

Welch beams when Drum brings up the notion that, if the excellent Lungs was an eclectic collection of songs, Ceremonials is a progression in that it sounds very wellrounded. “That’s what I was aiming for. It was really important to me that it had a cohesive, overarching sound and it didn’t fluctuate from one song to the next. For better or for worse, the first album was always going to be an experiment. I’d been through a lot of musical phases from the age of 17 and 22, so it was an overview of that period. This one, because it was a shorter period of time, with one producer [Paul Epworth] and one place, was more just a body of work. A story, I guess, rather than a scrapbook.”

TO BE EMBRACED BY THE WORLD OF HIGHFASHION, FOR A GIRL WHO LOVED DRESSING UP AND WAS CONSTANTLY IN THE FANCY DRESS BOX, IS AN ABSOLUTE DREAM.”

When talk turns to the way in which the songs on Ceremonials were pieced together, Welch finds it hard to put her finger on exactly how she created them. “There’s no methodical process. I’m not a technical songwriter so everything has to be quite instinctive. I don’t write in a linear way. Paul would come up with chords and I would sing any random phrase that came into my head. That’s often how I write melodies. It’s like a séance. You just have to let whatever is in your head come out. It’s almost as if you have to stop thinking. You can’t be afraid.” As with melodies, Welch likes to allow lyrics to flow naturally from her, garnering inspiration from words she has chanced upon in books, art installations and everyday life. “Sometimes the words come easily and sometimes you have to work on them for a while. Images come and go and thoughts go on a tangent. I think it’s nice to have mixes of random phrases. It creates this new kind of poetry and you don’t really know what sense to make of it until it’s finished.”

drum sounds, big bass sounds, big choral sweeps. When we got back into the studio, everyone was just excited to be there.” To call the record ‘big’ is an understatement. This album is unapologetically huge. Massive. With layered instrumentation and Welch’s trademark howl, it is an impressively bold and expansive second coming. “I think you can’t help being incorrigibly yourself,” she explains. “I’ve always been interested in big drum sounds and I’m drawn to big orchestral sounds. I’m obsessed with this choral thing. I’m interested in hymnal music and Georgian choirs. It’s like heaven and hell in one.” Aside from its enormity, the other noticeable thing about the new album is that it is much more cohesive than her debut offering. “I’m really glad you said that,”

A lengthy worldwide tour is scheduled to promote the record, including a night at Sydney’s Seymour Centre, where fans will be treated to a mix of new songs and the familiar big hits. The journey across the globe is one that Welch is excited to make, as she has happy memories of her previous time here. “I love coming to Australia so much. The fanbase I have over there is amazing. I absolutely loved the [2010] Laneway tour. It was fantastic. The first day we arrived, we ended up going to the Big Day Out party and stayed up all night. We found The Horrors and they took us on a tour of Sydney at seven in the morning.” When she takes to the Seymour Centre stage, there are

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bound to be plenty of fans drooling almost as much at her chosen outfit as they are her music. It’s fair to say that Welch is nearly as well-known for being a fashion icon as she is for her incredible voice and can be seen within the pages of the monthly glossies as much as in the music press. “As a performer, what you wear is such a huge tool. It affects the way you feel and the way you move. It’s like thinking of it in terms of an art piece or a dance piece.” However, her image isn’t a contrivance, created by some record company executive. She has enjoyed dressing up since she was a child and, even before fashion designers were swooning over her, she put a huge amount of thought and effort into her onstage attire. “When we first started playing, we’d be given ten pounds for food and I’d spend it in a charity shop or a vintage shop and create these Frankenstein outfits: bits of feathers, lace, a red riding hood cape and glitter all over my face. So to be embraced by the world of high-fashion, for a girl who loved dressing up and was constantly in the fancy dress box, is an absolute dream.” With her aesthetic sensibilities an extension of her natural desire to constantly be creative, Welch is not the kind of person to let the dust settle and, even though her new album has only just hit the shelves, it inevitably won’t be long until she begins to think about the shape that record number three will take. Feeling that she has honed her distinctive sound with Ceremonials, the question now is, where does she go next, sonically? She ponders for a moment. “I’m thinking either more orchestral or minimal... Take it as big as I can, or go small. I don’t know.” She pauses, before joking, “Maybe minimal orchestral.” Whichever musical direction Welch takes in the future, if she walks the road with the confidence and gusto that she has displayed on Ceremonials, the world will surely remain her oyster. WHO Florence & The Machine WHAT Ceremonials (Island/Universal) WHEN & WHERE Tuesday 15 November, Seymour Centre


THE DRUM MEDIA 1 NOVEMBER 2011 • 37 •


FROM THE HEART

WITH A SUPERB NEW LP BRINGING THOUSANDS OF NEW CONVERTS TO HIS CAUSE, MATT COLWELL, AKA 360, IS FLYING HIGH. MARK HEBBLEWHITE SAT DOWN WITH THE MAN HIMSELF TO CHAT ABOUT ARTISTIC EXPERIMENTATION AND HIP HOP’S BRAND OF STODGY TRADITIONALISM. HERE ARE THE RESULTS.

that all the time – and that’s understandable because hip hop heads can be very purist in their approach,” admits Colwell. “But what I’d say to them is I haven’t compromised on my emceeing style; I haven’t changed my approach at all. The only thing that’s changing is the production and the melody side of things where I have introduced some new flavours. I want hip hop heads to listen to this album with an open mind. Listen to it as a piece of music, not a piece of hip hop music.” For Falling And Flying, Colwell chose his musical co-conspirators based on their willingness to push the boundaries. “M-Phazes does two beats on the album and the rest was done by Styalz Fuego. Styalz was the perfect person for what I had in mind for this record because musically speaking, he is capable of doing anything and can encompass many different styles in his production. I told him that I wanted to make an album with no rules and no barriers but to let the songs take us where they would. He loved the idea and really made his mark on the album.”

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f you want to know what Melbourne emcee Matt Colwell is all about just think about his chosen moniker: 360 – all angles, no boundaries. “There’s no real back story to how I chose the name 360 except for the fact that it perfectly reflected how I wanted to approach music. It was a promise to myself never to be limited by other people’s expectations or my own fears that others wouldn’t like what I was doing. To this day, it sums up how I see myself as an artist.” Colwell came to hip hop the same way many of his generation did, via the pernicious influence of skateboarding DVD soundtracks. Who’d have thought that a misspent youth would open up a career in music? “All the older guys were listening to the music they heard on skateboarding films,” laughs Colwell. “Back then it was all the East Coast greats like the Wu-Tang Clan, Gravediggaz and Mobb Deep – and we wanted to be like the older guys so we’d write down the songs off the DVDs and then go download them. I got more and more into hip hop as a result and started rapping myself. It’s funny, at first I actually couldn’t stand Australian hip hop because I just couldn’t get past the accent – it all seemed really bogan-y, BBQ and meat pie-type rap. But then one of my mates came along – I was only about fifteen at the time – and played me Lyrical Commission and their multi-syllable approach to emceeing got me hooked. From there I got into Hunter & Dazastah, Drapht, Bias B and Funkoars and many other great Aussie emcees.” Colwell admits that despite the usual teenage dreams of making it big, he never really considered emceeing

as a viable career path. “When I was seventeen I was desperate to drop an album, just to show people I could do it. Thank God I didn’t – I waited and worked on my style, but really it was a hobby more than anything else. Then a couple of years ago I actually had the opportunity to make an LP and so I took it. Even then I was never aiming to be mega successful, I just still had that burning desire to show everyone I could make a record. After that I started gigging and got some radio play and things were going so well that I finally realised that maybe I had a future in hip hop after all.” In the period since dropping 2008 debut album What You See Is What You Get, Colwell has quickly developed as an artist. Particularly telling are the musical risks he takes on his second release, Falling And Flying, an album that is a far different proposition than the more straightforward debut LP. This is an observation that Colwell is in full agreement with. “What You See… is pretty much a straight-up traditional hip hop LP. Since then, though, I haven’t really been

listening to much hip hop. I’ve been schooling myself on the entire Beatles back catalogue as well as appreciating other stuff like The Presets, Miike Snow and dance music in general. I think this process really impacted on the songwriting for the latest album. I used to listen to these guys and think, ‘Man, I’d love to rap over this sort of stuff’ – and this time I just went out and did it. You can definitely hear the different influences – pop, electro and dance – throughout the album.” So does Colwell still consider himself a hip hop artist? “Look, when I started I would have definitely called myself a hip hop artist in the strictest sense of the term,” he replies after a pregnant pause. “But now I just consider myself a musician. Don’t get me wrong, I still emcee and I still love hip hop, but I have sought to widen my horizons and embrace different styles of music in my own sound.” And what about the purists who will claim that Falling And Flying, with its Presets-styled choruses and musical fusion, is a complete sellout of hip hop heads and the hip hop scene in general? “You know, I actually get

REAL HEART, FAST BEATS

WITH HIS LASERS POINTED AT THE DANCEFLOOR, A THIRD ALBUM ON THE WAY AND A NEW LINEUP IN TOW, FAKER FRONTMAN NATHAN HUDSON IS A MAN ON A MISSION TO PUSH THE SYDNEY GROUP INTO THE FUTURE. BY ADAM CURLEY.

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athan Hudson has just returned to his Sydney home following a band meeting to discuss the setlist of Faker’s impending national tour. It’s been two days since the group’s whirlwind run of the country supporting UK indie phenoms The Wombats, a tour that found them, for the first time since their extensive support of P!nk in 2009, making use of large stages to an audience of many thousands. Anyone who’s ever seen Hudson climbing scaffolding or leaping onto foldbacks at a Faker show will know how much exercise he got playing the five Wombats gigs over the course of a week, but there’s no talk of rest and only a short (though elated) assessment of the crowds’ response to new material. “Just being on the road again means a lot, really,” he says, breathing out excitedly as if to signal that he’s now ready to discuss future Faker movements. You can almost hear his thoughts stepping onto the next train, travelling ahead. It’s no unfamiliar scenario. Hudson has long been a songwriter with a finger on what’s next, from popsongwriting zeitgeists to lyrical themes and the band’s visual imagery. But for the first time in Faker’s career, it’s also not a scenario negated by the slow pace of the old music industry or lineup changes. With their debut album, Addicted Romantic, released in 2005 after years of promising singles, some nine years after the first incarnation of the group appeared, there’s long been the sense they’ve been playing catch-up. Their second album, 2007’s Be The Twilight, was a mix of songs chosen from a large catalogue Hudson had developed. Now, with a third album, Get Loved, on the horizon – preceded by an EP of tracks that didn’t fit into the album format titled How Did We Not Get Loved? – it finally feels as if Faker are travelling at the right speed: fast. The core of the band has been pared back to Hudson and long• 38 • THE DRUM MEDIA 1 NOVEMBER 2011

time band member Nic Munnings, which has also shifted songwriting duties off Hudson’s lone shoulders. An online project that saw them turning out songs within a singular day over a period of four weeks in 2010 sparked and expunged ideas and bred new writing patterns. Hudson and Munnings have taught themselves to record and produce. A sonic shift has also occurred, as heard on the new EP and their mid-2011 Dangerous single (as well as that single’s blog-loved remix by CSS), putting a heavier emphasis on dark-club-dwelling, new wave beats and chrome-plated synths. Hudson is looking to the future of Faker and pulling his ideas along with him. “I’ve always maintained that if one person leaves the band, simply replacing them with another person isn’t necessarily the way to get things working again or to rebuild chemistry. And I guess with Be The Twilight, [drummer] Paul Berryman, who we’d been playing with for a long time, decided to leave the band because he fell in love and wanted to start a life in another part of the world, which is a wonderful, wonderful reason to leave a band. But I guess the dynamics then shifted when

we went to replace him and Stefan [Gregory, guitarist] didn’t feel the same camaraderie and so he moved on and then Nic moved from bass to guitar. It had become so… complicated maybe? It had become confusing. It felt like we were finding band members to replace band members to keep being on the road to play for… I wasn’t really sure what reason. “Nic and I were like, ‘We want to make a record like it’s the first Faker record. We want it to feel like us; we’ve been working together for seven years, why don’t we take it back to that?’ And Nic decided to play the drums,” he says, laughing at his bandmate’s new habit of jumping between instruments. (Munnings now switches between keys and guitar on stage.) “And we decided to learn to record ourselves and produce ourselves – you know, to feel like we have a future in what we do. And then the rules for finding band members… We had a goal of feeling like a real band where it was about camaraderie and about your own little gang that everybody feels like they could be a part of. And we wanted that to happen really organically.”

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So in a sense, while Falling And Flying has greater commercial appeal than the first record, is it actually as far from a contrived, ‘please play me on the radio’ album as you can get? “Definitely – and that goes back to hip hop heads who think that’s what I’m all about by introducing different musical styles into my work. I haven’t incorporated pop, electro and dance music into my work because I want to get on the radio, I actually really like all those forms of music. Everything I’ve done has been an organic musical progression. I believe that if you try and manufacture a ‘hit single’ people will see through it straight away; it won’t work because it’s not real. My music and my lyrics represent who I am – nothing more, nothing less. Listen to the album and you’ll see this; there are songs about my family, where I’ve come from and where I’m going. The best music always comes from reality – from the heart – and that’s what I try to remember every time I record a track.” WHO 360 WHAT Falling And Flying (EMI) WHEN & WHERE Thursday 10 November, Level One; Friday 11, Waves; Saturday 12, Annandale Hotel (arvo and evening); Friday 2 December, Breakout; Saturday 3, Homebake

During their time in the studio, Hudson and Munnings invited guitarist Liam O’Brien, formerly of The Scare, to record a part for a song. The dynamic worked, Hudson says, so they asked O’Brien if he’d consider a move to the bass. Then along came Sydney drummer Chris Stabback and Faker suddenly had a live band again. As for the dancefloor-targeted sounds we’re hearing from the EP, Hudson says it’s been a fairly natural progression. “The first record was all guitars and then the second record was guitars and keys and the third record, there’s still both of those things there but one aspect is speaking louder than the other, or speaking in a different way… We wanted it to be painterly, basically. We wanted it to feel like it was crafted and constructed and built and layered – kind of layered like a painting with many colours.” With the third record near completion, Hudson is able to see that the path that took Faker from Be The Twilight to its current state as a new, self-directing and audibly refreshed band has been in some ways a response to the process of following up a hit debut album. Letting an online audience in on new ideas as they happen and, indeed, letting wildly new ideas take shape has been about taking control of their output. Even releasing How Did We Not Get Loved? is in the service of not allowing good songs to fall between the cracks. “With Be The Twilight, a lot of the process was searching for a big song or a big single, because the machinery around us, that’s what they were hoping for. And we worked hard to find that, but some of the story around the other forty or so songs that we demoed got lost. And that’s sort of not how I came into writing – I’m an ‘everything counts’ kind of person. So I guess making the process for this record celebrate that and [celebrate] that each idea is vital and leaving some of the randomness in felt really important.” WHO Faker WHAT How Did We Not Get Loved? (Capitol/EMI) WHEN & WHERE Saturday, The Patch; Thursday 10 November, Cambridge Hotel; Friday 11, The Standard


THE DRUM MEDIA 1 NOVEMBER 2011 • 39 •


DREAM KEEPERS

THE LONG WAIT FOR CANYONS‘ DEBUT LP HAS FINALLY ENDED AND TROY MUTTON CATCHES UP WITH HALF THE DUO IN RYAN GRIEVE AND FINDS OUT THEY’RE SUCKERS FOR MAKING THINGS HARDER FOR THEMSELVES.

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ormer Perth kids now based in Sydney, Ryan Grieve and Leo Thomson started out as every pair does: separately, before a meeting of the minds formed their Hole In The Sky record label and the production tour de force that has since become Canyons. Over the past few years we’ve been drip fed bits and pieces from the twosome – a cosmic Tame Impala remix here (two members of the group both guest on this LP), a disco-fied Ladyhawke tune-up there and a few originals that started gaining momentum with last year’s My Rescue. And now, over two years in the making, their debut LP Keep Your Dreams is out there in the ether and the wait has been completely worth it. It’s an old school album of sorts in that it’s a proper collection – rather than a couple of killers and the rest being filler – filled with cosmic space jams, blurry blends of psych-rock and disco, acid house and sax; plenty of sax. Drum catches up with Grieve while on a short break before the madness of album promotion begins. After a quick congratulations on their cracking debut, he offers the heartfelt thanks of someone who genuinely appreciates any feedback they get about their work. The obvious first point of call is what took them so damn long? “We really started working on it when we got back from the States,” he begins. “Basically we hadn’t written any of it when we got signed. So we went over to tour the DFA 12-inch (Fire Eyes) in September ‘09 and when we got back in October is when we started writing it. So I guess it took about a year and a half to write and then a couple of months to mix and the rest of the time has just been label stuff. So the whole process has been about two years.” What’s immediately apparent is that while obviously there are plenty of electronic elements to Canyons’ sound, a lot of the music is based around live instrumentation. It’s a key element to what they do, according to Grieve. “We play all the instruments on the record apart from the sax. We jam and we set up parts, each song comes about quite differently though… “It’s definitely rooted in the studio environment,and once we get a vibe, we try and lay out a bit of an arrangement and work some lyrics in.” In addition to these, the duo set themselves some lofty goals when it came to incorporating ideas into Keep Your Dreams; goals they found themselves questioning at different stages. “I dunno if we’re a hundred per cent happy, but I think the day you are a hundred per cent happy, you kinda gotta question that. “I think what we set out to do and what we said we wanted to do before we started writing was make an album that wasn’t like ten dance tracks, it was an album that’s an album album, where it starts and actually goes somewhere. Like that classic album, like weird autumn albums that we love from like the seventies and eighties where you know one track is maybe like a total rock/jam/ pysch kinda thing and then the next one there’s a bizarre disco jam or an ambient thing with no drums. Those are interesting albums for us,” he tells, before acknowledging another factor in the lengthy finishing time. “We’re both into a fair bit of different music. We wanted to sort of get all things we love about music into one album, which we realised as we started we bit off a little bit more than we can chew. But we were that far into it we had to keep going, but that’s another reason why we took more time.” It’s destined to be a summer album – the beach, your backyard barbeque, four in the morning when things at the house party are getting weird – and that’s exactly how Grieve likes it, not a collection of club bangers. “Yeah, by the third or forth track you’re like, ‘Oh what have we got? Sixteen bars of a kick drum, some percussion maybe…’ Shoot me in the face, you know what I mean? We’re so far away from that, we don’t wanna do that. It’s redundant. In terms of an album format, making [club] tracks where that is the arrangement and that’s the way it goes and it’s done with the purpose in mind of a DJ, but in terms of an album format you don’t want that. “You wanna be driving your car, or relaxing on a Sunday or maybe you’ve got a few people around. You wanna try and get something that could potentially cater for a bunch of those situations. One of those albums that you go, ‘That works, that feels good to put that on’. That’s what we wanted to do as the goal.” Along with the album, Grieve has a very clear vision of where he wants the Canyons live show to go and, in the spirit of making things even more difficult for themselves, that means getting some help. “It’s a six-piece band. There’s a lot of sound on the record and I’m not into two dudes standing behind laptops or controllers just doing that electronically. There’s a lot of sounds, a lot of influences, a combination of live and electronic drums, percussion, saxophone, guitars, keyboard, vocals…” While they are in the midst of rehearsals, they’ve already established that backing tracks are out of the question and, with some visuals also planned, it could be a very exciting beast getting around the festival circuit this summer. “There’s no backing track. There’s certain loops that get triggered so if we want to extend a certain section for five minutes we can, then drop back into it. I would say there’s like twenty per cent loops, but all the rest is live – guitars, keys, percussion, drums are all live. “I really think it’s a nice combination of the electronic sounds, like house sounds and dance music sounds, but done in a live way. I think it’s still true to the recording, but we like stuff that’s pretty loose and not really rigid and on the grid. So it’s much more rocking, which I’m really looking forward to.” WHO Canyons WHAT Keep Your Dreams (Modular/Universal) WHEN & WHERE Friday 30 December, Peats Ridge

• 40 • THE DRUM MEDIA 1 NOVEMBER 2011

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ONCE WAS LOST

THE GETAWAY PLAN HAVE BROKEN UP, MADE UP AND GROWN UP, NOW THEY’RE LETTING THE WORLD KNOW THROUGH MUSIC, DRUMMER AARON BARNETT TELLS DAVE DRAYTON.

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rior to their current incarnation, The Getaway Plan’s consistent development of sound and impressive musical trajectory was already one of interest. Five then very young Melbourne lads in skinny black jeans with floppy fringes and heavy eye make-up cemented their presence in the local scene with the scream-heavy, scram-influenced EP, Hold Conversation. There was radio play, things started moving a little faster and all of a sudden the band were doing national tours supporting the likes of Taking Back Sunday. Like their American counterparts, they culled the heavy screamo influence with the next release, the commercial breakthrough, Other Voices, Other Rooms. There was one less guitarist – the band now comprised of singer/keyboardist/guitarist Matthew Wright, guitarist Clint Ellis, bass player Dave Anderson and drummer Aaron Barnett – cleaner vocals and choruses worthy of the radio play they received. The epitome of angst-ridden screamo a few years earlier were now playing songs on Rove.

It turns out that we came back to find something we thought was lost. So we’re letting the world know through music.”

And then, come 2009, it was over. The band farewelled fans with a sold-out national tour and all thought it was done and dusted. Then, in 2010 the teasers started with some cryptic online videos posted by the band. And then the announcement: they were back, with a new album in tow to boot. “A lot of the album is referring to us breaking up and getting back together, growing up, realising a lot of things,” explains drummer Aaron Barnett of the new album, Requiem, “And it turns out that we came back to find something we thought was lost. So we’re letting the world know through music.” Barnett talks about the album – and the band’s vested in it – on a grand scale; an approach that has coloured every minute of the album’s construction, from the aforementioned cryptic teaser videos, to employing producer David Bottrill – the multiple Grammy-Award winning man behind Silverchair’s Diorama and Muse’s Origin Of Symmetry – to spending months in Toronto writing and demoing the album before its recording. “It sort of became our home. When you’re there doing what we were doing for a long period of time like that, you try and make it as comfortable as you can and we settled in really well to the neighbourhood and the house was beautiful and after a while it just became normal life to us. Of course you want to come home, you go through stages – you miss it, you get sick of it – but I think when we came to actually packing up and leaving we all got a bit sad.” The Getaway Plan are committed to Requiem; it is a requiem for the band that was, a token of remembrance for the band that burned out and a statement of intent for what they have – and hope to – become. “Obviously we’ve grown up a lot since the first EP. Then after the album we had two years off in which we all grew up a lot again, so there’s definitely a slow progression of change throughout the songs. I think this record, if you listen to it from start to finish, it takes you for a ride. The first couple of songs have a hint of the old stuff and then things move along and kind of reflect Other Voices, Other Rooms and then towards the end of the record there’s songs like Heartstone that have a hint of the direction we might be heading in and the big, more worldwide sound. Hopefully it takes off the way we want it to because I think it’s got the potential to reach a lot of people’s ears.” The new sound is, if nothing else, big. It is soaked in string orchestration with further instrumentation including flute, French horn and oboe. There’s not one, but two choirs featured on the album – one gospel, one children’s. Barnett credits Bottrill for fleshing out the songs, helping to create the expansive sound the band had envisioned. “We had two or three weeks doing pre-production in a rehearsal studio. We had a week by ourselves just getting what we had done into shape and then Bottrill came in for a week or two and made the songs what they are; structurally what they are now. When we were looking for producers we just put Dave’s name out, we didn’t even think we’d have a chance of getting him and then he said yes. We were into what he’s done obviously and it fitted in with what we were trying to do with this record and straight off the bat he came into the pre-production room and he knew. He was on the exact same level as we were on the songs and he knew where we had to go with it and how we had to do it. And it turned out amazing. They were rough ideas; Matt had a picture of what he wanted to happen with extra instrumentation. They were pretty much just rough MIDI sort of strings in there, so he had an idea and we could show David and the other musicians we had working for us over there where we wanted to head. With that stuff we just sat down with them and showed them, told them where we wanted to go with it and let them do their own thing on it as well. It worked out really well because we wanted a big-sounding record and the people we had writing those extra parts were bloody incredible.” The obvious question is whether the band, at its core still a quartet, can reproduce the new material live. Barnett laughs, admitting a shaky beginning. “First show we had doing some of these songs was at [Brisbane’s] Big Sound. We only had a couple of days jamming to figure out how we’re going to pull of these fucking songs live and first rehearsal was pretty rough to say the least, but we’re jamming pretty good now. For what the show was it turned out alright.”

FEEL PRESENTS

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WHO The Getaway Plan

Also touring J MASCIS • BLACK JOE LEWIS

WHAT Requiem (UNFD/Warner) out Friday

SEE WWW.FEELPRESENTS.COM FOR FULL DETAILS

WHEN & WHERE Saturday, Fisher’s Gig; Friday 25 November, Metro Theatre; Saturday 26, Cambridge Hotel; Sunday 27, University Of Canberra; Thursday 26 January, Big Day Out

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THE DRUM MEDIA 1 NOVEMBER 2011 • 41 •


INDIE IT GIRL

BARELY TWO YEARS OUT OF HIGH SCHOOL AND SINGER/SONGWRITER EMMA LOUISE IS ALREADY ONE OF THE MOST AWARDED INDEPENDENT YOUNG ARTISTS IN THE LAND, LITERALLY, AS MICHAEL SMITH DISCOVERS.

like… I don’t know; it’s a pretty good feeling, people relating to your songs. “[The YouTube channel] has definitely got more views than I expected, ‘cause originally I’d write a song and I’d put it up and add the harmonies just so I’d have it. It’s a good way to kind of capture the song ‘cause you’ve got the chords and the harmonies. Then people started watching it [laughs].” One song in particular, Morning Eyes, which is yet to get an official release, scored particularly well on the February night earlier this year Emma Louise posted it.

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ven if you think you’ve not heard anything by Cairns-born and raised, Brisbane-based singer/ songwriter Emma Louise, if you’ve been watching the ABC-TV adaptation of Christos Tsiolkas’ novel, The Slap, you’ve heard her extraordinarily apt and slightly eerie Jungle, particularly in the teaser clips the station has been using to promote the show. It’s the perfect sort of exposure any young breaking artist needs. “I’d never heard of it,” Emma Louise admits with a slight giggle. “I actually didn’t know there was a book until I watched the first episode. It worked out quite well. I wrote the song last year and it’s kind of like about a stage in a relationship or something that happens when you can’t really express yourself; you don’t really know what’s happening, your head’s kind of all in a mess.”

It’s the song that won her the Song Of The Year and Best Pop Song awards at the inaugural Queensland Music Awards (QMA) in August this year, has been all over triple j and has even picked up airplay as far away as Los Angeles and Amsterdam. Jungle featured on her debut EP, Full Hearts And Empty Rooms, released in April, which also includes the song 1000 Sundowns, which picked up the Folk Singer/ Songwriter award at the QMAs. The EP also won her the Breakthrough Independent Artist of the Year gong at the sixth annual Jagermeister Independent Music Awards earlier this month. Not that Emma Louise, still only 19, is a stranger to winning the odd award. Back when she was 15, still at school up in Cairns, readers of The Courier-Mail voted her winner of the People’s Choice category of the Q Song Awards for Queensland songwriters. That led to her having a shot at a commercial radio initiative called NA2R (New Artists 2 Radio) where, in 2008, she

“I put Morning Eyes up on the night of Cyclone Yasi. I’d recorded it that night and interesting how it worked out ‘cause I put a tag on it that was, like, ‘Cyclone Yasi’ and of course everyone was on YouTube that night typing in Cyclone Yasi and my song would come up [laughs].” Even before she left Cairns for Brisbane two years ago, Emma Louise was already opening for pretty high profile acts as they came through her hometown. This year, she’s toured with Boy & Bear and, apart from a handful of shows to launch the Full Hearts And Empty Rooms EP, singer/songwriter Josh Pyke. won the Adult Contemporary category with a song titled Insomnia. Not that it turned to be quite the right avenue for her talents. “Those competitions were a little more commercial, but instead of aiming for Nova, I got a manager in Brisbane and got introduced to the… more ‘real’ world I guess [laughs]. Commercial music is pretty scary. It was pretty cool, though, to meet Andrew G,” she admits, giggling, of the night she performed for the NA2R radio showcase at Jupiter’s on the Gold Coast. “I think I was more nervous about that. I remember I was just about to go out on stage, taking deep breaths, and I saw Andrew G and I was like, ‘Oh my God!’ and got really, really nervous. It was a good night.” Producing both her debut and forthcoming second EP, on which Emma Louise is currently working, Mark Myers is a fellow former Cairns resident. “We knew each other for a while, through other friends and stuff and we always kind of said, ‘Maybe we should

work together’. But it wasn’t until I tried out maybe five other producers and it just wasn’t really working and realised, ‘Oh I’ve got this friend Mark’ and we tried it out and it worked really well. He’s very creative – all the parts he comes up with – and he doesn’t over-produce, which is really good. He kind of takes a song the way it is and then just builds on it organically.” On the evidence of her own YouTube channel, it’s obvious Emma Louise is quietly prolific as a songwriter. “It’s definitely hard to pick the songs for the EPs, but it’s a good feeling when you’ve recorded and put together a few songs that flow nicely together. I still write very honestly and I try to write as much as I can. I got a guitar when I was in grade seven or eight and started playing covers my friends asked me to play, but then I started writing my own songs and it was just like a natural thing. I just started writing really shitty, corny love songs [laughs] about, you know, boys that I liked, but I never really showed anyone until grade ten or something. Then I just fell in love with showing people

BEYOND GYPSY GRUNGE

SELF-STYLED “CHAINSAW FOLK” EXPONENTS THE CROOKED FIDDLE BAND GET THEMSELVES THE NIRVANA TREATMENT – MICHAEL SMITH INVESTIGATES VIA DRUMMER JOE GOULD.

If you haven’t caught them – Mark Stevens on double bass completes the line-up – in all their frenetic live glory over the past five years they’ve been traversing the country, you might have heard them if you caught the opening episode of Underbelly: Razor. No less a • 42 • THE DRUM MEDIA 1 NOVEMBER 2011

WHO Emma Louise WHAT Full Hearts And Empty Rooms (Independent) WHEN & WHERE Friday, GoodGod

something differently. He prefers to be called an engineer than a producer and we’ve credited him as such.”

For all The Crooked Fiddle Band’s apparent spontaneity, everything they play on stage has been meticulously arranged and the fact that it still appears spontaneous is a measure of not only the members’ consummate musicianship, but also the passion with which they tackle their compositions.

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“We were just fascinated by the energy in it and I guess the sound of the band really started when [violinist] Jess [Randall] brought in those ultra-fast, really shreddy Eastern European gypsy melodies and [guitarist] Gordon [Wallace] and I sat down and tried to work out how we could possibly play something that gave up the required amount of energy to complement that. That’s when we realised that, to us, it’s hardcore punk; it’s just the highest energy thing we could do on our respective instruments. From there we just started putting in whatever we feel like. basically – there are no rules so far apart from keeping everything acoustic – that’s the only common thread.”

“This time last year, I never would have thought I’d be going on a national tour; that I would have had a song on radio or anything. I’ve done a lot of gigs this year and I’m just trying to get together my live performance. I’m still sort of learning how to go on tour and stuff.”

Working with Albini also meant eschewing the digital world for analogue tape, which meant splicing together the various parts of the album’s 14 minute-plus finishing song, What The Thunder Said, full of changes of various instrument as well as tempo.

ake two classically trained musicians – a double bass player and a drummer with a background in orchestras – a reformed metal shredder enamoured of mandolins and a classical violinist with an overwhelming passion for “rule-breaking” Eastern European and gypsy melodies, throw in a deep and abiding love of punk and grunge, a splash of attitude and you get an instrumental four-piece from Sydney who call themselves The Crooked Fiddle Band. “We all came from very different backgrounds and I guess, from all those backgrounds, we converged to the point where we’re all really getting into the Eastern European, sort of gypsy-based traditional music,” drummer Joe Gould admits. “The band started off with quite a lot of material that was heavily based on that and we’ve moved away from that a bit as we’ve grown, and to us it’s just a matter of finding ways to support the elements that we’re starting with.

“All throughout high school, even before that, Missy Higgins, Lior and Josh Pyke were like three of my biggest musical influences, so it was a bit surreal,” she admits, “to be supporting and singing a song with him as well in his set, it was crazy. My best friend, Grace, she came to a show in Coolangatta and she met him and it was just really weird you know, ‘cause that’s all we’d listened to, was Josh Pyke [laughs]. So it was really strange and awesome.

“We do have a lot of raw material going into the writing process, but because we’re such a composed band, we really nut out in rehearsals pretty much exactly what we’re going to do. There’s not much improvisation or leeway. I guess it’s almost like composing for an orchestra or something in that regard. It’s a long, slow process and we explore every possibility that comes to mind most of the time. So we had a lot of things lying on the table when we started working towards the album, but by about halfway through the writing process, we’d narrowed that down to what went on the album. personage than Brian Eno was impressed enough to invite them to participate in the Luminous Festival he curated at Sydney Opera House a couple years ago. Having released a self-titled debut EP in 2006 and a second EP, Rise, two years later, the next obvious step was a full-length debut album. The only question was where to record it. The answer turned out to be in Chicago with the man who recorded Nirvana’s final album, In Utero, Steve Albini. “It’s probably the first time we’ve really got that live feel on a recording and that’s why we chose the studio that we did and went to Chicago and worked with Albini and stuff, just because we were listening to a whole lot of reference recordings when we were getting ready to do the album and we just wanted that more raw, high energy sound, but also have that warm acoustic sound. We’ve often got compliments on what a great live band we are so we just wanted to try and capture that energy. It was sort of hard to find a place where we could get the separation between the instruments, with the really loud

drumkit and the double bass and the violin acoustically, and that’s sort of what led us to Chicago really, because there was a studio that was really set up for bands just doing what they do. “There are places in Australia that do it, but I guess the other half of that equation was Steve Albini himself and the sounds that he’s got from a lot of my favourite stuff. I grew up on a steady diet of Pixies and Nirvana and things like that, so he’s definitely got the ‘rock’ credentials to get the drum sounds big and things like that. It wasn’t until we were preparing and listening to things that I realised that he’s actually done a lot of my favourite less rocky stuff as well, like Joanna Newsom’s Ys and Dirty Three’s Ocean Songs album. So it just seemed like he had a foot in all the right areas to record us at a really high level. “A lot of engineers we’d looked at were either really good at the rock stuff or really good at the acoustic stuff and maybe they were good at both, but we hadn’t heard the evidence of it. Steve Albini viewed his job as getting that sound, rather than telling us to change position or play

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“As the drummer, it is challenging and rewarding and fun and I guess it is quite complex, but we try to approach it with the philosophy of not doing anything for the sake of it. It’s not complex because we want it to sound like it’s complex; it’s complex because that’s how we felt it when we were writing it. We felt like it needed to have that bit of jaggedness or that bit of tension in the timing or in the key signature or whatever. So we tend to try and feel it musically to us and because of our own warped minds, that tends to come out being quite complex sometimes.” WHO The Crooked Fiddle Band WHAT Overgrown Tales (MGM) WHEN & WHERE Friday, Factory Theatre; Saturday, Cambridge Hotel; Saturday 12 November, Katoomba RSL; Friday 30 December, Peats Ridge


CRACKING THE FACADE OF COOL

FOR NEARLY THREE DECADES ALTLEGENDS THE FLAMING LIPS HAVE BEEN DOING THINGS THEIR OWN PECULIAR WAY AND, AS FRONTMAN AND CHIEF MISCHIEF-MAKER WAYNE COYNE TELLS STEVE BELL, THEY’RE NOT ABOUT TO START TREADING THE STRAIGHT AND NARROW ANYTIME SOON.

but my only comparison would be, ‘Yeah, well you eat dinner every night and if you’re lucky you can have sex every night if you want to and still enjoy it.’ So to me it’s in the realm of those things, that, ‘Yes, we just did this last night and now we’re doing it tonight!’ It doesn’t have to be diminished because you do it all the time. When it’s real like that and it’s powerful, it’s a big deal. It’s awesome.” Fantastically, The Flaming Lips’ celebrated bizarre streak is showing no signs of abating – one need only look at their 2011 musical output for evidence. So far this year they have released songs in disconnected YouTube snippets, sold EPs in miniscule runs, manufactured gummy skulls with USB sticks encased in (occasionally marijuana-flavoured) gummy brains, concocted gummy foetuses to hold their music and there are rumours of gummy vaginas in the pipeline – and that’s literally just scratching the surface of the madness they’ve been manufacturing in the name of music.

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don’t think we could be better to tell you the truth. We just got done playing a bunch of shows, we just got done recording and we’re home for a couple of days. But this summer’s amazing – we’ve gotten to play to a bunch of freaks who are taking drugs and doing weird shit all the time. It’s a cool life!” The Flaming Lips’ chief fearless freak Wayne Coyne is holding court from the kitchen of his Oklahoma City abode, sounding contented and happy. And why wouldn’t he? His band has outgrown the ‘strange outsider’ status that they earned with their idiosyncratic ways during the early stages of their nearly 30-year career to become veritable institutions of the world festival circuit, renowned for their elaborate celebratory performances which as a norm involve outlandish costumes, incredible visual projections, balloons, confetti, Coyne traversing atop the crowd encased in a giant see-through bubble – an absolute sensory smorgasbord that really has to be experienced to be believed (illegal stimulants not necessary for maximum enjoyment, but certainly not a hindrance). And given they have the perfect catalogue of semi-hallucinatory music to elevate their festival experience to the realms of the near-magical, why wouldn’t you make hay while the sun shines? “Well we don’t tour that much,” the affable Coyne reflects. “In the summer we jump around from continent to continent and there’s a lot of interesting places that we get to play, but we’ve never been one of these groups that plays like 250 shows a year – we might play fifty or sixty shows as the summer and fall go, but to us it’s never a month at a time. We’re always playing, but we’re always kind of coming home and trying to do things

in between. The worst thing that happens, especially to young musicians – in my opinion anyway – is that they just get so burned out on it. This thing that starts out as this really wonderful, joyous thing that they get to do is a little bit like a circus animal or something – you just have to go out there and do this thing every night – and for young people that can just destroy their spirit. I mean we’re not young anymore, but certainly when we were young we experienced that and saw it with other groups as well. “And some of my guys, they like to take drugs and drink and shit and if you do that too much you will die! So we just don’t do things that way. We try to enjoy where we’re at, enjoy the people we’re with, enjoy playing music and enjoy the other bands that we play with and just take it as this great thing it can be instead of feeling, ‘Oh, what a horrible grind that we’re on!’ A lot of that is self-made. I know for ourselves that we have a lot of... not control, but we have a lot of say about where we go and stuff, so we try to make it something that we want to do.”

Even from the outset it’s always been festivals that have drawn The Flaming Lips to Australia. Starting with the ill-fated but incredibly fun Alternative Nation back in 1995, their Australian sojourns have been built around Big Day Out, Splendour In The Grass and now the inaugural Harvest Festival, so Aussie Lips fans have been able to track the gradual ascent to their current status as music festival masters of ceremonies. “When all that stuff works and is able to crack this ‘coolness’ that people have – especially when people are at rock shows sometimes, because it’s a social event as well – but this idea that you can crack through that and people can really let themselves go and they can cry and feel these higher dimensions of emotion, it’s wonderful. And it’s wonderful for us too. We never sit there and go, ‘Look at them, they’re fucking crying, let’s go and get lucky.’ It’s an absolute delight to sing those songs and have it be this real thing. I have to say that never gets old. I think people would probably say, ‘Yeah, but you guys do that every night, it’s not that big of a deal,’

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“I think it’s like everything, you start off with everything being about fun and craziness and the possibilities of, ‘What if? What if!?’ and then you get down to the nitty gritty and some of it is not as pleasant as you’d hoped and other things are greater than you’d thought,” Coyne laughs. “So with all these things – being able to do things like the gummy skull that has a brain in it with a USB – I sort of feel like every band would do this stuff if they were allowed to. Maybe that’s not true. Maybe a lot of bands are like, ‘We don’t really care,’ but for me, I love this! I love all of it for being a vehicle for our energy and our imagination to say, ‘Yeah, wouldn’t it be great to do this or do that!’ “We still have quite a few things planned as the year goes, but I think we’ll probably always make music this way now. Instead of being holed up for three years and then going, ‘Okay, now we’ll wait for this thing to come out.’ I can see how invigorating it is to always be, ‘Okay, we’re making music, but it doesn’t have to be the end of the world – it doesn’t have to be the greatest thing ever!’” WHO The Flaming Lips WHEN & WHERE Sunday 13 November, Harvest

THE DRUM MEDIA 1 NOVEMBER 2011 • 43 •


JOYOUS SONGS

MERE WEEKS AWAY FROM THE 37TH ANNIVERSARY OF NICK DRAKE’S DEATH, HIS LONG TIME PRODUCER JOE BOYD AND SOMEONE WHO SHARED A SIMILAR EXPERIENCE AS DRAKE, VASHTI BUNYAN, TALK TO ANTHONY CAREW ABOUT WAY TO BLUE.

always felt, with Nick, that if people heard his music, they’d buy it. With Vashti, I thought her album was a beautiful gem, but that it was something very specific, not made for a big audience. And it wasn’t. Nick’s disappointing sales were in the range of 2000 copies, Vashti’s disappointing sales were less than a hundred.” Having written a collection of songs whilst walking to the Outer Hebrides on foot – with husband, dogs, horse, and wagon – Bunyan came back to record with Boyd. Her album barely attracted any interest and almost immediately sank. Stung, Bunyan retired completely from music. “I couldn’t play those songs again, I couldn’t sing them; they reminded me too much of being a complete musical failure,” she says. “I never sang them around the house. I never sang them to my children, which is one of my biggest regrets. But it was the only way I could deal with it at the time.”

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ike Drake died young and left a perfectly preserved body of work consisting of three records: 1969’s Five Leaves Left, 1970’s Bryter Layter and 1972’s Pink Moon. He left behind little archival material. He was interviewed once. He barely played live and no recordings of him on stage exist. There’s little extraneous, reissue-culture, documentaryfodder crap to obscure the simple, sweet purity of his sad folk songs. Infinitely more popular since his 1974 death than in his day, Drake has become one of the most influential musicians of the past four decades. That influence has led to Way To Blue, a concert tribute assembled by his former producer Joe Boyd, featuring vocalists like Robyn Hitchcock and Scritti Politti conceptualist Green Gartside taking to Drake’s canon. “I can take it all the way back to the first time I ever heard Nick,” says Boyd. “I got a demo tape of his songs and made an acetate of Time Has Told Me. I sent it to Roberta Flack thinking that she could make it into her follow-up hit to The First Time Ever I Saw Your Face. I have no idea if she ever even listened to it. Obviously she never did it. From the very start, I’ve always wanted Nick’s songs to be sung by other people.” One of those other people is Vashti Bunyan. Bunyan and Drake have long been connected – they were both managed and produced by Boyd, blessed with arrangements by Robert Kirby and, eventually, found their music embraced years after its release. “There was one time where Joe wanted us to write together, so he sent me to Nick’s house,” recounts Bunyan. “But I had a very young baby, who kept crying

VASHTI BUNYAN

JOE BOYD every time I picked up a guitar. I don’t think we even spoke two words to each other, let alone wrote a song together. It was never, ever going to work. He was a very shy, withdrawn person and I was in the early stages of motherhood; it just wasn’t a good match. But I have very, very strong memories of what he was like as a person, how it felt to be around him and, of course, of his music. “I always felt that he knew he was genius; that he knew what he was writing was profoundly wonderful. I never felt that about myself at all. So, it was less painful for me that I was totally ignored. But at the time it must have been terribly painful to him that his music wasn’t.” In some ways that regard is surprising, but Boyd says that he never doubted Drake’s potential for popularity. “My feeling when I first heard him was ‘if Leonard Cohen can sell 100,000 without touring – which he’d just done in 1968 – then Nick Drake can sell 100,000 records without touring’,” he recounts.

Yet, after Five Leaves Left failed to score a US release in 1969, Boyd’s optimism was curtailed and “nothing happened”. Still, after working on Bryter Layter, Boyd’s faith was still buoyant, even if the sales for Drake’s second album were tepid. “At the end of 1970, I sold my production company to Island Records,” says Boyd, “and in the contract of sale, there’s a clause that specifically forbids them from deleting Nick Drake’s records. Even at the time, I was already a) frustrated they weren’t selling and b) convinced that, if they were kept in print, one day they would. I always felt that it would continue to grow and people would continue to discover it and that’s what happened. It was only when that Volkswagen commercial came along [featuring the track Pink Moon] that it really took a big leap, beyond what I’d expected.” Despite having worked on Bunyan’s Just Another Diamond Day, Boyd didn’t share that same faith about her. “To be honest, I never had the same feeling about Vashti’s music as I did about Nick’s,” he chuckles. “I

In 2000, Just Another Diamond Day was reissued and re-embraced. Bunyan was coaxed out of retirement and soon collaborated with Animal Collective, Joanna Newsom and Devendra Banhart. “I must’ve gotten more used to it, surely, but still the overwhelming feeling is one of disbelief,” she laughs. “I still can’t believe that people out there know me and know my music; that anyone has heard of me at all. Playing live, the experience was so amazing; to once again be playing these songs that I hadn’t sung – hadn’t even thought of – for so many years, playing them to people who somehow knew them and loved them, that was almost something I couldn’t believe.” Bunyan sees the sadness in Drake not being able to have a similar experience. “The tragedy is that he’s not here to see how incredibly well his music is accepted and regarded,” she says. But Boyd sees it differently. “There’s a sadness, there’s a wistfulness, to hear an audience acclaim Nick’s music and him not be there, but that’s nothing new. That’s been a fact of our lives for 35 years. But, more than sadness, for me these shows are filled with a lot of joy.” WHO Vashti Bunyan and more WHEN & WHERE Friday 11 November, Sydney Opera House Concert Hall

REAL PUB ROCK

FOR YOUNG AND OLD

IT’S ALMOST 40 YEARS SINCE SOUTH AFRICA’S LADYSMITH BLACK MAMBAZO RELEASED THEIR DEBUT ALBUM, BUT AS THE GROUP’S ALBERT MAZIBUKO TELLS MICHAEL SMITH, THEIR VISION REMAINS THE SAME.

THE NEW STICKY FINGERS EP MAY BE VERY MUCH THE PRODUCT OF INNER CITY SYDNEY, BUT AS BASS PLAYER PADDY FINGERS TELLS MICHAEL SMITH, IT WAS BORN OF TIME SPENT WITH AN AMERICAN.

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e got invited to support Donavon Frankenreiter on his Australia-wide tour early this year,” Sticky Fingers bass player Paddy Fingers AKA Patrick Cornwall, explains the genesis of their second EP, Happy Endings. “That was our first proper tour where we got to travel around in planes and stuff. The thing is though he wanted it stripped back because I think he must have heard some of our stuff and heard how it can get pretty heavy at some points, so we ended up just having Dylan [Frost, singer/guitarist] and Seamus [Coyles, guitarist] on stage, just two acoustic guitars, two voices and a stomp box.

be off our next EP, which we’ve decided we’re going to record as a full band in the Annandale again because it’s got a unique sound.”

“We were a bit sceptical about doing it at first but when we started doing the shows, people were coming up to the merch desk really liking it and they were buying our first EP Extended Play and finding it sounded nothing like what they’d heard live. Some people would be like, ‘We want to hear some of what we just heard on stage,’ kind of thing. So it was touring with Donavon that sparked the idea of a sort of acoustic-based EP.”

The upcoming launch is actually for the lead song, Freaking Out, from the Happy Endings EP, so the guys are obviously already getting ahead of themselves on the recording front. Not bad for a band barely three years into their career that came together around a Kiwi busker, Frost, who Cornwall and drummer Beaker Best happened to bump into on King Street one night.

You may not have realised it but Cornwall, whose dad perhaps appropriately plays bass in Fifty Million Beers, is a face anyone who’s spent time at the Annandale will know – he’s probably pulled you a beer sometime. In fact, three out of the four members of the band count the Annandale as their “day job” and, as it turns out, the hotel became their “recording studio” for the second EP.

“I know it sounds like a really twisted, fabricated story but it really is how it happened and just by coincidence I kept running into this guy all around the place at house parties and stuff in the inner west area. He’d just moved down from Auckland and we became really good mates and just started jamming in Beaker’s garage. Beaker had never really played before and borrowed a drumkit from his cousin and I borrowed my dad’s bass, so me and Beaker pretty much started playing for the band. So if you listen to a lot of our playing, it’s pretty basic but the songwriting is all there. We like to think though that we’ve got a lot better as musicians.”

he wider world was introduced to the nine-piece South African a cappella choir Ladysmith Black Mambazo when, in 1986, Paul Simon released his Graceland album, on which the group featured. But they originally came together back in 1964, when founding member Joseph Shabalala decided not only to put together a vocal group that could win the many competitions popular at that time for vocal groups, but also to the traditional music of the Zulu people, Isicathamiya. It’s a mission, nearly 50 years on, that still steers the group and Shabalala – who remains the group’s leader, through the various lineups – and it continues to guide the music the group records. Their latest album, Songs From A Zulu Farm, is the first of a projected trilogy that aims to recover and preserve aspects of that traditional Zulu music being lost as young South Africans move from the farms and villages into the cities. As Shabalala explains it on the group’s website, “We are teachers. We travel the world spreading our message of Peace, Love and Harmony. What could be better or more important than that?” Which is pretty much how his cousin, Albert Mazibuko, who joined Ladysmith Black Mambazo in 1969, sees it today, as he explains, on the line from South Africa. “We feel that this music is going to disappear if we don’t try to preserve it, because now the music has been changed in South Africa tremendously and some of the music is not being sung anymore. The tradition lives on because it is our wish that the music is going to stay forever. That’s why we are encouraging the young members of Ladysmith Black Mambazo to take the lead on some of the songs and talk about it, discuss and digest the music because we want this to be planted in their hearts and in their spirits.” Mazibuko is particularly proud of this latest album, Songs From A Zulu Farm. “We were very pleased that we were able to record these songs so that they can be there forever. Some of the songs were only maybe a child’s chant, so to make it as music Joseph and Russel • 44 • THE DRUM MEDIA 1 NOVEMBER 2011

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[Mthembu] had to put some proper other things in, proper endings and explain the songs. But most of them were right as they were before. I grew up with these songs myself and that’s why they bring so much joy to me when I listen to them and especially when I perform them on stage, because they remind me of when we were children, some of the things that we were singing about and the magic that happened when we are singing these songs. “The audiences love it – they are very happy. And some of them, they say, ‘We had all this music,’ especially the older people, but the young people too say, ‘This is great, this is wonderful, these are songs that we used to hear when we were growing up. “We are still going to do some research and meet some older people to collect more songs like this. To that end, much as our own Mandawuy Yunupingu of Yothu Yindi has done up in Arnhem Land, the group’s founder, Joseph Shabalala, set up, in 1999, the Ladysmith Black Mambazo Foundation with the aim of teaching young Zulu South African children about their traditional culture and music. A physical Mambazo Academy is being planned complete with a rehearsal hall, teaching areas and a professional recording studio. At the moment though, as Mazibuko describes it, it’s “a mobile academy, because, as the group, we go everywhere and share our music, especially with the young people, around South Africa and around the world.” WHO Ladysmith Black Mambazo WHAT Songs From A Zulu Farm (Fuse) WHEN & WHERE Thursday, Canberra Theatre; Friday, State Theatre

“The Rule brothers, who own the pub, have been very kind to us since the band started in helping us out any way they can,” Cornwall admits, “like getting us cool supports, just through the various connections they have and also lending us their pub as a recording studio. So the whole EP was recorded in the Annandale, in various rooms and corridors at odd times of the day when the pub wasn’t open, so a lot of it was recorded from 1am onwards or really early in the morning and stuff. On some of the tracks you can really hear the place – well I can, anyway – so it doesn’t have the same studio polish that other stuff that we’ve recorded does. We’re also just about to release a single called How To Fly, which’ll

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WHO Sticky Fingers WHAT Happy Endings (Independent) WHEN & WHERE Friday, Annandale Hotel; Sunday 13 November, Newtown Festival; Thursday 24, Yours And Owls; Friday 25, Upstairs Beresford


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Hours: Sun 10am-4pm Mon-Fri 9am-5:30pm Sat 9am-4:30pm THE DRUM MEDIA 1 NOVEMBER 2011 • 45 •


PSYCHOBILLY SURVIVORS HELL BREAKS LOOSE

GERMAN PSYCHOBILLY LEGENDS MAD SIN ARE HITTING OUR SHORES FOR THE FIRST TIME IN NEARLY A QUARTER OF A CENTURY. MARK HEBBLEWHITE CORNERED MAIN MAN KOEFTE DEVILLE TO FIND OUT WHAT TOOK THEM SO LONG.

GERMAN METAL LEGENDS DESTRUCTION ARE SET TO HIT OUR SHORES FOR THE FIRST TIME IN ALMOST A DECADE. MARK HEBBLEWHITE CONFRONTED MAIN MAN MARCEL SCHIRMER, AKA SCHMIER, FOR A TEUTONIC TÊTE-À-TÊTE REGARDING THE CURRENT STATE OF THRASH.

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hen the rather obvious question arises of why a band that started before the Berlin Wall fell has never made it to our fair shores, Mad Sin’s Koefte deVille isn’t prepared to offer any mea culpas. He does admit, however, to being extremely excited about this oversight finally being corrected. “We are all looking very much forward to going to Australia,” gushes the distinctive frontman. “This will of course be our first time and finally we’ll be in the land of Skippy and AC/DC. We’ve heard a lot of great things from our good friends in the Fireballs and Zombie Ghost Train about rockin’ out in down under. So again, all I can say is that we’re excited to be coming down.” In honour of their first appearance on our shores, Mad Sin is promising a setlist that will let us catch up with the band’s entire career. “We’ll be playing a good mixture of everything from our first album that was released in 1988 right up until our last album from 2010,” reveals deVille. So there will be tons of psycho-, rocka- and punkabilly, but also – and this is very important – the setlist will reflect how the band has evolved its style over the years. This evolution is best showcased in last year’s Burn And Rise LP, which many hardcore fans of Mad Sin argue is the band’s finest to date. It’s a view shared by deVille himself. “This album is by far our favourite record. It not only unites all the styles that the band stands for, but the lyrics on this album are very personal as they reflect a great deal of bullshit that has happened to us in our personal lives recently. That’s everything from deaths amongst friends and family, broken relationships and it just goes on and on. It s been a hard time but out of it has come the best record we’ve ever done. Everything was so natural there was no forcing it at all – and I think the results show that.” Mad Sin is inextricably linked to the psychobilly genre,

a term that leaves many scratching their heads. So once and for all, just what is ‘psychobilly’ and is Mad Sin comfortable being cast as one of the genre’s standard bearers? “Psychobilly was born in the early ‘80s as a very wild mix of late ‘50s and early ‘60s British and American rock’n’roll, instrumental surf music and punk rock music and attitude,” explains deVille. “It also takes strong influences from horror, goth and science fiction books, movies and comics but all in a very street level fashion. As for whether the tag psychobilly helps or hurts Mad Sin, that’s a difficult question. “I look at Mad Sin as a band that has taken psychobilly and evolved it. While we definitely embody a range of the genre’s elements, we also do our own thing. For example, the horror aspect of the genre is of less importance for us than other bands. We take a sociopolitical approach in our lyrics and see the horror aspect as a metaphorical way to talk about society and all the political bullshit that happens all around us. “As for those people who want to limit us as some mindless ‘genre band’ because of the way we dress, I would remind them that we are very open minded people when it comes to music or art in any form. We are committed to playing real music from the heart, not the fake, plastic stuff that so many people in society want to force feed us all. We’ve been going 25 years now and you don’t get that far by chasing trends or playing fake music for fake people.” WHO Mad Sin WHEN & WHERE Saturday, Annandale Hotel; Sunday, Cambridge Hotel

JUMP AROUND

They’ve clearly struck a chord with Australian audiences too, the title track invading radio stations and rapidly reaching platinum status. “We’re over the moon about that,” the axeman says. “You put the first plaque on our wall – thank you, Australia. It’s one of those brand new feelings; I’ve always wanted to be on a major label, always wanted to tour the world and that’s about to happen, so this achievement feels great. This is our firstever headline tour in Canada and we’ve never toured Australia, so we just really hope people who bought the • 46 • THE DRUM MEDIA 1 NOVEMBER 2011

It’s full speed ahead this time around however and Destruction are relishing the chance to both play for Australian audiences and tour with local thrash warhorses Mortal Sin. “Mortal Sin are an amazing band and I’ve been a fan for a long time,” gushes Schirmer, who goes on to note that despite their impressive respective legacies, the two groups haven’t had a chance to stand on the same stage before.

Along with their contemporaries Sodom and Kreator, Destruction are widely held responsible for the development of a distinctly German vein of thrash metal. Rawer, dirtier, faster and louder than the relatively refined American scene, German thrash bands were often considered the poor country cousins of the Bay Area elite. Was this a fair assessment and can we even talk of a distinct German thrash sound?

“We’re also really looking forward to playing some of the newer songs live as we haven’t had a chance to do that. As our career goes on, figuring out setlists, especially for places we haven’t played often, becomes harder and harder. This time we’re planning on doing three or four from the new album and then a selection going right back to the earliest days of the band. We always come prepared to play the widest amount of songs possible because at our shows we ask our crowds what songs they want to hear and sometimes we’re able to give them what they want on the spot.”

“Oh German thrash metal definitely differed from the American scene at the time. The American bands were all listening to American punk rock and the English New Wave Of British Heavy Metal bands, whereas we were listening to English punk like GBH and The Exploited, who were far dirtier and rawer. That’s why the American bands were more melodic than the German bands. I also think you have to remember that the American musicians were a little older than us and many of them had musical training we didn’t… But what we lacked in polish we made up for with passion and aggression – and that’s why those songs stand up even today.”

While most thrash outfits utilise the benefits of a twin axe attack, Destruction is one of the handful of groups to have maintained a three-man lineup for the vast majority of their career. Is there any chance we’ll ever see Destruction as a quartet?

WHO Destruction WHEN & WHERE Saturday, The Wall

FRONTMAN VINNIE CARUANA TELLS DAVE DRAYTON THE SPIRIT AND CAMARADERIE IN PUNK MUSIC IS FAR FROM GONE. THE SAME CAN BE SAID FOR I AM THE AVALANCHE.

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ratitude is the final track on the recently released second I Am The Avalanche album Avalanche United and going off the 11 that precede it – with their rousing energy, earnestness and lyrics – you could say it is a song in gratitude of the bandmates to one another and as a collective to the fans and scene with which they interact. It closes with high-spirited drunken gang vocal, chanting the name of the album in affirmation: “Avalanche United!”

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Outside of their home country, Australia has been one of the first territories the sextet has begun to conquer since forming in 2009. For instance, at the time of this interview the band is yet to tour the US. However, their debut album Jumpstart was released here several months after dropping in Canada in March and has been greeted with mass enthusiasm. “We’re really happy with the record,” McDaniel gushes. “The first album isn’t something you just worked on that year. It’s all the good songs you’ve been writing for years, put onto one album. If they don’t like the last ten years of your writing, will they like anything you do in the future? But the record’s been really well-received by so many people.”

“We have thought about it from time to time, but when it comes down to it, we grew up on three-piece bands like Rush, Venom, Motörhead and Triumph and they all had such great sounds and were a huge influence on Destruction. Besides, Mike [Sifringer, guitar] has such a strong sound live that a second guitar is pretty unnecessary. And of course if we got another guy it’d have to be the right person and the chemistry of the group is so good at the moment that’s there’s no real reason to change it.”

PUNKS UNITE

HAVING EARNED THEIR FIRST-EVER PLATINUM-SELLING SINGLE ON THESE SHORES, CANADA’S THESE KIDS WEAR CROWNS ARE DESPERATE TO GET TO AUSTRALIA. GUITARIST JOSHUA “GYPSY” MCDANIEL TALKS TO BRENDAN CRABB ABOUT ELIMINATING BARRIERS BETWEEN BAND AND FAN.

t the end of every show, we say to the crowd at the last note, ‘We are These Kids Wear Crowns and so are you’,” Joshua “Gypsy” McDaniel, guitarist/backing vocalist for the Canadian electro-pop/ rockers, enthuses. He sounds far more engaging and friendly than most would during a 72-hour drive across their homeland. “The whole idea of the band was for people to come to the show and feel like they’re part of the show and not just watching it. Our live show is full of confetti, explosions, lasers and sometimes robots,” he says when Drum asks what Australian fans can expect from their inaugural visit. “We do a lot of things that are fun, like recently we’ve been doing a cover of Beyoncé’s Single Ladies and we like to really involve the audience.”

can’t believe it’s been so long since we’ve been to Australia,” exclaims Destruction’s vocalist and bass player Marcel Schirmer in impeccable English. “And when we played there in, I think it was 2002, we played a really small dance music club [Club 77] and everyone was packed in like sardines. It was a great show however and we swore to come back. As it ended up we didn’t mean to leave it so long, but things just didn’t work out for us. We were all set to come over a couple of years ago, but the promoter suddenly backed out at the last minute and we had to cancel the tour. We’ve played South America and the States and Japan many, many, times, but somehow Australia has always been a difficult place to get to.”

single and called radio stations to request our songs come out to see us live. We put a lot of work into our record and also our live show; word of mouth of our live show spread so well in Canada that we just kept getting asked to come back and the audiences keep growing bigger. We hope to [build a fanbase] the same way in Australia and we have secret plans to come back there early next year. We’ve toured Canada pretty solid for the past six months; we wanted to focus on our backyard before moving around the world, but now we want to go everywhere in the world.”

Frontman and lyricist Vinnie Caruana sounds suitably amped, calling in while currently on tour with Bayside, Saves The Day and Transit. Bayside vocalist Anthony Raneri sings on The Gravedigger’s Argument on Avalanche United, while Caruana is on Bayside song The Walking Wounded. They’ve been doing it all tour.

It’s been the often sought, yet rarely achieved combination of radio exposure, plenty of touring and a dash of luck that has enabled their profile to swell so significantly. “Our first big splash was with a Canadian TV show called disBAND,” McDaniel explains. “It highlights bands on tour, gets bands on there who want to reach a larger audience. Starting on TV was something we were worried about, because we don’t want to be one of those bands who got their start on TV. But people received us really well. We’re fun, honest, hard-working guys who like each other a lot and I think people felt that from the show. Putting yourself out there like that is a risk; we’ve moved really fast and pushed really hard, but our dreams are coming true and we couldn’t be happier.”

Touring is what makes I Am The Avalanche, with their allusions to life on the road all throughout the new album. It’s what kept them from recording the follow-up to their first album for so long, being six years since the self-titled debut.

WHO These Kids Wear Crowns WHAT Jumpstart (EMI) WHEN & WHERE Sunday, The Lair

“Tonight neither of us sang on each other’s stuff – I sing on The Walking Wounded for Bayside – but Anthony and I were both doing interviews tonight so we couldn’t do it.”Sorry Salt Lake City, which is where Caruana was at the time of Drum’s chat.

“We toured for quite a bit and once we stopped touring we started writing and kept that up. We were working normal jobs, living normal lives and when we were ready, we came back,” Caruana explains. When they came back it was the band itself – something bigger than the five of them alone – that fuelled the album’s creation and inspired much of Caruana’s lyrics. “It’s about the brotherhood of the guys in the band and the fans and our families who have supported us and will support us til we’re dead and doing what you gotta do be happy. It’s all of that. It just makes perfect sense to call it that and it feels great. I love seeing it; I love looking at the cover of the record and seeing Avalanche United because it sums up every single lyric on the record,” Caruana explains.

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“We’re doing an interview about a record me and my friends made!” he says with a mix of pride and disbelief. “I can’t believe it. I can’t believe that me and my friends made this record. It was cool. We didn’t have that pressure, or a producer telling us what to do or trying to change what we needed to. We’ve been writing these songs long enough that we know exactly what to do on these songs and exactly what they needed to be. And we knew what this record needed to be. It needed to be great and it ought to be if we take this long to write it.” The band produced the album themselves, with drummer Brett “The Ratt” Romnes taking on a majority of production duties. They culled down from 40 songs to finish up with the 12 on the album. “We wanted to say, ‘Here’s an album, here’s a complete album,’ you know, not just a bunch of songs. We’ve all made those before and we wanted to make an album and now that we have we’re going to think more about creating a piece of art. “That’s important to us because we’re all huge fans of punk music and we know that bands that mean that much to me and to us; being that band for someone else is really important to us. We want to be part of the punk legacy and we care deeply about it, so we’re going to try and do whatever we can to show people that we’re the real deal, that we care about this music and we want to push it forward.” WHO I Am The Avalanche WHAT Avalanche United (3Wise/Sony) WHEN & WHERE Sunday 26 February, Soundwave


GRID-FREE

BLOWING UP

DRUM’N’BASS ACT SHAPESHIFTER IS UNLIKE ANY OTHER ELECTRONIC LIVE ACT, AS ANGELA KING DISCUSSES WITH THE BAND’S SAM TREVETHICK.

AFTER A FEW YEARS OFF THE MAP, MARK DYNAMIX IS BACK IN THE GAME. HE TELLS STUART EVANS ABOUT WHAT HE’S BEEN UP TO AND THE MANY CHANGES THAT HAVE OCCURRED.

T

hey’ve been around for quite a while now, but the signature Shapeshifter style is still of high quality. Playing the synths, guitar and percussion for the band, Sam Trevethick believes their music is always progressing. ”We always feel like we’re constantly going in new directions; it’s hard to categorise all of our old stuff into one frame of mind, in thinking about it as one sound.” In their next imminent visit to Australia, Shapeshifter will be showcasing their new track Monarch, among others. “I think the new one is in a new direction, I think it’s more modern sounding, if you will, than [2009 studio album] The System Is A Vampire. We wrote it in Wellington. I guess it’s more ‘rave’,” ponders Trevethick. “We’ve got a couple of numbers that we haven’t played in Australia,” he adds, “and we’ve been writing for our new album so we’ve got new songs in the mix, new versions of old songs… We always try to keep it fresh and keep it new. That’s important for us.” Their most recent release, The System Is A Remix, was released on the mammoth Hospital Recordings around a year ago. Trevethick says the label’s head honcho took the reigns on the project. “Tony Colman just got a whole lot of remixes done and we decided to put out an album. It’s great,” Trevethick says, regarding having the remixes done. “It’s strange at first because you spend so long on these tunes and they become like part of the family, and then someone comes along and totally changes them. “The first listen to a remix is quite often a bit weird, but they grow on you and having remixed tunes ourselves, from other people, we know what it’s like to take something established and make a fresh idea out of it and so you just go with that.” The remix album features tracks from all the big names signed to Hospital Recordings such as Netsky, Camo + Krooked, Nu:Tone and Logistics, as well as tracks done by fellow New Zealanders Truth, State Of Mind and The Upbeats. After the Australian tour, the band is embarking on a tour of New Zealand for the summer and aims to have their next album ready mid-2012.

A

few years ago, Mark Dynamix was on the money. His name appeared on Ministry Of Sound compilations and his productions and achievements were regularly plugged in music mags, online articles and overseas publications. At the height of his celebrity, his contribution to Ministry Of Sound: 2007 Annual still ranks as one of the highest selling compilations and he was also a regular warm-up spinner for many a big name DJ who visited Down Under. But then it went quiet.

worked on their music all around the world. “It’s hard to correlate directly your environment to how your music sounds, I think. We generally like writing, in a historical sense, hermitting away,” explains Trevethick. “I don’t think that because we wrote those two albums [The System Is A Vampire and 2006’s Soulstice] in quiet places that they are what you would expect from that environment, I guess it just comes down to having time, no matter where we are, our influences will be varied so our music will be varied.” With the increase in the amount of DJ-come-live-acts within the electronic music scene, Trevethick firmly believes that Shapeshifter will still continue not be outdone. “I really appreciate that there is a lot of new technology around and music is really progressing a lot because of that. I think that’s really cool,” he defends, “but I think we would consider ourselves in a unique category in that we don’t ever use sequencers, we’re not using laptops on stage and we’re not stuck to a grid, you know what I mean? We think of ourselves as a band in a more traditional sense; no click track, no backing track, no tempos to stick to or anything like that. I haven’t seen that many other electronic acts that do that. There’s not too many people doing it the way we do it.” WHO Shapeshifter WHEN & WHERE Saturday, Metro Theatre

Although the band formed in New Zealand, they have

“I made a change musically and followed the tech and minimal route,” he explains. “I tried to separate the tech stuff with the commercial aspect of music by using the name MDX. I don’t know if it worked, as I think it confused a lot of promoters.” Dynamix is in reflective mode. He says his switch to minimal cost him a lot of the traditional Ministry Of Sound crowd. “People still get scared by techno as they think it’s some kind of eerie dungeon music,” he tells. “The strange thing is I was still playing a mixture of sounds. For the Ministry tours across Australia, I’d play the big room house stuff. I think most people took the MDX thing on board but it’s about getting the balance right.” Another reason why Dynamix’s name was not appearing as frequently has a lot to do with him living overseas. “I spent a year in Berlin as I wanted a change, musically. My music was going on a different tangent and I knew I had to go to Europe to explore it further. I wanted to open my mind, my ears and wanted to keep my sanity,” he tells. Dynamix started to follow electronic music around tenyears-old. Acts like Tears For Fears, New Order, Howard Jones and Nik Kershaw swayed him towards electro pop and an enthralment to synthesiser heaven. Once the rave scene expanded, Dynamix went along for the ride and started to DJ at numerous events. Still, it was not until the mid-‘90s that Dynamix discovered house music. It was love at first listen, he says. It has certainly been an eventful decade for Dynamix.

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He has around 27 mixes to flaunt, eight original works and numerous remixes to plug. He has performed at the biggest festivals (Big Day Out included) and toured Japan, Europe and throughout Australia and New Zealand. And 2011 hasn’t been bad. He started the year with I Gotcha, an ARIA-charting single and collaboration with Nick Galea, plus has just completed another national tour. Of course, a key aspect of working within electronic music is knowing what lurks around the corner. Dynamix has been excellent at sensing what is approaching. How does he predict what musical trend is ahead? “I can’t come up with an answer, as I just play what I like,” he laughs. In 2008, Dynamix took that knowledge one step further as he formed Long Distance Recordings. “I wanted to do something that made it easier to bridge the gap between Australian and European dance scenes. It’s a project I wanted to do, as the commercial record labels weren’t touching the kind of music I wanted to pursue.” He is also championing his label’s compilation, Bringing You Closer: The Best Of Long Distance Recordings. “It’s a bit of a vanity project for the artists on the label,” Dyanmix explains. “It’s the best of what’s been produced on the label and certainly covers a lot of areas.” WHO Mark Dynamix WHAT Bringing You Closer: The Best Of Long Distance Recordings (Long Distance) WHEN & WHERE Saturday, UNSW Roundhouse

THE DRUM MEDIA 1 NOVEMBER 2011 • 47 •


WITH ROSS CLELLAND

GOTYE I Feel Better Eleven How does Wally do it? From the 1982 Peter Gabriel nods in that song, this time he seems to be shamelessly plundering Phil Collins’ synthetic Motown soul of the same year. Right down to the plastic saxophone noise. Question Two: This could pretty easily have come from the last Basics album in sound and tone, but they didn’t get played on the radio and sold squat. Unlike their drummer, why is that? Whatever, he’s constructed another fine piece of (mostly) machine-made pop with human voice. Just better than good.

R.E.M. We All Go Back To Where We Belong Warner With one line from this, R.E.M.’s last new single – “I can taste the ocean on your skin” – the Galveston brass breezed in and it took me back to last century, swimming at a quiet beach on the Central Coast and driving back alternating the cassettes of their Reckoning and Echo & The Bunnymen’s Ocean Rain (there was The Thompson Twins’ Into The Gap too, but we’ll just brush by that). That they can still provoke rushes like that, recall how good they could be. May you all find a song that affects you this way. A fond remembrance.

CATCALL Satellite Ivy League Well, she’s got the stylists in, and the ersatz punk poses of her time as part of Kiosk are dropped in favour of wanting to make pop music which people might actually listen to. Art, as so many have found, won’t buy the baby a new dress. Sweet, flowing synths carry this along and the waves of catchy bits make it suitable for placement in youth-oriented television entertainments. Destined for Wally-like success? Probably not, as it/she still seems to lack something in the way of heart to go with the marketing plan.

CAITLIN PARK

CANYONS

CASS MCCOMBS

Broken Stone

Modular/Universal

Domino/EMI

Milk Annual

Keep Your Dreams

Without fanfare or hype, singer/songwriter Caitlin Park’s intelligent yet emotive folk music with electronic edges has been rapidly winning hearts on the Sydney circuit. Now, her debut long-player further enhances her reputation as one of the city’s most interesting new talents. Milk Annual opens intriguingly with How’s Your Wife, a folk offering with simple acoustic guitar and minimal vocals combining with loops, sound effects and samples of dialogue. Next up, the perkier, layered Baby Teeth is a fine example of how Park can structure something complex while still retaining accessibility. The album’s strong start continues with Would You Let Me Back In, a more stripped-back affair which focuses on her intelligent, thoughtful lyricism. Elsewhere, Holly Throsby makes a guest appearance on the haunting Cauliflower Jack and Park puts a cleverly literal soundscape to Peter Broderick’s words on A Boat. The most impressive thing about Caitlin Park’s compositions is that, while there is a lot going on – a touch of clarinet here, some drums there, countless samples – nothing feels cluttered. The effects – the looping of a striking match, the ticking of a clock, dialogue inspired by classic movies – add a real sense of texture and depth and feel absolutely necessary. There is no showing off here, nothing quirky for quirky’s sake. Sometimes it plays out a little like The Books; elsewhere, like on album closer, Jack Where You At, things land somewhere in the general vicinity of the solemn folk of Laura Marling, but the delightful truth is that the nuanced, beautiful and outstanding Milk Annual is actually a unique sounding record. And you can’t say that very often these days.

The first time this reviewer heard Canyons play their then upcoming single, Blue Snakes live, it was barely midday at a festival and all feet were theirs. The bass drum and how-low-can-you-go bass rumbles, hi-hats, sax and voodoo screams made you wanna go native, lick a cane toad’s belly and then dance backwards. Canyons source sounds from a worldwide palette, mix them in a tribal cauldron, add samples from the animal kingdom (see Under A Blue Sky for maximum elephant) and succeed in harnessing this cacophony into a mouth-watering listening experience. There are expertly chosen guest vocalists – Pond frontman Nick Allbrook sounds spiritually emancipated atop the bongo devastation of My Rescue – and Keep Your Dreams supplies sounds that resonate long after nightclub doors have shut. Canyons marry mysterious elements, which is what makes them so captivating: sirens and Sydney Youngblood-esque beats face Space Invaders warfare and all is somehow complemented by soul-drenched vocals in See Blind Through. And We Dance could be My Rescue’s recovery. It incorporates warped sleigh bells, sitar, organ and a chorus melody not dissimilar to The Hooters’ classic with an almost-identical name (the irresistible And We Danced). Repetitive, single-note piano timekeeping channels LCD Soundsystem’s All My Friends and there’s “Ooh-woo-hoo-wooh”s that would give similar inclusions in The Rolling Stones’ Sympathy For The Devil cause to feel insecure.

Humour Risk

It’s been quite a while since we last heard from young American troubadour Cass McCombs, a gentleman with an uncanny resemblance to an older Sufjan Stevens. Yes, a long time indeed is seven months, and for anyone that hasn’t had time yet to digest April 2011’s Wit’s End, you are now subject to November 2011’s Humour Risk. Whether the artist or the label had originally intended to release the songs from both albums as two separate albums or as a double disc we will never know but equally, the decision-maker must also do PR for Ryan Adams. Having recorded the songs over a three-year period, album six gives us a further glimpse at the less sombre offering of a guy that a lot of people wouldn’t have heard of but who consistently delivers quality listening via a unique type of storytelling and honesty. Stylised as a nomad and an underground one at that, the young McCombs here draws on experience both personal and of those he happens to call friends to produce an album full of simple shifts in mood, from the ashen (opening song, Love Thine Neighbour) to the bemused and eccentric. McCombs’ other strength lies in his addiction for minimalist ballads of song structure, always with an underlying hint of the moroseness, and the changes mentioned have thankfully not meant any shifts in quality on this record.

Listening to this album in full is like being invited back to your fantasy partner’s boudoir to rifle through their lovingly accumulated vinyl collection.

Heavy on atmosphere and red wine, The Living World is a glorious journey between sober and drunk and a standout song. Extended bottom-end and tempo are sparsely divided between the album’s better and best moments, all the time ringing with an awkward honesty anyone with ears that work will find hard to ignore.

Rob Townsend

Bryget Chrisfield

Adam Wilding

GLEN CAMPBELL

I AM GIANT

JINJA SAFARI

Inertia

Sony

Cooperative

BLANCHE DUBOIS The War In Me Streetcar Productions/MGM Over a suitably exhausted martial heartbeat marching them home, the voices of the Begovich sisters share their stories once again telling that love is a battlefield and how, even when that war is won, the wounds can still need some time and tending. The harmonies and structures that this song is built on have them heading somewhere more towards Bush or Bjork than the strum and reveal of the more typical singer/songwriter types. The mostly unadorned production lets those voices swell and offer their feelings.

HANDSOME YOUNG STRANGERS Sweet As A Nut Independent The distinctly Australian-accented ‘folk-punk’ genre – of which Weddings Parties Anything remains the seldom-bettered template – often gets bogged in a past of shearers and bushrangers, and while there’s always space for a tale of standing and delivering, this is a swing through a more modern suburbia. This lament to a friendly tiled local pub getting the generic wood and chrome makeover has all the grumpy stomp of a band that’s known the experience more than once. HYS: good music, good blokes.

WOE & FLUTTER Woe & Flutter Ivy League It’s just a grand name for a bunch of not-necessarily angry young men with just dishevelled-enough haircuts and a bunch of The Strokes’ earlier and better works programmed into their iPads. The already-onthe-radio Cities Of The Red Night is the most obvious distillation of that description, but this is a genuine EP which shows some of the range within their parameters. They’ve still got some studied disinterest to them, but that can probably be knocked out of them before they become The Vines or Jet. Neat. • 48 • THE DRUM MEDIA 1 NOVEMBER 2011

The Horrifying Truth

Ghost On the Canvas

If you were lucky enough to hear Campbell’s last album of well-chosen covers, then you will be happy to know that this new album follows in the same well-produced vein. It’s a lovingly crafted effort and speaks volumes about the clarity of vision that Campbell has. It’s best not to think of Campbell as a country artist as he fits into the American canvas like Tom Petty or Gram Parsons, singing with depth songs that have a certain honesty. Ghost On The Canvas is both sad and uplifting at once. Campbell has been around since the ‘60s and his early hits were urbane and full of American references, often courtesy the songs of Jimmy Webb. Rhinestone Cowboy was perhaps a little more shallow than the storylines contained in Wichita Lineman or By The Time I Get To Phoenix, which are really his calling cards. On this new album there are references to that past. The title track, written by Paul Westerberg, harks back to the Wichita Lineman with its bells and whistles as obvious pointers. Some of the songs sound a little too intimate considering his musical past, but tracks like A Better Place still work as soulful tunes. The context within which this album was made really makes the songs more emotive, knowing that this will be Campbell’s last album with the onset of Alzheimer’s recently diagnosed. The sad part is that he really has been enjoying a fresh comeback since that last album. Like Johnny Cash and other alternative country artists, Campbell has rallied against the odds to create a remarkable career.

Sebastian Skeet

A good debut album should be bold, progressive and personal. The first record from New Zealand band I Am Giant, The Horrifying Truth, is all this and more; a truly important release on the 2011 hard rock calendar, it is perfectly subtle when necessary and phenomenally hardhitting at other times. I Am Giant has a strong pedigree with some friends in high places. Drummer Shelton Woolright played in another of New Zealand’s most successful rock exports, Blindspott, while a track on The Horrifying Truth was cowritten by Kim Benzie from Dead Letter Circus. The album was produced by Forrester Savell and there are definite influences from other bands he has worked with, such as DLC and The Butterfly Effect. These connections are reflective of the growing respect this young band has gained since it was born only two years ago but really, the music speaks for itself. From beginning to end, The Horrifying Truth is full of powerful and reflective lyrics with a mature knowledge of how to deliver the perfect balance of light and shade. Early single, City Limits, is not one of the strongest songs on the album, but follow-up, Neon Sunrise, is superbly atmospheric. Other standouts are the Benzie work, Electric Throne, and the awe-inspiring final track, After The War, which deserves a close listen.

Locked By Land

This album both meets and far surpasses any expectations that could reasonably be attached to a debut release. The record combines an unmistakable commitment to progressive musicianship with insightful, complex lyricism and elegant vocal lines to create something truly unique. From the first to the final songs of the 15-track record, Jinja Safari consistently showcases a talent and maturity that defy their relative inexperience. Their commitment to a refreshingly progressive sound is established from the opening moments. Sunken House immediately introduces their upbeat sound and offers some fine examples of impressive lyricism. This introduction is followed by Mud, without doubt one of the record’s standout tracks. Hiccups somehow lacks the certainty of the opening tracks, but this is quickly reclaimed in Peter Pan and Moonchild. These two tracks, particularly the former, once again attest to the group’s willingness and capacity to create something new and unique, to brave uncharted territory in Australian music.

One thing these guys are specialists at is making hard rock accessible and taking it to the masses. I Am Giant’s debut is an exciting release, not just for its content, which is rich, challenging and audacious, but because it represents a promising future for locally-produced heavy sounds of an international standard.

Towards the middle of the record we witness the introduction of a new feel, embodied by tracks like Head In A Blender. These tracks, while slower and less complex, are strikingly earnest and again signal the group’s sophistication and maturity. The pace picks up again with Errol Flynn, a fast-paced, optimistic track catchy and complex in equal parts. Mermaid provides a satisfying combination of a buoyant tune with sincere lyricism, finishing the record with yet another testament to the group’s steady confidence and overwhelming talent. As the record delivers its final moments, there’s no doubt that a very bright future lies ahead.

Monique Cowper

Lucia Osborne-Crowley

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impressive one at that) than a close-to-complete reimagining. The album is steeped in a macabre melodrama and delivered with earnestness, but whether it will be received as such by an audience wider (and less niche) than the diehards amassed around their heavier, earlier releases remains uncertain. A brave move by a band recently reunited. Dave Drayton

FACT FILE

LISA HANNIGAN

MARIACHI EL BRONX

Liberator

Wichita/Shock

Passenger

You’ll have first heard of Lisa Hannigan as the beautiful voice that brought such a haunting quality to Damien Rice’s 2002 breakthrough album, O. Since their working relationship came to an end after a rather public and ugly falling out in 2007, she has gone on to forge a solo career of reasonable note, with her debut long-player, Sea-Sew, nominated for a Mercury Prize in 2009. Now comes the follow-up from the Irish musician which, unsurprisingly considering its title, sees travel at the core of its theme, specifically its effect on affairs of the heart. With its sweeping string arrangements, opening track, Home, alludes to slightly lusher, less home-made production than her debut. This is clearly Hannigan looking to take a step forward. While it may be lazy to simply compare one artist to another, to say that Knots and What’ll I Do? come across a little like Sarah Blasko covering KT Tunstall would give a pretty decent idea of what the more perky offerings on this record sound like. Also, Passenger has the same interesting mixture of whimsy and underpinning sadness that Julia Stone specialises in. Elsewhere, O Sleep is a lovely duet with Ray LaMontagne that reprises that delicate romance of her early work with Rice. The stripped-down Little Bird is lovely and, with its delicate acoustic guitar, unobtrusive introduction of strings and her beautiful voice, illustrates what Hannigan is best at. Passenger might not be an especially life-changing listen, but it is a sweet and honest record that showcases a certain gentle warmth about Lisa Hannigan that is undeniably rather charming. Rob Townsend

Length: 11 tracks, 48 minutes. Moods: Lush, complex and ambitious.

Mariachi El Bronx II

One of the surprises of 2009 was punk band The Bronx’s re-invention of themselves as Mariachi El Bronx and the release of their Mariachi El Bronx LP. The initial surprise was first of all in their decision to play the Mexican genre, but a much bigger shock was how bloody well they did it, and how authentic and reverent their creation sounded. At the same time, they didn’t slavishly try to play to the rules. For example, they chose to sing songs in English and to have drums in the band. Still, they sounded legitimate and it probably helped that they grew up with David Hidalgo Sr’s (Los Lobos) kids. Album number two isn’t so different from the first, again using John Avila (Oingo Boingo) as a producer, but with more emphasis overall on Norteño, a bit of doubletime polka (in the stand-out Norteño Lights), slightly improved musicianship and songwriting that feels less forced. Matt Caughthran’s lyrics again focus on love (both lost and found) and death, and his vocals, while restrained and toned way the hell down from where they usually are, add a punkish urgency to the outfit. Surprises this time around come from the contributions of Reyna de Los Angeles, the first all-female Mariachi band, who add yelps, whistling and additional merriment to the instrumental track, Mariachi El Bronx. Other high points include the opener, 48 Roses – perhaps the most infectious song MEB has written so far – and the mournful Vicente Fernandez homage, Bodies Of Christ. If you’re waiting eagerly for a follow-up to The Bronx proper’s 2008 slab, then hopefully this will tide you over until then.

THE GETAWAY PLAN Requiem

UNFD/Warner Nearly four years on from Other Voices, Other Rooms, the album that brought the band to a significantly wider audience, and post-break up–make upreformation, The Getaway Plan delivers Requiem, following months preparing and recording the album in Toronto, Canada. Before heading into the studio with producer David Bottrill (Muse, Placebo, Tool), frontman and songwriter Matthew Wright was talking of Diorama, the Bottrillproduced silverchair album that marked their shift from grunge to orchestral art pop. For silverchair it was a drastic change; they seemed a different band with an entirely new – and freshly kaleidoscopic – vision. Requiem has similar scope; a majority of the album is drenched in strings (most effective on S.T.A.R.S with their emotive pizzicato, selling in title track, Requiem, and piercing in The Reckoning’s climax) and further orchestration on the foursome’s new songs comes from instruments as varied as French horn, flute, oboe and enough hand percussion for a full orchestra. There’s also a boys choir lending an impressive swell of emotion in Heartstone. Wright wields his piano skills to the most effect to date; subdued on Oceans Between Us, robust and central on Coming Home and spritely and melodic in at-times cringeworthy Child Of Light.

DID YOU KNOW • During the band’s time apart, members participated in other projects including Young Heretics, Avalanche For Aeris, Saskia, The Amity Affliction and Deez Nuts. • The band’s first shows back together happened in February 2011, dubbed The Getaway Plan: Reclamation Tour. • A $60 deluxe edition of Requiem is available on the UNFD webstore, which includes a 13”x13” artwork box, the album on double LP and CD, a book of photos signed by the band, a digital download of the record, a T-shirt, four postcards and two photos unique to each individual set.

But, unlike silverchair’s Diorama, Requiem sounds like the same Getaway Plan; more a progression (and an

Brent Balinski

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THE DRUM MEDIA 1 NOVEMBER 2011 • 49 •


RECENT COMPILATIONS ROUND UP WITH LIZ GIUFFRE Rewiggled: A Tribute To The Wiggles (ABC Music) is the tribute album, and compilation, of 2011. Before you stop reading, bear this in mind – The Wiggles, as daggy, as colourful, as sweet as they are, are also 20 years young and national bloody treasures. Were their core audiences 20-30 rather than 2-3, we would have National Wiggles Day every year by now (a public holiday, of course), and were their stage outfits matching civvies rather than matching skivvies, they would have inspired generations of fan followers. However, because they target kids – seemingly exclusively – we’ve overlooked them as possible places for cool. And most importantly, we’ve overlooked them as places for good tunes. This has been rectified with Rewiggled, as 20 tracks get covered by various artists including Clare Bowditch, The Living End, Frenzal Rhomb, Architecture in Helsinki, Spiderbait, Bluejuice, Angie Hart, The Audreys, Sarah Blasko, Adalita, Oh Mercy and Washington. It’s a little scary to consider that some of these performers may have actually grown up with The Wiggles as significant first musical steps (the Mercies and M. Washington especially). Oh Mercy’s Toot Toot, Chugga Chugga, Big Red Car is dead set sexy (weird, I know, but true), but that’s what happens when you swing just a little, swoon a bit more and use a slightly gravelly lead vocal as opposed to the usual Wiggles shininess. Similarly, Angie Hart’s version of Our Boat Is Rocking On The Sea is dark and brooding, minor and fabulous. Don’t listen before bedtime. Bluejuice inspires a different type of sass, feigning flamenco accents and faux Spanish guitar for an absolutely fabulous version of Wake Up Jeff!, while Washington’s Beach Boys-style version of The Monkey Dance is also totally inspired in terms of conviction and delivery. Architecture In Helsinki’s Wiggly Party channels a twisted electro vibe, sounding strangely like TISM (and as such, encouraging you to consider a different type of ‘wiggle’). Spiderbait’s cover of Rock-a-bye Your Bear is fast, with an airy vocal and staccato, but with no real interpretation beyond a distortion pedal and drum kit, and Frenzal Rhomb does a similar thing with Captain’s Magic Buttons but it works a little better. Keep an ear out for the weird folk interpretations here too, like Clare Bowditch’s Georgia’s Song, which sounds like something from Willie Nelson’s bottom drawer, and Busby Marou’s tinkly indie restyling of Dressing Up. Complete with harmonica and a killer little acoustic fill, it’s the kind of thing Crowded House or Bob Evans would deliver – quirky rather than childish, and a true testament to how talented those Wiggles blokes actually are. Also out at the moment are the latest editions in the 101 Collection put out by EMI. Each has five discs (quantity) featuring songs from various eras, and of particular note are 101 ‘70s Hits, 101 Club Classics and my personal favourite, 101 D.I.Y. Songs. The first is reasonably self explanatory, although, curiously, The Beach Boys’ 1968/9 track, Cotton Fields (The Cotton Song), has been included. I guess 100 ‘70s Hits plus one Beach Boys song didn’t have the same ring to it as a title. Club Classics seems to include anything vaguely interfered with electronically (but a bit later than the ‘70s stuff), hence The Prodigy is next to Faithless is next to Black Box is next to Basement Jaxx. Tenuous links, yes, but not unpleasant. D.I.Y. features a graphic gesturing towards home improvement, and while I don’t often get my spatula out and start sanding (see, I told you it doesn’t happen often), I don’t quite get Blind Melon’s No Rain, Russell Morris’ The Real Thing, Pseudo Echo’s Funky Town, Custard’s Girls Like That (Don’t Go For Guys Like Us) or Faker’s This Heart Attack as an appropriate soundtrack. Perhaps calling it 101 Kitchen Sink Tunes would have been more apt; however, again, the whole experience is certainly not unpleasant. Songbird (EMI) is a two disc-er that features female singers, and despite a slightly patronising title, it’s not bad. Also, it’s not that often you get Dusty Springfield, Sia, Fiona Apple and Katy Perry all together. I’m not offering a reason why (dear listener, insert your own bias), I’m just sayin’. A more coherent collection is Listen to Me: Buddy Holly (Shock), a single collection to celebrate what would have been his 75th birthday. There is still the odd novelty (Eric Idle doing Raining In My Heart is curious, to say the least), but it’s fun and sentimental all at once. Especially keep an ear out for Stevie Nicks’ Not Fade Away. rage’s Let’s Dance (Universal) is a fun CD/DVD double that is enjoyable to hear, but really only makes sense to watch, particularly with additions like Rufus Wainwright’s Rules And Regulations, which is a ‘dancer’ only when you see him, in his long johns, in the clip. Also cue OK Go, Here We Go Again, as they wrote the book on treadmill dancing. Finally, RnB Classics (EMI) is a double that errs on the daggier side of the genre, with DJ Jazzy Jeff & The Fresh Prince, House Of Pain and Brandy, with some Del tha Funkee Homosapian for good measure. • 50 • THE DRUM MEDIA 1 NOVEMBER 2011

THE MARINES

STEP-PANTHER

THOUSAND NEEDLES IN RED

Laughing Outlaw

Speak N Spell/Inertia

Independent

Be The Morning

Step-Panther

Various of the members’ names rang tinkling bells in the distance from any number of combos who’ve been beating their heads against the brick wall of being a band in Sydney without the right haircuts.

Empires

Thousand Needles In Red’s organic growth must be particularly gratifying for vocalist Clint Boge. Having already achieved gold records, widespread acclaim and performed on Australia’s biggest festival stages, through more of the same hard work he’s now watching a still relatively new, yet viable venture expand.

Then the rest of the band – notably in the soft collisions of guitarists Ben Carew and Christian Gibson – have some more modern echoes wander by. Borderline comes with a quiet unease and insistent electronic noise underneath maybe related to Radiohead in No Surprises mode – as in the song, not the predictability. Then to the title track, where Wilco is the happily admitted touchstone – from that spot just where the country was falling away and the technology was sneaking in the door. There might even be some Jeff Tweedy strain in Dan’s voice in the opening Brave New World, though elsewhere there’s an almost Lou Reed jaundiced tone on what the fates have dealt. There’s a resignation to the likes of Slow Moving Trains which can pull you in, although in a couple of places things might get just a bit over-thought. But overall, this is a band that will speak to you, if your tastes run to music crafted by knowing eyes and ears.

Noisy guitar pop seems to be everywhere at the moment, and whether it is stained with garage rock, shoegaze or ‘90s indie there is a strong melodic vein running through it – more pop and less rock in the traditional posturing sense. Locals Step-Panther have been impressing on the live circuit and now they’ve successfully translated their songs to the recorded form on their self-titled debut. There is a sense of freedom in the band’s music as they hop nervously between styles. The album opens with Never Again, a classic punk dispatch that sounds like skinny kids playing Jesus Lizard without the psychological disturbance. Rock And Roll Alone is a ‘60s-drenched take on rock’n’roll of the type that preceded The Ramones and they play it fairly straight down the line. The way Step-Panther sounds like they’re not trying hard belies the strongly edited craft they bring to their songs. There is very little diversion into noise for noise’s sake (other than the bratty petulance of Scorpions and the throwaway closing track) as they keep their eyes on the pop prize at all times. At a glance some may accuse the band of aping an American sound, yet there are some strong homegrown references like the Bluebottle Kiss indie angles of Ferrari, and the Galactic Hurricane that could easily have a place on a Further album. The album is over in half an hour, something of a trend alongside other brief recent releases, and as they approach the end they give us one of the album’s gems in Sentimental Town, a classicsounding track that conjures up images of Springsteen jamming with Television at the feet of Phil Spector. A catchy and impressive debut from Step-Panther.

Ross Clelland

Chris Familton

Brendan Crabb

THE VIETNAM WAR

WORKER BEES

YOUTH LAGOON

Spunk/EMI

Fuse

Spunk/EMI

But falling together into this very complementary combination they do namecheck and take cues from a range of influences showing their taste and discernment. There are layers and polished harmonies from twothirds through last century – Todd Rundgren and a number of Wilson brothers are nodding approvingly. Although what they would make of singer Dan K apparently constructing those choirs by singing track-upon-track into his MacBook, while driving, is questionable.

Worker Bees

The Vietnam War

An album that is a sometimes beautiful infuriation. A range of elements and influences fit together, then drift away. The Vietnam War is an alt.country band, certainly. There’s also that quiet reserve often found in the best of New Zealand bands. It’s an almost-clenched holding back, where you can still feel what they do, even though they are very obviously internalising the emotions.

Through the well-regarded but often under-appreciated past of names such as Ups & Downs and Big Heavy Stuff, or his developing present and future with Theories Of Everything and this, Greg Atkinson’s voice remains an instantly identifiable thing. Grasping for a one-word description, there’s a yearning and often what sounds like loss to it, but that doesn’t quite cover the feelings felt.

Guitars layer and cross one another, sometimes in the wiry and strangulated way of another generation of Kiwi music. In the outstanding opener, High Window, they are the more measured children of Flying Nun’s ‘90s heyday. The rub is they might be a little too subtle for their own good sometimes. While Window flows and Lubin Raines’ lulling and conspiratorial voice tells its story well, there are a couple of places where it merely drifts before something else with a little more distinction rouses them – and you – from the reverie. You may make comparisons to our own somewhat unrealised Middle East in style – and unevenness.

Main other point here is the interplay provided by this reuniting of Greg with his U&D foil, brother Darren, almost accidentally forming a band from stopover weekends on the way to or from out-of-town work. That band’s other guitarist, John Flade, offers another musical voice as his lines echo or converse, but still leave spaces. Those wanting/hoping/expecting a re-run of Ups & Downs’ dark-edged pop might be wrong-footed. This is moodier stuff, songs sometimes unfolding in their own time, like the wavering of Come On Nightmare, though when the harmonies fall together, the shared history can be felt.

So Long’s slightly askance underpinning girl-group harmonies adds a ‘60s pop tangent, but even they seem a little unconvinced. There’s an odder confidence to Murder Song. In title alone, you’d realise there’s some Cash and/or Cave reflection abounding, and Henry Wagons will be first up for the guest appearance duet should the chance arise. Similarly, Saw A Light is where they obviously considered they needed the obligatory nod to Ennio Morricone – all high plains heat-haze and plaintive harmonica from the next mesa. Overall, it’s probably up to you whether the good bits overshadow where they seem to be coasting.

The rhythms are sometimes insistent, sometimes awkward. Some Things has the words come one at a time, deliberately as if the thought process has to be handled with care, unsure if it should even be revealed. Contrastingly, Zero is clockwork nervy – wanting to reveal, but maybe almost frightened to look you in the eye. Along that line, Little Fears seems waiting for the tap on the shoulder. While the bigger sound and questions of I’ve Got The Whys has some of BHS’ repressed energy to it, as it almost seems to be having an anxiety attack about letting itself go. It’s all a beguiling listen, which could well drag you in.

Ross Clelland

Ross Clelland

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Teaming up with songwriting partner in crime, guitarist Tristan Bouillaut, Empires is an accomplished, if occasionally generic, debut full-length from the Sydney/ Brisbane hard rockers that’s far ahead of their EP, both in dynamics and diversity. The band has already been saddled with the nu metal tag, but while there are traces in the more straightahead, less intriguing riff-driven cuts, it doesn’t define them. One of Boge’s strong points as a frontman is the soulfulness exuded in his soaring delivery; injecting this sensibility noticeably raises the stock of Marble Arc and Scars. He further excels on Hold The Line, although credit must be given to the rest of the band’s taut performances too. Opening track proper, Fire In The Sky, also bristles with an urgency Boge’s regular gig The Butterfly Effect hasn’t channelled of late. Although lagging a fraction in the middle mainly due to some overly similar song structures, Empires ends in fine fashion by simultaneously showcasing the current breadth of their songwriting and also indicating a future direction. Acoustic-laced ballad, Darkness Meets The Day, is a standout; female vocals add further spice. Previously released single, the Jeff Martin-produced Into Eternity, is a revelation; textured, touching and deeply melodic. There’s still considerable room for improvement here, but this is an empire with a solid foundation.

The Year Of Hibernation It’s all a bit of a hazy dream, with rainbow colours drifting lazily across the subconscious as the music swirls on. It’s the definition of a bedroom project, warm and fresh and utterly comfortable. The Year Of Hibernation, the first album from Trevor Powers AKA Youth Lagoon, feels familiar and exciting all at once, a deft mix of reverb-drenched instrumentals, androgynous vocals and poppy electronic sounds. While opener, Posters, begins as a peaceful swirl, Powers’ voice almost a whisper, it soon morphs into a catchy electro-pop blip that’s propelled by a mixture of sounds, without needing to consistently rely on vocals. His voice never explicitly takes the fore, so covered in fuzz that it often simply becomes another instrument amidst all the other stacked lo-fi sounds. Cheerful whistles are coupled with a thumping bass line on Afternoon, while 17 and July trade in the dance-ready rhythms for a more sentimental and emotion-based approach, with more traditional instruments, like piano and guitar, introduced as Powers tones it down a notch. The atmosphere especially builds on Montana, where sounds continually pile onto each other as the motif, starting very humbly, grows into something much bigger than itself by the end, but retains its heart as Powers’ vocals remain unassuming. There’s something very personable about The Year Of Hibernation that allows it to stand apart from other dime-a-dozen chillwave and electronic acts. You can see Powers hunched over in his bedroom as you listen to this album – it’s modest and yet utterly enchanting, equally suited for parties and lazy afternoons. Giselle Nguyen


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THE DRUM MEDIA 1 NOVEMBER 2011 • 51 •


METAL AND HARD ROCK WITH CHRIS MARIC Man, this week is like information overload – so much going on locally and it’s awesome to see. Let’s get into it shall we? Grab a Vanilla Coke and read on…

POISON

(UN)FORTUNATE SON New Rising Son, a metal/industrial act from California, has just inked a deal with French label Deadlight Entertainment. Here’s what’s interesting about this band – its frontman, Matthew Roberts, claims to be the son of criminal mastermind and serial killer Charles Manson, whose crimes in the ‘60s were some of the most grisly we’ve seen this side of Jack The Ripper. Roberts says that his biological mother revealed that she had been sexually assaulted by the killer in 1967 and that she gave him up for adoption after he was born. “I didn’t want to believe it. I was frightened and angry… I’m a peaceful person – trapped in the face of a monster,” Roberts told The Sun. Reportedly, Manson has confirmed the story through letters. If it is true, music seems to have been passed down through the blood – you’ll recall that Manson spent time recording in Brian Wilson’s studio and knew Neil Young before his notorious crimes went down. Creepy. New Rising Son’s album, Honey, will be released in January, with a song, Rain, already out online.

POISONOUS LAWSUIT Eighties hair metal rockers Poison were recently sued by Billy McCarthy and James Stonich, members of a Chicago band, Kid Rocker, for allegedly stealing four of their former band’s songs on Look What The Cat Dragged In, Poison’s debut album. The Kid Rocker members claim that C.C. DeVille auditioned for their band prior to joining Poison and was shown completed and formatted songs and studio tapes. The band claims that Poison’s songs Talk Dirty To Me, I Won’t Forget You, Fallen Angel and Ride The Wind all contain their original material. They’re demanding disgorgement of all profits from the songs in question, statutory damages for wilful infringement and an injunction preventing Bret Michaels from performing the material. Poison’s lawyer has slammed the lawsuit as “unmeritorious”, saying that if the songs in question really infringed Kid Rocker’s material, the suit would have been filed over two decades ago when they were first released.

• 52 • THE DRUM MEDIA 1 NOVEMBER 2011

Bar in Tempe, we’ve got The Toxic Waltz Massacre happening. Kicking off from 7pm and for the cost of a mid-price CD, you get to feast your eyes and ears on the brutal death metal stylings of Festering Drippage, who have made the trek over the mountains from Orange, as have Lithgow grinders Infested Entrails. Rounding things out are two bands who are no strangers to THS or the venue, Norse and Rampage.

The Amenta are currently writing, recording and preproducing the full-length follow-up to 2008’s divisive n0n album. It has a working title of Flesh Is Heir and features the aggression of their Occasus album and the ambient electronic destruction of n0n so you get the best of both their worlds. The band has introduced a new eeriness to their sound via new frontman Cain Cressall, who brings a unique musical and visual element to the band. Expect the album early in the New Year.

SATURDAY

South African rockers Seether are returning to Australia for the first time in three years in support of their new album, Holding Onto Strings Better Left To Fray. If you like your new millennium rock then be at The Metro on Sunday 5 February. Ah, those guys at Quarterpipe Records have done it again… Back in the mid ‘80s when tape trading was how you discovered new stuff and actually cherished your collection instead of deleting an mp3 when you got bored of it, there was quite the thrash scene around Sydney town. One of the most decadent of them was Aggressa and QPR has resurrected eight tracks from the band, given them the old re-master treatment and whacked ‘em on their website for the low, low price of just seven bucks. Go enjoy some history! Melbourne’s long-suffering Ne Obliviscaris have been doing it tough for the past year, with their lead guitarist Benjamin Baret stuck in his French homeland due to his Aussie visa being denied. The Australian Department of Immigration denied his visa on bullshit grounds that ‘only a metal musician who had “collaborated with Iron Maiden, Metallica or Disturbed” could be counted as having the “international reputation” required for the “Distinguished Talent” visa’ Benjamin had applied for. Can you believe that? In a metal version of The Castle, the band went and got over 3000 people in 60 countries to sign a petition and dozens of bands, labels and media from across the world wrote letters to the Australian Migration Review Tribunal in support of their cause. Finally, after waiting an eternity, the band has won its appeal! Ben has been granted a new long-term Australian visa and the guys can get back to the business of crushing skulls in the name of heavy metal. Their highly anticipated album, Portal Of I, is

www.utopia.com.au

THE AMENTA now set for release early next year and you owe it to the guys to buy a copy! Yet another jam-packed week of Heavy Shit has been laid out in front of you – take your pick…

FRIDAY Down by that little door at number 77 William Street, the awesomely titled Club Fuck will be hosting their belated Rocky Horror-themed Halloween party. Fancy dress is encouraged and there are some cool prizes for those who go to the most effort. The first 20 people through the door will receive membership to the club, which gives you the usual discounts and stuff like that. There are some kick-arse pure rock’n’roll bands taking the stage too – Pleasure Overload, Neon Heart and the epic Devine Electric all get a turn and in between there’ll be a bunch of clips playing on screen and tunes will be coming to you via two guys who absolutely know their shit inside and out, the very loud Brian Giffin and the man who, to him, it’s all about the Riff, Snake Sixx.

Well, finally… The wait is over. Schmier and the boys from Destruction will be pushing the Stag’s PA to its limits as they bust out riff after thrashing riff from their new opus, Day Of Reckoning, and their brilliant catalogue. Getting the riffs off the ground first will be Killrazor, followed by Melbourne’s fastest-rising metallers 4Arm and the mighty Mortal Sin, whose killer opus, Psychology Of Death, is going great guns at the shops! When the thrashing is over, head immediately across the road to Killed By Death, who will be rocking the after party! With Newtown’s vibe slowly being lost to property developers and hipster fuckers with more scarves than they would ever need, it’s good to know there are still people with hearts of gold and sleeves of metal. Club Led has arrived at the Sly Fox Hotel and will be there once a month for all your dietary requirements. They will give you free entry and three bands every time, plus a couple of DJs to keep the music flowing till 5am! They are kicking off the first of hopefully many nights with a great lineup that features Winter Gaunt on at 7pm, followed by Kunvuk at 8pm and Havoc at 9pm. Inner west sleaze merchants Kill City Creeps have scored a residency upstairs at the Beresford Hotel every Saturday night in November. Fresh from the release of their brand new five-tracker, the band is ready to unleash the beast starting tonight with support from East River.

MONDAY

Across town at The Wall, New Zealand’s black metal terror squad Creeping will unleash the filth on their first ever Australian tour. Joining them are Tasmania’s Thrall, who will be launching their new album, Vermin To The Earth. Local lads Erebus Enthroned and Bleakwood (in a rare live performance) will provide support fire.

OK, so he isn’t a double-kicking hyper-blasting human drum machine BUT he has a shit load of groove. Head out to Canterbury Leagues Club in Belmore and catch Good Charlotte’s Dean Butterworth as he rocks another great drum clinic presented by Drummers Dream. He has also laid the groove for The Used, Ben Harper and Morrissey.

And on the other other side of town up at the Valve

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PUNK AND HARDCORE WITH SARAH PETCHELL I’m pretty sure I mentioned a few weeks ago that Fires Of Waco would be releasing a 7”. Well it’s here and ready for pre-order through the Poison City Records e-store. It’s been a very busy year for the Brisbane fivepiece, having released their debut full-length, Old Ghosts Never Sleep, and then toured nationally alongside such bands as Balance & Composure, Defeater and Miles Away. Somewhere in there, they’ve slotted time in to record six new songs with producer David Williams, two of which make up The Journey Slow 7-inch. The songs promise to be heavier and more progressive than anything the band has released to date, and are set for release 21 November. As I mentioned, you can pre-order now through the Poison City e-store any one of the three, limited edition vinyl colour options. If you haven’t already bought your tickets to Soundwave 2012, I strongly suggest that you get on board as soon as possible and nab your tickets. The reason for this is that Melbourne has already completely sold out, with the Sydney shows expected to be not too far behind. The Sydney allocations for Soundwave sold through Ticketek have already been exhausted, leaving Oztix as the only place left to get your tickets, and as I understand it, they’re expected to sell out shortly through there as well. Soundwave Sydney will be held at Olympic Park on Sunday 26 February. Since their formation in 2006, Iron Mind has done things their own way. Their brand of late ‘80s, early ‘90s-influenced hardcore, fully of heavy riffs and strong grooves, cannot be beat in a live setting. Having hit the studio earlier this year to record ten hard-hitting tracks for their debut full-length, Hell Split Wide Open, the result is a release on Dead Souls Records and a place as one of the hardcore records of 2011. Now the band is hitting the road with fellow Melburnians Warbrain for a run of shows across the country, and the Sydney show has a ridiculously killer lineup. Mark in your diaries Friday 25 November for an 18+ show at Hermann’s Bar in Sydney, as joining Iron Mind and Warbrain will be locals Phantoms, Adelaide’s SXWZD (aka Sex Wizard) and local youngsters Endless Heights. I have a feeling that this is actually going to go down as one of the shows of 2011. Sydney punk rockers Homeward Bound have just released their debut album, Chorus Of Castouts, through Poison City Records, and to celebrate the band is playing a couple of shows. First up, this Saturday the band plays Black Wire Records with Army Of Champions (from

FIRES OF WACO Queensland), locals Firearms and Deadly Visions. The show starts at 7pm so get on down and check it out. There is also a show in Newcastle the night before at the Hamilton Station Hotel, again with Army Of Champions. Head on down to one of the shows and check out some cool local punk. We’ve all heard about the Pop Punk Is Not Dead tour that’s doing the rounds across the US at the moment (New Found Glory, Man Overboard and many others), and it seems like Australia has put on something similar, with three Takedown Records acts joining forces to celebrate the release of Skyway’s new album, Finders Keepers, out now. The Brisbane-based pop/ punk act is fresh off the Fuck The Reaper Tour with The Amity Affliction and Asking Alexandria, and is now embarking on a eight-date tour around the country, with Milestones and Apart From This, this December. You can catch the tour in Sydney on Saturday 10 for an 18+ show at SFX Nightclub or at a licensed all ages show on Sunday 11 at the Bald Faced Stag. Tickets for both shows will only be available on the door. Melodic pop/punk act Title Fight recently conquered the country with their compatriots Touché Amoré. To cap off this remarkable set of shows, the band has announced that they will be releasing a new 7” EP titled Missed, that is set to drop on 21 November through SideOneDummy Records. The two-song release will feature the title track, which was previously only available as an iTunes B-side. The second side will be the track, Dreamcatchers, a song that was part of the Australian and Japanese release of the band’s more recent album, Shed. You can pre-order the record now through the SideOneDummy e-store.

Up and coming Sydney hardcore act Reality has released a new EP titled We All Turn Out The Same and, best of all, it has been released as a free download. The EP features four new songs from the band, as well as an unmastered bonus track. Brett, vocalist for Melbourne hardcore band Hopeless, is also featured as a guest vocalist on the EP’s opening track, Different Roads. You can head to the band’s Facebook page to find a link for the download, and I strongly recommend that you do. And keep an eye on Reality as well – after being quiet for a while, it looks like they’re hitting it stronger than ever, as they also have a split with Canberra’s Vera on the way as well. Just to cap things off, UK math rock band This Town Needs Guns will be in town next month as a part of the Harvest Festival (not punk/hardcore, but Portishead and Mogwai are playing so I’m there). To fill in their days off from the festival, the band has announced a couple of sideshows, the other of which will be held in Melbourne. The band will be bringing its intricate guitar lines and complex, swirling melodies to The Vanguard in Newtown on Monday 14 November. Tickets are available now through Moshtix, and unfortunately it is an 18+ show. And while we’re on the topic of Harvest Festival sideshows, Kevin Devine has also announced a couple of shows, including one also at The Vanguard in Newtown on Tuesday 15. Same rules apply: tickets are on sale now and are available through Moshtix. This show is also 18+.

YELLOWCARD

SISKA SAYS ANYTHING Adam T. Siska, bassist for the now defunct pop/ punk band The Academy Is…, has been announced as the new bass player for Say Anything after the departure of Alex Kent last year. Kenny Vasoli, of The Starting Line and Person L, has filled in temporarily on tours during the last year. In a statement, Say Anything frontman Max Bemis said, “Having parted much more than amicably with Alex last year (he’s still a dear friend), we knew it would be very difficult to find someone who can fill his shoes on both a professional and personal level, but we are so lucky that Adam happened to be available at exactly the right time, and somehow we seem to have ended up with both.” Siska added, “I couldn’t be more excited to become a member of Say Anything. I have been a fan of the band since the release of the debut album, and got to know them well while on tour during the summer of 2008. When I spoke to Max about joining, there was no doubt in my mind that this is a band that I believe in and want to put my heart into. I look forward to seeing all of you at shows very soon!” Say Anything’s new album, Anarchy, My Dear, is expected for an early 2012 release.

YELLOWCARD STRIPS DOWN It’s been confirmed that pop/punk band Yellowcard is releasing an acoustic version of latest album, When You’re Through Thinking, Say Yes. Physical copies are expected to hit US shelves this week, but head to iTunes or Amazon to grab your digital tracks, or to absolutepunk.net for an exclusive stream. The new release comprises the entire 2011 album stripped back into acoustic renditions.

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THE DRUM MEDIA 1 NOVEMBER 2011 • 53 •


HIP HOP WITH VIKTOR KRUM

ALL AGES WITH DAVE DRAYTON

Do you call it Slurry Hills? We sometimes do. Good joke, we know. Anyway, Sunday 27 November Sluzza’s Aurora Hotel will be hosting an insanely large rap show. There’s a graffiti showcase and a rooftop barbeque. A rooftop barbeque. Barbeque. Rooftop. Yes. Graff nerds, the graffiti lineup is insane. Rap nerds, the list of performers may be more so. There’ll be Bingethinkers, Ellesquire, Reverse Polarities, Vrouce, Hyjak and DJ A$K, DJs, an open mic, beatboxing, spoken word, capoeira (?) and heaps more. It starts at midday. It is amazing. Topshelf is the name, $20 to get in, so save those pennies.

The Lucky Oz Tavern is once again doing some great things for the all ages scene. Regulars at the venue, hardcore band Above City Skies, all aged 15-16, play there once again this Sunday for a gig organised by the band’s guitarist, Dave. Brutal Savage Violent headlines the gig, which kicks off at 1pm and also features Let Her Drown, Flatliner, Valorous, Sundown, Ventures and Flight Or Fall. From 1pm Saturday the venue hosts The Vaine with Immersion, Omina, Seize The Fall, Winslows Cancer and No Longer I. Both shows are all ages and ten bones on the door.

Graffiti At The Island is happening again on Cockatoo Island on Saturday 19 November and it’s free. You been to Cockatoo Island? Nah? You should. It’s pretty striking. Parts of Masterchef were filmed there! Plus you can hang out with another huge lineup of rap and graffiti types including Skryptcha, Phatchance and Johnny Utah.

Post-hardcore Brisbanites Per Purpose are launching their new 12” record, Implicating More Than One, with an all ages show. I’m happy to say we have some news for the Novocastrian contingent; they’ll be playing with Bare Grillz and Rat King at Emma Soup on Hunter Street. Only $5 to get in.

Oh, wow. OK. We’ve spoken at length about the irony of well-past-it rap dudes coming out to Australia for tours. Young MC’s tour carries with it collective goodwill and just a hint of schadenfraude at the pop phenomenon that once was. Naughty By Nature recently came out for the Fat As Butter festival in Newcastle. Yeah. They are also set to release their “20th anniversary album”, called Anthem Inc. It’s – um… – look, it’s not a new new album. It features some new songs. It also, hilariously, features re-recorded versions of previous NBN hits like Hip Hop Hooray. We’ve been assured that Anthem Inc is a return to the party music our heroes apparently jumpstarted two decades ago. (Aside: did they jumpstart it, though?) It’s a chance for us to do some reminiscing, have a little bit of a laugh, and – just maybe – have some fun at the same time. Anthem Inc will be with us on 25 November through Shock. OK. This column is meant to have opinions about stuff. That’s part of what a column is. As a reader you’re meant to go, “what!? I agree so much! I better make sure I keep reading this column in future,” or, “what!? I disagree so much! I better make sure I keep reading this column in future.” Either way is fine. This column is relaxed. Street press is the future anyway. Onwards and upwards. But in a medium ruled by strong opinions, Jedi Mind Tricks presents this column a problem: we have – gasp! – no strong feelings about them. We know, we know you used to be passionate about Vinnie Paz.

NAUGHTY BY NATURE And we know that the first time you tried marijuana (DDD, kids) you were listening to your older brother’s copy of All Fates Have Changed. It’s just that this is rap that hasn’t touched this column like it’s touched some others. Good luck to all, though, and we’ll get to work on some strong opinions next time. Until then, you can catch JMT at the Factory Theatre on Thursday 8 December. Aha! A chance for you to agree or disagree. We say The Weeknd is great. We say Drake is pretty solid. We say further collaboration between the two is exciting news. The first time we heard these two Canadians together was on the The Weeknd track, The Zone. It was OK. Drake’s rap was very good, so there’s that. Drake’s new album, Take Care, will feature four tracks that have Abel Tesfaye’s (i.e. The Weeknd’s) pawprints on them. We don’t know in what form (Singing? Producing?) but we can be sure he’ll be a part of it. More reason, then, for us to be excited about new Drake. DOOM and Radiohead’s Thom Yorke and Jonny Greenwood are hopping into bed together! (Not like that!) It’s to celebrate the tenth anniversary of Lex Records. We don’t know what the track is called. But, you know, put talented people together and things tend to work out. getittogether@drummedia.com.au

Pop/punks Tonight Alive have been killing it recently. Mark Hoppus from Blink 182 sang on their record. No more need be said. They’re touring regional centres with all ages shows. Y&R lined up vocalist Jenna McDougall, before their shows in West Wyalong on Friday, Cowra on Saturday and Dubbo on Sunday. Your debut album, What Are You So Scared Of?, debuted at #15 on the ARIA charts. What was the reaction like on your end? We could hardly believe it! We received the news on the night of our Sydney show at the Metro so it set an awesome vibe for the night! We just appreciated how much that people got behind the record. Congratulations also for your addition to the Soundwave 2012 lineup. Not many Aussie acts make it onto the bill. How does it feel knowing you’ll be sharing stages with some musical greats? Thank you very much! Soundwave is a festival we all love and support and we’re really excited to be a part of it. We also feel really privileged to be one of only four Aussie bands selected to play! It’s nuts to think we’re in a lineup among such influential and accomplished acts, not to mention some favourites of ours. Why do you think it’s important to play all ages shows?

POP CULTURE THERAPY WITH ADAM CURLEY In a month of many festival lineup announcements, The Breakdown has begun to wonder whether the strong economy and resulting influx of overseas bands is good for local acts. There’s no doubt it’s good for local audiences: having more bands from more places to choose from strengthens critical thinking and therefore strengthens cultures. But with so much attention drawn to overseas bands on festival bills, there’s a real risk for locals to be overlooked or, as we’ve seen, relegated to second or third announcements, pushed way down the bills and barely publicised. It certainly begs the question whether Australia will eventually overcome the idea that imported products are superior to our own as we see more acts from overseas more often. Or will ‘international’ always generate more interest? As for this month’s music ‘wrap-up’, there are many locals making excellent sounds. The first is Melbourne’s The Orbweavers, formed around the songwriting team of Marita Dyson and Stuart Flanagan. Their debut album, 2009’s Graphite & Diamonds, revealed them as a group with a sensitivity to Melbourne’s industrial lands, their ‘desert-scape’ psych-country songs more like paeans to cement blocks, with twitchy and colourful currents surging beneath them. Their second, Loom (through Mistletone), continues that motif with a reverence for more cohesive melodies. The songs are still sparse and measured and softly approached with midnight country guitar, harmonies, horns and strings, yet they’re also whole and instantly memorable. The best moments are when Dyson’s ‘60s-studio voice is joined by Flanagan’s, as on the moonlit Confessions. Brisbane post-hardcore-ish kids Per Purpose have released a 12” EP, Implicating More Than One (Bedroom Suck Records), this week embarking on a proper launch tour along the East Coast. The EP is the group at their most formulated: their bass notes still fall over constantly, the drums ride their own horse and the vocals are barely coherent, but there are definite songs here. Good ones, too. Check out the clip for Reel Ingenuity on YouTube. They apparently only formed in April, but Sydney fourpiece The Rubens have crafted a bunch of promising songs, running from clean soul pop to grainier Western and blues ditties, that have started to get passed around online. The latter is the band’s forte and the pick of their tunes so far is a little blues waltz called Lay It Down. • 54 • THE DRUM MEDIA 1 NOVEMBER 2011

RIHANNA Check out their Facebook page to have a listen. Melbourne psych-leaning AM-pop quartet Isle Adore have released a new track, Lazy, and are playing a couple of shows in Sydney to launch it as a 7” in early November. The pastel-painted, airwave-tuning guitars of Ariel Pink’s Haunted Graffiti are the most relevant contemporary reference point for the song, but that doesn’t take any of its charm away. A juxtaposition of shoulder-shimmying melody and unwashed-dude vocals and pace, it’s like a smacky night on the RSL dancefloor wrapped into a song. Rihanna and Britney Spears went up against each other with new clip releases last week. Rihanna’s We Found Love clip is all kinds of ‘post-Skins for MTV’, depicting the singer taking copious amounts of pills, dancing in clubs and vomiting streamers as she sings about a troubled and doomed relationship. Spears’ Criminal, meanwhile, sees Spears rescued from an abusive relationship by a thug who she then falls in love with and joins in his armed robberies. As ‘bad girl’ moments in pop go, they’re interesting comparisons. In Rihanna’s clip and song, the singer is very much a part of the action; she isn’t led into ‘trouble’ by her male partner, the two ‘go wild’ together and abuse each other equally. Spears might be actively choosing to be with her ‘criminal’, but she’s an innocent party – she can’t help but love her man and she’s his “lucky charm”. At the end of We Found Love, Rihanna chooses to leave her guy. At Criminal’s close, Spears is running from the cops hand in hand with her man. breakdown@drummedia.com.au

TONIGHT ALIVE It would be stupid not to! Our fans are really important to us. To share music with them and give them a safe and positive environment to enjoy it in is something we feel strongly about. We’re also firm believers in having ambitions and taking advantage of your potential, so we like to encourage that in our younger listeners. What was the catalyst for your Indent regional all ages tour? Whakaio and Matt grew up in a small coastal town down south and experienced what it was like to live so far away from venues, so this tour was something they felt connected to! Everywhere we’re playing is somewhere we’ve never been before so we’re excited to meet new people and share our music with them! What’s the best show you attended as an u18? I went to a lot of local shows when I was in high school and despite seeing huge bands like Fall Out Boy at the Acer Arena, it was the community-run shows on the weekends with your friends that were the best. Any advice for young musos out there looking to kickstart their band? Do what comes naturally to you, write what you’re good at and if you don’t know what you’re good at yet, experiment! Don’t waste your time following trends. Make sure you network and get your music out there, make friends and play as many shows as you can. Stay humble and remember, you’re never too big for anything! allages@drummedia.com.au

URBAN AND R&B NEWS BY CYCLONE The weirdness in urban music continues, Rihanna popping up on Coldpay’s Mylo Xyloto. The collab, Princess Of China, also the latest single, is Herculean electro-rock with bastardised Detroit techno synths (refer to Aril Brikha’s Groove La Chord). Possibly the real surprise is that Coldplay didn’t record with Beyoncé, the R&B starlet and her husband Jay-Z besties with Chris Martin and Gwyneth Paltrow. These days Coldplay are very beige, yet Martin himself has made successive avant-garde R&B excursions. He cowrote Jamelia’s sweet See It In A Boy’s Eyes and Nelly Furtado’s sublime All Good Things (Come To An End), and produced Jay-Z’s metaphysical Beach Chair on Kingdom Come. Hip hoppers were suss on Beach Chair, but unreasonably so. Nevertheless, cross-fusion is here to stay – and excepting anything from The Black Eyed Peas (and obviously David Guetta!), it’s welcome… It’s a pity, though, that some neo-urban records are performing better than others. Phrase (Harley Webster) has suggested on Twitter that he may quit, apparently over the disappointing response to the excellent Babylon, his reconfiguration of vintage garage rock and hip hop. (The MC has subsequently told triple j’s Breakfast hosts, “I’m in two minds at the moment.”) In the interim, there’s been considerable buzz surrounding 360’s major label debut, Falling And Flying, delayed after a bizarre and serious go-karting accident. The Melburnian 360 (AKA Matt Colwell) issued What You See Is What You Get independently in 2008, but is now aligned with EMI. The rapper – like Webster, an adept battler – is a canny operator, harnessing social media. He’s also aired quirky mixtapes. Importantly, Colwell is credited with sparking the Aussie ‘Rapper Tag’ hip hop movement. Falling… has elements of rock, electro and, on Hammer Head, even dubstep, Sixty, as he’s nicknamed, comparable to both Eminem and Example – and sharing their emo sensibilities. Falling… is more pop, but not necessarily more commercial, than Babylon. It helps that – again, like Example – Colwell sings as well as raps. He crossed over with the boppy single, Just Got Started, featuring Pez (returning the favour for Colwell’s appearance on The Festival Song) – it samples The Whitest Boy Alive. While Phrase co-opted Jimmy Barnes for the gritty soul revue Velvet Glove, Colwell has the folksy Josh Pyke on Throw It Away – more radio-friendly hip pop. Indie chick Gossling graces two numbers, one the reggae-

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PHRASE lite Boys Like You. Colwell has largely worked with producer Styalz Fuego, but M-Phazes handles a couple of tracks, among them the angsty rocker Hope You Don’t Mind. Some of the pumpin’ joints, such as I’m OK, aren’t far removed from X & Hell’s much-dissed Million Dollar Sex Party of 2009. Today their crunky post-bogan electro-hop seems ahead of its time. (For Don’t Stop Movin, X & Hell hooked up with cheesy ‘90s dance outfit The Outhere Brothers.) Coincidentally, Styalz Fuego was heavily involved! Helmed by ‘96 Bulls, Killer is an epic electro banger that ingeniously samples Ultravox’s obscure Alles Klar (Ultravox best known for their New Romantic classic Vienna.) Alas, Colwell’s old eccentricity is muted on Falling… (Remember when he cut an alternative version of Lisa Mitchell’s Coin Laundry, titled Do You Have A Dollar?) But he does offer emotive songs like Child. Still, Webster’s Babylon has, if not a greater rawness, then originality. His psy-hop anthem Dreamers On The Run with Guineafowl surpasses anything on Falling… Webster, too, sings on the moving, Beatles-y Never Enough. Both Webster and Colwell have enthusiastic major labels executing excellent street and mainstream campaigns. So why is Phrase playing Solange to 360’s Beyoncé? Where’s the love? It’s baffling that Webster isn’t billed for Big Day Out. Webster’s opus has been nominated for a ‘best urban album’ ARIA, so maybe he should hold out before making any heated decisions. And look at that late bloomer Drapht: he’s received several ARIA noms, including one for ‘breakthrough artist album’ with The Life Of Riley – his fourth. ogflavas@drummedia.com.au


JIVECAT JAMBOREE BLUES AND ROOTS WITH DAN CONDON The great Eric Bibb is once again returning to Australia for a series of dates in the early part of next year. Bibb is here all the time, sure, but he still manages to play absolutely jaw-dropping shows each and every time he visits. His latest record, Booker’s Guitar, is gorgeous, and he has just fairly recently released a DVD by the name of Don’t Ever Let Nobody Bring You Down, Guitar Artistry Of Eric Bibb, which I haven’t seen but very much look forward to. You can see him this time around at the Sutherland Entertainment Centre on Thursday 1 March, the Moss Vale Music Festival Saturday 17, Blue Mountains Music Festival Sunday 18, The Basement Circular Quay Wednesday 21, Lizotte’s Kincumber Thursday 22, Lizotte’s Newcastle Friday 23 and Lizotte’s Dee Why Saturday 24. More info on those festivals he is playing in the coming weeks. The first round of acts announced to be appearing at the 2012 instalment of the annual Goulburn Australian Blues Music Festival came through last week with American bluesman (though, given the amount of time he spends here, he’s practically an Aussie) Eugene Hideaway Bridges the headline act for next year’s event. He will join a great cast of Aussie acts including Hat Fitz & Cara Robinson, P.J. O’Brien, Dream Boogie (recent winners of the Victorian blues challenge), Shaun Kirk, Diana Wolfe & The Black Sheep, The Resonators, Tabasco Tom & Doc White, Dan Hannaford and Rory Ellis. The festival happens in various locations around Goulburn from Thursday 9 through to Sunday 12 February.

Brothers and The Ukulele Orchestra Of Great Britain. It happens at Adelaide’s Botanic Park from Friday 9 through to Monday 12 March.

ERIC BIBB If you were reading this column towards the end of last year and the beginning of this year, you’ll remember me far too often lamenting the fact that the awesome Malian group Amadou & Mariam came to Australia for the WOMADeleaide festival and didn’t play any sideshows interstate. Well if you were sick of that, then you’d better start calling promoters to make sure that when Tuareg droney blues legends Tinariwen are in the country at the beginning of next year for that same festival, they decide to step out of the South Australian capital and give us some club shows! I wrote a bit about their latest record, Tassali, a few weeks back and even since then I think it gets better and better. They join a lineup that has plenty of other incredible acts onboard as well, including Blue King Brown, Diego Guerrero y El Solar de Artistas, Eddi Reader, First Aid Kit, Groundation, Johnny Clegg, Lo’Jo, Master Drummers Of Burundi, Sharon Shannon Big Band, Shivkumar Sharma, Staff Benda Billili, The Pigram

It’s a little surprising to see a new CD release being dedicated purely to the fiddle, but that is precisely what The Fiddle: Greatest Hits Of The Devil’s Instrument is all about. The release features one of the nation’s finest fiddlers, Mike Kerin, who has in the past played with everyone from Slim Dusty to Richard Tognetti, who is joined by the project’s progenitors Ian Simpson on banjo and John Kane on guitar, the two men responsible for last year’s The Banjo album. These three fellows are getting together to celebrate the release of the record with a big launch show, which hits Notes on Friday night. Not only will the three dudes responsible for the record be playing on the night, but they will be joined by a veritable cavalcade of special guest vocalists, including Genni Kane and Anne Kirkpatrick to name a mere few. Tickets are $29.60 from OzTix if you grab one now and, as is usual, there are a number of options for tickets with meal included at $54.10 as well. Next week I will have for you the first announcement for the Byron Bay Bluesfest. I’m really freaking excited about it. The rumour mill has gone into overdrive but there are going to be some surprises, I can just about guarantee you that. rootsdown@drummedia.com.au

Big Jay McNeely has been dishing up sax appeal for decades, earning his title, the King of Honking Sax. This Friday he swings into The Basement Circular Quay backed by the Adam Hall Band, but not before answering a few questions for Drum.

What do you think has changed and stayed the same about the R’N’B/blues music scene in the 50 or so years you’ve been in the business? Back in the 1950s it was young white kids who discovered R’N’B and blues and it was the wildest music of the day. Today there are so many different music styles but there is always a new generation of fans who dig the music that was really the roots of rock’n’roll. The music has the same appeal that it did when I first started playing and is great for dancing.

What’s your secret to keeping your music relevant and fresh over so many years? Staying fit and healthy, touring regularly to Europe and Australia and playing with some of the great young bands and musicians all around the world.

What up and coming performers in your genre are you excited about? Do you have any advice for aspiring saxophonists? So many young cats playing the music that I love and keeping the tradition alive. I have played a lot of shows with fellow sax player Detroit Gary Wiggins and he is a monster. I always enjoy playing with Adam Hall and his band when I come to Australia and I made a great record with The Mighty Reapers some years ago. My advice to young saxophonists is to listen to all the greats of jazz and R’N’B, as there is always something new you will learn each day.

THEY’RE THE VOICE JAZZ/WORLD WITH MICHAEL SMITH final of Australia’s first ever Latin Band Competition, judged by a panel of Latin music industry folk and special guests from Cuba – the legendary godfathers of Latin music from the Buena Vista Social Club and AfroCuban Allstars.

Double bassist and composer Jonathan Zwartz launches his new album at The Basement Circular Quay tonight, with special guest Martha Zwartz. Jazz violinist Daniel Weltlinger reprises the launch of his debut album, Souvenirs, a tribute to Django Reinhardt Thursday night in the Camelot Lounge, with special guests Ian & Nigel Date. Thursday night El Rocco hosts two of Australia’s finest contemporary pianists, Fiona Joy Hawkins and Trysette, crossing genres on the Sydney leg of the Two Grand I’m Yours national tour. Friday night, pianist, accordionist and composer Gary Daley presents a new work in six parts titled Sanctuary, commissioned by the Springwood-based Live At The Village, with a band that features Lucky Oceans on pedal steel, Paul Cutlan on sax and clarinet, Brett Hirst on double bass, Ollie Miller on cello, Mirabai Peart on violin, James Daley on mandolin, Jess Green on guitar and vocals, at Presbyterian Hall in Springwood, Llew & Mara Kiek with Tunji Beier opening the evening. Café Carnivale presents Musical Odysseys Of The Far East Friday night at Eastside Arts in Paddington, featuring Mongolian musician Bukhchuluun Ganburged with the Nyika Group, and the nine-piece Parramatta-based Iranian ensemble Madakto. Legendary bandleader and founder of the Daly-Wilson Big Band, trombonist Ed Wilson pulls together his 18-piece big band once more and is calling in Jeff

JEFF DUFF AND ED WILSON Duff, who has been spending a lot of time with Leo DiCaprio on the set of The Great Gatsby, for an evening reinventing the music of Tom Jones Saturday night at The Basement Circular Quay. This year’s winners of the Australian Jazz Bell Award for Best Traditional Jazz Album, Melbourne sextet Leigh Barker & The New Sheiks, with special guest vocalist Heather Stewart, play 505 tonight with the Ron Philpott Quintet, lunchtime at Corrimal Leagues for the Illawarra Jazz Club Wednesday, the Hippo Lounge in Canberra Wednesday, Jazz at the Loft in Dickson Thursday, and the Camelot Lounge Sunday night, in a double bill with The Cope Street Parade.

Actress and singer/songwriter Joanna Weinberg launches her album, The Piano Diaries, at 505 Sunday night with the album’s producer Rafael Nazario on keyboards, Kate Adams on cello, Blair Greenburg on percussion, Martin Hadders on guitar and Mark Ginsburg on sax and flute. If you only go to one show during Parramasala, the Australian Festival of South Asian Arts happening in Parramatta right across the week, make it master percussionist Trilok Gurtu at the Riverside Theatres Saturday night. One of the world’s top woodwind soloists Australian clarinettist Sabine Meyer is joined, this coming Monday and Saturday 12 November, by France’s Modigliani String Quartet at the Sydney Conservatorium.

TUESDAY Paul Sun & Monique Lysiak – Jazushi

WEDNESDAY

Saturday and Sunday sees the historic Everglades in Leura host a Vintage & Retro Weekend, with music from TangoOz, while Saturday Leura Golf Club hosts the George Washingmachine Quartet.

Craig Scott Quintet – 505

Saturday night sees the Hordern Pavilion hosting the

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Will Henderson – Kudu Lounge

ROCKABILLY/PSYCHOBILLY/ALT.COUNTRY WITH PEDRO MANOY inner west haunts at the punter-friendly Petersham Bowling Club from 7pm.

Take three of this country’s most talented musicians in Jonny Gretsch, Gene Maynard and Doug Dekroo and what do you have, apart from one helluva party? Australia’s hottest new rockabilly ensemble Road Runners, specialising in authentic rockabilly and jump blues sounds from the 1950s. The trio is currently working towards recording a debut album but are flexing their musical muscles at the iconic Town & Country Hotel this Sunday from 4.30pm. The Torchsong Country Soul Band, with members drawn from bands such as Roaring Jack and the Stolen Holdens, have just released a new album featuring 13 original songs from founder Joe Fenech and highlighting the angelic lead vocals of Irish singer Marie Phelan. Look out for a big launch party at The Gaelic Sunday 13 November from 4pm. 34B has set the standard when it comes to burlesque in Sydney and their annual birthday extravaganza is one of the highlights of the burgeoning burlesque calendar. Celebrating its sixth year, there’s a massive event billed as Gold Diggers Saturday 12 November at Q Bar in Oxford Street. The lineup is gargantuan with Kira Hula-la, Jamilla De Ville, Lucille Spielfuchs, Baby Blue Bergman, Jade Twist, Kitty Van Horne an Bella Pistol along with regulars Renny Kodgers and Francois Buble, as well as DJ’s Goldfoot and Jack Shit. There’s nothing like the sound of a big band, especially when it boasts a huge 19 pieces and swings like crazy. The Velvet Set is one such outfit and for the past four

FRIDAY

THE VELVET SET years has been igniting Sydney dance floors with the sounds of Count Basie, Duke Ellington, Tommy Dorsey, Frank Sinatra and the more recent neo swingers like the Royal Crown Revue and Bib Bad Voodoo Daddy. Friday 11 November the band will take over The Factory for a night of nonstop jiving and jitterbugging, and a chance for Sydneysiders to don their feathers, furs and fedoras and relive the classic swing era.

TUESDAY The Studio 57 Pro Jam hosted by Ross Ward and Al Britton is a popular night at Club Cronulla, 7.30pm.

WEDNESDAY Philip Ricketson of The Hoo Haas flies solo with special guests at the Sandringham’s street level bar from 8pm.

THURSDAY Out Of Nowhere are back at one of their favourite

Big Jay McNeely is back in town to blast the lid of The Basement Circular Quay with a huge night of jump blues and R’N’B, along with WA’s Adam Hall Band and DJs Limpin’ Jimmy & The Swingin’ Kitten. If you’ve yet to witness a Big Jay show you’re in a for a real treat. The Liza Ohlback Band plays Lizotte’s Dee Why, launching their new CD along with special guest Chiara Browne, while Backsliders get rootsy at The Brass Monkey.

SATURDAY The Gosford City Blues Jam features Mama Jane & Friends at the Central Coast Hotel, with an early 2pm start. Chris Turner & The Cave Men play the Sandringham Hotel and Stormcellar runs riot at the Jannali Inn.

SUNDAY Celebrate the annual Ton Up MC Rockers ride with a special show at the Jets Sports Club from 1pm with Sydney Mod superband Malpractice (featuring members of the Sets, Stupidity and Mustard Club), Drey Rollan Band, Go Go DJs The Crimplenes and rockabilly DJ Brian. Los Skeletone Blues play Avalon Beach Bowling Club and The Slowdowns go acoustic at the Hive Bar, Erskineville, both gigs from 3pm. swampshack@drummedia.com.au

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One of the country’s leading vocal ensembles, ARIAnominated a cappella group The Cafe Of The Gate Of Salvation celebrate their 25th anniversary with a concert on Saturday at The Factory. Drum grabbed founding member Tracey Greenberg to answer a few questions.

You’ve performed in many diverse settings. What’s your favourite kind of space to sing in and why? It’s always about the sound quality for me, whether that’s The Basement, Notes or a beautiful church with fabulous acoustics. Although outdoor gigs are notoriously hard to mic, we had incredible sound at a City of Sydney gig standing on the steps of St Mary’s Cathedral last Christmas as a prelude to a light show projected on the face of the Cathedral. These events are always more special because we get to sing to new audiences who would otherwise never have heard us.

How do you stay relevant in a musical world that is increasingly moving towards the electronic and technology-centred? The human voice will always be relevant. Anyway, it’s not as if we don’t use technology. We certainly use sound systems, we’ve recorded in state-of-the-art studios, but if the electricity goes, we’re your people!

How do you integrate each choir member’s voice into the Cafe Of The Gate Of Salvation tapestry? In traditional Gospel choirs, the sound they aspire to is “organa phonic”, as in “sounding like an organ”, so the chord is more important than the individual note.

LIONEL GOES COUNTRY Lionel Richie is set to release Tuskegee in March, an album of 13 of his most famous tracks, re-recorded as duets with prominent country artists. You Are features Blake Shelton, Say You, Say Me Jason Aldean, Stuck On You Darius Rucker, Deep River Woman Little Big Town, My Love Kenny Chesney, Dancing On The Ceiling Rascal Flatts, Hello Jennifer Nettles, Sail On Tim McGraw, Endless Love Shania Twain, Lady Kenny Rogers, Just For You Billy Currington, Easy Willie Nelson and All Night Long Jimmy Buffett. The album title is taken from town in Alabama in which the five-times Grammy and an Academy Award winner Richie was born and raised.

LORETTA ON THE MEND Country veteran and Hall of Fame member Loretta Lynn was recently hospitalised in the early stages of bacterial pneumonia and is currently recuperating at her Tennessee home. The 76-year-old singer woke up on her tour bus around 1.30am Saturday 22 October and complained that she was having problems breathing. She had to cancel two shows scheduled in Kentucky and North Carolina, but plans to return to the road later this week for a hometown performance.

LONE NO MORE For the upcoming 20th anniversary celebrations of American country group Lonestar, lead vocalist Richie McDonald, who left the group in 2007 to pursue a solo career, is once again joining the fold. The reunited band will include keyboardist Dean Sams, drummer Keech Rainwater and guitarist Michael Britt. The band will initially be touring Europe. THE DRUM MEDIA 1 NOVEMBER 2011 • 55 •


HOUSE, PROGRESSIVE AND TECHNO VIBES WITH ROBBIE LOWE

ROBERT HOOD Yo yo. It’s amazing how fast a month goes by! Now I’m back to give you the heads up on some of the deep and tech-house music goodness hitting our dance floors at the moment. I’ll start by reflecting on the last time I played at the Spice Cellar – I dropped a cracking new track by DrDunks and The Rhythm Odyssey’s called Zoo-MaCity. The timing was perfect, as the bass line absolutely knocked the socks off everyone! Zoo-Ma-City is a collaboration between two globally respected artists, Dean Meredith (AKA Chicken Lips) and Eric Duncan (Run-n-tug). The original is my pick – I like the Chicago influence, as well the vocal and acid leads. The Belgium-born producer Jona is doing a great job saturating my CD wallet with beautiful deep and techhouse tunes. He has always been a favourite for me and has landed releases on super labels like Get Physical, Supplement Facts and Planet E. Resonate, from the This Time EP, sits high as one of his best yet – the track encompasses layering dreamy synths, a groovy bass line and flawless production values. I really like all the tracks from Perspectives as well – this is another of his recent EPs that holds this same vibe. Particularly Orion… electronic music pushes the creative boundaries!

You really have to love the work of Detroit DJ/producer legend Robert Hood. The guy can wear many hats, making constant dance floor hits from disco to techno. His latest M-Plant release, Dancer, is a disco-infused screamer! Big summer track. I can see it getting a trashing and so it should. There’s nothing like hypnotic chunky tech-house to get things moving along and Nikola Gala’s Dope Beat does just that. Seems Gala has gone a little adventurous with this, as he usually produces a more subtle deep-house sound. Not complaining though, as he has definitely nailed it with Dope Beat. I’ll leave with some of my own good news. I have an EP coming out next month on Low Pressings called Floor Jam. This features the original plus remixes from Sydney guns Matt Rowan, Tim Culbert and Tim Jirgenson. Low Pressings has put out loads of great releases over the years and these days you’ll hear some really nice deep and progressive-house vibes. Looking forward to the official release! lowerider@drummedia.com.au

TALES FROM THE BIG APPLE WITH TOM HAWKING As anyone who reads NY Conversation’s online incarnation may have already read, your correspondent spent a bit of time down at the Occupy Wall Street march in Washington Square recently. As I wrote at the time, I’ve generally been sceptical of protest movements over the years, both because they generally involve strident people demanding fundamentally inconsequential things via cheap megaphones, and because the fact that my political views are of a generally left-wing bent invariably means attending marches involves spending time with the sort of irksome hippies for whom political engagement means playing bongos and riding oversized unicycles.

JELLO BIAFRA AND NATALIE PA’APA’A AT OCCUPY MELBOURNE

Happily, Occupy Wall Street wasn’t like that. Or, if it was, it wasn’t only like that. Perhaps the most interesting thing about the march was that a very broad spectrum of society was represented. Sure there were the hippies and their bongos, along with the rent-an-anarchist minority that invariably turns up at all such events, but there were all sorts of others: old ladies with small, nervous dogs; families with large, expensive prams; tourists; students, and even the occasional businessman. Ordinary people, in other words, not rabble-rousers who are out to “destroy jobs”, as Michael Bloomberg rather hysterically claimed afterward, but who are largely fed up with… well, everything, really. I doubt many of the attendees want to storm the barricades and shut down the stock exchange, or run the banks out of town, or any of the other sensationalist motives that have been ascribed to Occupy Wall Street over the last couple of weeks. Most of them looked like they were there to voice a sort of general existential discontent and then go home and make dinner.

police brutality is never OK, no matter who it’s directed at. The rush to argue that the police “had to use force” has demeaned everyone involved. And while the stance of the Herald Sun et al isn’t surprising, the contempt with which protesters have been portrayed is startling — in the US, not even Fox News, with its “Occupy Wall Street Kicks Hungry Homeless Out of Park” headlines, has been quite so vituperative. Some of the protesters may well be idealistic and naive, but it’s a sad state of affairs if idealism is something to sneeze at. It’s certainly nothing to be beaten around the head with a baton for. And I can’t help but wonder what it is that Australia has found so objectionable in the Occupy movement. It seems to play both into an abiding complacency — hey, we’ve got a beaut economy, what’s to complain about? — and also into a hostility to anything that challenges a way of life that has made Australians one of the most well-off people in the world. After all, who’d be more hostile to a protest against selfishness than the terminally selfish? Hi, Andrew Bolt!

Crucially, it was also an entirely peaceful affair. As such, it’s been with a sense of impotent despair that I’ve read the reports of the police violence at Occupy Melbourne last week. Of course, I wasn’t there, but I can’t imagine the protesters in Melbourne were too different to the amiable crowd down at Washington Square. Ordinary people. Whatever you think of their views, they deserved better. And perhaps the most depressing thing about the Australian media’s coverage of the violence in Melbourne has been the general sense that the protesters were a bunch of ratbags who didn’t do what they were told and got what they deserved. Maybe they were ratbags. Maybe they didn’t do what they were told. But

Anyway, whatever you think of protesters’ views, they’re free to speak their minds, and to do so without getting beaten up — and the violence at Occupy Melbourne looked pretty terrible. People here have asked me about it repeatedly, apparently more troubled by it than the Australian media. Does Australia really want to be a country where the police wade in and break up peaceful protests? Be careful what you wish for and all that. Because a couple of nights back in Oakland, a young man was shot with a “non-lethal” round at a protest and left with a fractured skull. He’s currently in a critical condition in hospital. Let’s hope nothing like that happens if there’s another protest in Australia.

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THIS WEEK IN TUESDAY 1 Champagne Urbana: New Work from Sydney and New York – an exhibition bringing together the work of five young artists living and working in two major cities; an attempt to glean some insight into the convergences/divergences of the urban experience by the analysis of their respective visual vocabularies. Artists involved: Ernesto Burgos, Shane Caffrey, Chris Hanrahan, Chloe Hughes and Liz Magic Laser. Curated by Aaron Anderson. Opening night, 6pm. The Paper Mill, Angel Place until 19 November. No Man’s Land – written by Harold Pinter, directed by Michael Gow. Two unlikely drinking buddies, Mr Hirst, a well-heeled but fading London literatus who’s in the last lap of a race he has long forgotten how to run, and Mr Spooner, a scruffy booze-hound and poet bent on ingratiating himself with his superiors. Savour Pinter’s precise linguistic games and famous silences. An STC production. Opening night. Drama Theatre, Sydney Opera House until 11 December.

WEDNESDAY 2 The Blue Gardenia – The first of Fritz Lang’s newspaper trilogy, The Blue Gardenia examines the press coverage of a sensational murder case in which a woman, Norah Larkin, goes on a blind date, gets drunk and awakes to discover that the man she went out with has been murdered, quite possibly by herself. Domain Theatre, Art Gallery of NSW, 2pm and 7:15pm.

THURSDAY 3 Fiona Hall: Shot Through – new exhibition from the highly revered Australian photographer. Opening night. Roslyn Oxley9, Paddington until 26 November.

FRIDAY 4 Outpost: Art From The Streets – Cockatoo Island is transformed into a huge canvas for street artists to take over, with Anthony Lister, Banksy, Beastman, Ben Frost, Ears, HAHA, Max Berry, Meggs, Numskull, Paste Modernism and the Secret Wars crew representing. Opening day. Cockatoo Island until 11 December. Sigur Rós: Inni – Sigur Rós’ second livefilm, following 2007’s tour documentary Heima, recorded and shot over two nights at London’s Alexandra Palace at the close of the world tour around their fifth full-

ARTS length album, með suð í eyrum við spilum endalaust. Chauvel Cinema, 8:30pm. Repeats same time tomorrow night.

SUNDAY 6 The mad square: modernity in German art 1910-37 – over 200 works exploring the fascinating and complex ways in which German artists sought to portray their then modern world. Featuring leading artists such as Max Beckmann, Otto Dix, George Grosz, Hannah Höch and El Lissitzky among others, this major exhibition is drawn from renowned international and Australian collections. Closing day. Art Gallery of NSW.

ONGOING After Dark – an exhibition featuring the work of two photographers, each of whom has created an evocative series under cover of darkness, each using very different photographic techniques. Digby Duncan photographs the Chinese village of Feijiacun, situated close to Beijing, whilst David Smyth turns his camera to the Glebe tram sheds and the ‘End of the Line’ trams. Syndicate at Danks, Waterloo until 12 November. Bloodland – Stephen Page, artistic director of Bangarra Dance Theatre and award-winning choreographer, collaborates with writer and actor Wayne Blair on this landmark work. Featuring an Indigenous cast of 12 including established urban actors as well as traditional Yolngu storytellers, the production fuses traditional languages and Pidgin English as well as dance and song to tell the story. Wharf 1, Sydney Theatre Company until 13 November. Julius Caesar – directed by Peter Evans, Bell Shakespeare’s associate artistic director. “To see the future one must only look to the past, like many who came before him, and after him.” This sharp political drama puts friendship to the test and reveals a stark contrast between our intentions and our actions. With Alex Menglet as Caesar and Kate Mulvany as Cassius, we go behind the scenes as yet another leader is forced from office. Sydney Opera House until 26 November. Sprout – written by Jessica Bellamy, directed by Gin Savage. A vision of an environmentally ravaged Australia of the future, where everything has dried up, run out or fled.Within this desolation, four people start again. “No matter how barren and empty, no matter how hot and dry, new and hopeful things sprout. Life will always crack through.” Old Fitzroy Theatre until 19 November.

TAKE TO THE STREETS SOME OF THE BIGGEST NAMES IN STREET ART – SUCH AS ANTHONY LISTER, BEN FROST, BANKSY, BEASTMAN, HAHA, MAX BERRY, MEGGS AND NUMSKULL – ARE TAKING OVER COCKATOO ISLAND FOR OUTPOST, A STREET ART FESTIVAL. JAKE MILLAR SPEAKS TO SOME OF THE FEATURED ARTISTS. If you had to choose a place to host the fringes of the art world, former quarentine hospital Cockatoo Island would seem to be a pretty good fit. Curated by the Sydney Harbour Federation Trust and amBUSH gallery, the Outpost Project is billed as the largest urban art festival in the Southern Hemisphere, with over 150 street artists set to converge on the island from around Australia and the world. It promises to deliver everything from aerosol art to installations to stenciling and sculpture, including collector George Shaw’s much-

I ALSO LIVE AT ONE INFINITE LOOP, 2011, PRODUCTION STILL. PHOTOGRAPHY BY SHAUN GLADWELL & ANNA SCHWARTZ GALLERY MELBOURNE AND SYDNEY

anticipated Oi You! show, which will feature works by the likes of street-art superstar Banksy. And in the spirit of all things street and grungy, it’s completely free. Daniel O’Toole is a local painter who works under the name Ears and says the scale of the festival means it’s a great opportunity for the street-art scene to get together: “I’m a part of a local community of Sydney-based street artists and many of us are in this thing together. Being such a large event, it also allows people to see

RISKY BUSINESS EARLIER THIS YEAR SHAUN GLADWELL WAS THE SUBJECT OF A MAJOR EXHIBITION AT ACMI, MELBOURNE. NOW, ANNA SCHWARTZ GALLERY IS EXHIBITING HIS WORK IN SYDNEY. WORDS BY JAKE MILLAR. The Anna Schwartz Gallery is an impressive space. The walls of its tall, minimalist exhibition room sit within the 19th Century CarriageWorks building in Eveleigh, the site where Sydney’s trains were made and maintained for the best part of a century. Like a hip young girl wrapped in a vintage fur, it is at once old and new. A foot in the past and the present. But for its latest exhibition, works by Australian multimedia artist Shaun Gladwell, it leans towards the modern era. Although he often gets handed the video-artist tag, Gladwell’s work has always been a mixed bag. This latest show, Riding With Death: Redux, includes the film pieces you might expect from Sydney-born, Londonbased Gladwell, but the show also features sculpture and photography. “It’s a new series of works that I’ve made in Australia,” he explains. “Basically the show is about a kind

a good cross-section of the artistic community. “I have been involved with amBUSH over the years on various projects and exhibitions, so we already had a dialogue going about collaborating on some projects and this was perfect.” Shannon Crees is another local street artist making the trip to the island and, like Ears, she’s been involved in amBUSH events for some time: “AmBUSH gallery is leading the way in changing the public’s perception and broadening the exposure in Australia for street art. Recent acceptance by reputable galleries globally has legitimised street art as an artform and amBUSH always goes above and beyond the call of duty in hosting dynamic, impressive events.” Sydney-based street artist Beastman has exhibited extensively in Australia and overseas and is looking forward to taking part in Outpost. He says it’s a chance for local artists to get their work out there: “I grew up in Sydney and it’s not everyday you can create some large scale artwork at a location like Cockatoo Island. I have been painting murals and showing my artwork in galleries all over Sydney for years now and I have

of disorientation of the body with people involved in pretty extreme physical activities.” And he’s not kidding. One piece sees Gladwell pilot a jet fighter and perform acrobatic maneuvers, all while recording himself on camera. Other works incorporate parkour, skateboarding and other dynamic activities. As well as covering a range of media, the show spans over a decade of Gladwell’s artistic output. “One of the works in the show was actually the first video I ever made in the late ’90. In fact, it was only ever shown at art school, so this is the first time it’s been out in public.” As with this exhibition, risk plays a recurring role in much of Gladwell’s work and, indeed, he’s no newcomer to danger himself. In 2009 he spent three weeks with Australian troops in Afghanistan. “The war is nothing but intense,” he admits of the experience.

some experience painting large-scale paintings with aerosol paint, so my work is a perfect fit.” He adds that the event will also help to develop a broader appreciation for street art. “It’s events like Outpost that enable the general public to see the amazing local artistic talent we have here in Australia, and for the public to understand the importance of this global art movement.”

“There’s a lot of tragedy connected to the conflict and although I was preparing myself for that, you can never really be fully prepared until you’re there.” It turned out to be a busy year for Gladwell. As well as the stint in Afghanistan, he represented Australia at the Venice Biennale with MADDESTMAXIMVS, a series of works drawing on the Australian outback – yawning red deserts, endless roads trickling into the distance – and Trip To Mundi Mundi, from that series, is part of the John Kaldor collection at the Art Gallery of NSW, where it sits alongside the likes of Richard Prince and Jeff Koons and Sol LeWitt, and doesn’t look the slightest bit out of place. As well as collecting Gladwell’s work, John Kaldor has been a friend of the artist for several years. “He’s been a supporter for so long; he’s supported international artists to come here,

but he’s also supported a lot of art projects within Australia.” Although now based in the UK, Gladwell takes the chance to return to Australia whenever he can. “It’s always a joy to come back and it was great working with local performers here. I’m still totally inspired by this landscape and it’s not like I ever leave for great lengths of time.” But Gladwell is a busy man. Following this show, he’s due in Copenhagen for a group exhibition, before shows at the Adelaide Biennale in February and New York’s The Armory the following month. Gladwell might describe his current exhibition as a series of “extreme physical activities”, but it seems he could just as easily be talking about his hectic schedule. WHAT: Scott Gladwell: Riding With Death: Redux WHERE & WHEN: Anna Schwartz Gallery until 10 December

BANKSY – GET OUT WHILE YOU CAN. PHOTOGRAPHY COURTESY OI YOU! COLLECTION

With so much local and international talent on display, the art alone is worth the ferry ride. But as well as exhibitions, the Outpost Project will be hosting everything from pop-up bars, shops and galleries, through to live music, skateboarding and a range of talks and educational events. Triple j will also be holding a competition to uncover emerging street artists and there are also a number of events aimed at children, to make it a familyfriendly occasion. For fans of street art or just those looking to see what all the fuss is about, this is one event not to be missed. WHAT: Outpost: Art from the Streets WHERE & WHEN: Cockatoo Island Friday 4 November to Sunday 11 December THE DRUM MEDIA 1 NOVEMBER 2011 • 57 •


frontrow@drummedia.com.au

Sam Simmons COMEDY REVIEWS

TOM BALLARD: SINCE 1989

Downstairs, Belvoir St Theatre Tom Ballard is young, and unless he told you it’d be easy to forget. I’d insert a cliché here about talent beyond his years, but look, he’s young, and that’s a compliment. Being young is also the theme of this show, and although Ballard starts by potentially alienating the whole room (you’re over the hill if you’re 32 or over, apparently) he uses his age as a loose theme. Most entertaining, and real, is his recounting of his first heartbreak, over Josh Thomas, and having seen Thomas’ version of the relationship with his show, Surprise, I have to admit I’m on team Ballard. Tom’s version of first

love is funny, warm, passionate and undignified, which means it’s accurate. It’s also about actual heartbreak as opposed to the usual ‘up the 11’ hate of what happens next, which gets us back to the young, but articulate beyond his years stuff. Season finished LIZ GIUFFRE

MICHAEL WORKMAN: HUMANS ARE BEAUTIFUL The Standard, 22/10/2011 Michael Workman is a beautiful and gentle storyteller. Following a great warmup (including the exceptional Michael Hing), Workman worked off mic on a busy Saturday night in a clever move to make us and him comfortable,

and getting pissed comedy audiences to be quiet for that long is in itself an achievement. We literally hung off every word, as the sweet narrative unfolded with a Boosh-like absurdity and the odd tune. However Workman is more controlled; Sam Simmons with a smaller prop bag (in a good way). The little side roads on the journey were also fabulous, amping up the speed and letting him break into a more ‘conventional’ comedy stride (yes, he will reference Oscar Wilde, but he will admit he knows it’s pretentious). Based in Sydney, this was the last performance of the Humans Are Beautiful show (most recently performed at Edinburgh), so let’s hope Workman’s back at his desk writing a new show for the new year. LIZ GIUFFRE

FROM THE KINGDOM TO THE RING AUSTRALIA’S RISING INTERNATIONAL FILM STAR, JOEL EDGERTON, TALKS TO GUY DAVIS ABOUT BEING A WARRIOR.

PRECISELY ON POINT SAM SIMMONS RUNS GUY DAVIS THROUGH THE UPS AND DOWNS OF HIS LIFE. “Fuckin’ everything’s fucked.” Welcome to the world of Sam Simmons, ladies and gentlemen. Okay, Simmons doesn’t truly believe everything is fuckin’ fucked – the acclaimed stand-up comedian is just wrestling with a few frustrations, such as the grind of being constantly on the road performing gigs around Australia and around the world. Of course, there are compensations, such as receiving a Best Comedy nomination at this past August’s Edinburgh Fringe Festival, an honour that topped off an already sweet year for Simmons. “I’m proud as shit, actually,” he admits. “Not too many Australians have been up for that award. And it was an awesome moment for me because I’ve had a lot of detractors over the years, calling me a shit prop comedian or whatever. But I know I’m doing something different and getting better and better at it, so this was a boost to my confidence.” Still, living out of a suitcase can suck at times. Simmons, however, is turning lemons into lemonade. “I’m stronger creatively than I’ve ever been – and I know that’s all egotistical and stuff – but that’s because of the frustration and everything. If everything was peachy, the comedy wouldn’t be good. But • 58 • THE DRUM MEDIA 1 NOVEMBER 2011

because I let these things shit me, it brings good stuff. I tried a heap of new stuff last night and it was awesome! And it resulted from me wandering all around Adelaide, listening to lots of Philip Glass... “And, you know, if I didn’t whinge, I wouldn’t be human.” Sydney audiences can currently get a load of Sam’s “suburban absurdism” (as his style has been dubbed by admirers) in The Precise History Of Things, which is now playing at the Factory Theatre. The show has been lauded from here to Scotland and Simmons says that Sydney audiences are privy to an evolved version that incorporates the finest aspects of all its incarnations. “About a quarter of it is different. It evolved for Edinburgh and what I’m bringing to Sydney is an amalgam of the Edinburgh show and the Australian show. So the best possible version is going to be in Sydney, which is a bit of a shame for people in Melbourne. But you always make changes, find little nuances in the delivery of it, so technically it changes and creatively it changes. The show changed so much in Edinburgh it almost became violent surrealism, which was awesome for me to discover and explore.”

And even if he has to feel a little shitty to do so, Simmons feels like he’s still got plenty of explore. “I’ve always got something to whinge about, and God bless the women who’ve been in my life and had to put up with what’s wrong in my head,” he says, laughing. “I know I’m not one hundred per cent right – I get shitty, over-emotional. But my comedy form is really changing, it’s becoming mainstream, and it’s great that I’m getting a chance to reach people I haven’t reached before. It means next year’s show is going to be a fucking cracker.” And here’s a sneak preview! “It’s called About The Weather and it’s basically about a day in the life of this man who feels paranoia and everything as he goes about his day.” He adds that the show will incorporate ideas of “frustration and maleness”. “I’m going to get wanky here but I’m going for a bit of a Eugene Ionesco feel,” says Sam, referring of course to the renowned Romanian absurdist playwright. “It’s going to have cock jokes as well.” WHAT: Sam Simmons’ The Precise History of Things WHERE & WHEN: Factory Theatre until 12 November

Okay, so you’ve got two estranged brothers, each battling their own individual demons and struggling under their own burdens. You’ve got their father, desperate to make amends for a drunken, abusive past. You’ve got a supportive but worried wife. You’ve got a kid with a medical condition. And you’ve got a no-holds-barred mixed-martial-arts throwdown with $5 million prize money at stake. Taking all those elements at face value, it’s hard not to agree with Joel Edgerton when he says that

M A D E YO U

his new movie, Warrior, “could have been dripping with cheese”. And while this hard-hitting melodrama does deal in largerthan-life situations and archetypal characters, it’s also got integrity, impact and soul to spare, making it a crowd-pleaser in the vein of The Fighter or even the original Rocky. The fact it’s been cast with sterling actors like Edgerton, Inception’s Tom Hardy, and Nick Nolte, all delivering full-blooded performances, doesn’t hurt either. For Edgerton, currently back in

Australia filming Baz Luhrmann’s The Great Gatsby, it’s director Gavin O’Connor’s approach that lifts Warrior into a loftier realm. “There’s a certain road this movie could have taken, this preposterous kind of route, and it really is Gavin who steered it in a direction that makes it work. “When you meet him, he lives and breathes his movies, and he creates a social environment on and around the set of his movies that ensures everybody is on the same page. He’s a great

LOOK

WITH BETHANY SMALL

Ah, the crazy netherworld of gallery openings, where there are several pretty much every night and free drinks are a requirement rather than a bonus and you forget that there are people who do not store a list of these things in their heads. One day I will gather together all the room sheets I have collected and shoved into a pile in my room or used as bookmarks or whatever and papier-mâché myself a tiny fort and live there in hermitude. But tonight, I will work out how to get to and between four places in three hours (and consider myself lucky to get that bonus 8pm-9pm, thanks aMBUSH) and also to actually look at the art. It is, frankly, a little discouraging. I actually made a list and prioritised it and consulted a map, which even though this is my work kind of seems like a lot of work for something that most people I know think is one of the big luxuries of my lifestyle. I know,

wah wah, poor baby doesn’t like those particular canapés, etc. is one of the first-worldier problems one could have, and I am not complaining in the expectation of sympathy or something changing but because when I actually think about why this annoys me there is a decent reason for it. What am I actually getting out of these flying visits? How long do you need to look at a show, and how many artworks can you actually take in before you run out of good perceptual energy? Tonight, say, I will go to Surry Hills to Chalk Horse to see Sophia Hewson’s show, The Longing: It’s Like Vulcan But Sad. As I am writing about this one and am in some ways an extremely conscientious little brat I will be looking closely at each work in this one, with reference to the roomsheet and the clever catalogue essay (there is always a clever catalogue essay with Chalk Horse). Then I’ll go to Anna Schwartz

(in CarriageWorks) to see the Shaun Gladwell show because I feel kind of grimly obliged to because people will discuss it, and I’ll look at that in the same way as the above because I feel very ‘I must be missing out’ in my ambivalence to the dude, and Anna Schwartz also give good catalogue. Then, train to Darlinghurst for GL Wood at Showcase Gallery because that looks really quite mixed-media and interesting. I’ll intend to do that one quickly but will end up running into people and chatting. Hopefully some of them will then split a cab with me to aMBUSH in Waterloo, where Kings Of Nothing are launching a range and there’ll be a superbly-designed catalogue and a mix of full-circuit people and those who attend only the most street of art. I’ll go home with a sheaf of paper and a bunch of opinions about the work I’ve seen, but I sadly may not keep the latter around as long as the former.


frontrow@drummedia.com.au collaborator and he’ll include anyone he needs in order to make the thing better. He’d fly the best UFC [Ultimate Fighting Championship] trainers to Pittsburgh to give us advice; he employed a real referee to play the referee in the movie. Anything he could for the sake of authenticity, he was going to do it.” Neither Edgerton not his co-star Hardy were as high-profile as they currently are when O’Connor tapped them for the roles of combative brothers Brendan and Tommy. But the filmmaker was looking for actors unencumbered by star baggage, says Edgerton, and “I know Gavin saw in me the right energy for what he needed for Brendan, just as he saw qualities in Tom that were right for Tommy. “For Brendan, Gavin wanted someone who could express

C U LT U R A L

that sensitivity and vulnerability of someone who didn’t back themselves enough, someone who had the capability but not the confidence, and for Tommy he wanted someone with that pain, that destructive and self-destructive quality, and the vulnerability underneath all that. Brendan is the kind of way in for the audience – he’s a stable, relatable guy who’s trying to keep his family afloat. In a way, though, I had to invert my own experience to relate to these brothers’ situation because my own brother” – filmmaker Nash Edgerton – “and I are well close and I’ve had a fairly harmonious family life.” Edgerton’s currently among Hollywood’s crop of rising leading men – he was on the short list to take over the title role in the Bourne franchise from Matt

Damon, and he’s been announced as the lead in Hurt Locker director Kathryn’s Bigelow’s upcoming project about the hunt for Osama bin Laden – and he says he has Warrior to thank for his newfound heat. “Things changed for me a little bit because of Animal Kingdom [and] also because of this movie – when Gavin was putting it together and people were starting to get an early look at it, people started to get a little more interested in the work I was doing. It’s really cool because I feel like I’m in a good position to take advantage of those opportunities now that I’m a bit older and wiser... maybe.” WHAT: Warrior WHEN & WHERE: Screening in cinemas now

CRINGE REVIEW

ANONYMOUS

WITH JAMELLE WELLS

The co-founder of Currency Press, Katharine Brisbane, will deliver this year’s Philip Parsons Memorial Lecture with the theme, “In Praise of Nepotism”. The annual lecture by an arts professional is a platform to raise debate among arts practitioners. Brisbane will argue that while theatre is accused of being insular, this can be a good thing and art thrives when developed in ensembles of like-minded and similarly trained artists. “History shows us,” she says, “it is circumstance that brings people together… The great art movements all began with circumstance.” The lecture and the announcement of winner of the Parsons Young Playwright’s Award will be at Belvoir St Theatre on 27 November. The award shortlist includes Nick Coyle for Rommy, Gareth Davies and Charlie Garber for Masterclass, Zoe Coombs Marr for And That Was The Summer That Changed My Life, and Team Mess for This Is It. Bangarra Dance Theatre is planning over 117 performances

that include tours to regional centres and capital cities next year with Stephen Page to lead a collaboration with the Australian Ballet for his new work, Night Sky. Bangarra has had plenty of accolades this year. At the Deadly Awards, artist in residence Kathy Marika was named Dancer of the Year; the company received a Helpmann for best regional touring production for Mathinna and three Greenroom Awards for of earth & sky; Frances Rings got the Betty Pounder Choreography Award for Artefact, and Belong was voted best dance performance by the Alternative Media Group publications. Protesters in Shakespeare’s home county in central England have taken his name off street signs in anger over a new film which insinuates he was a fraud. The Shakespeare Birthplace Trust has taped over nine road signs bearing his name in Warwickshire. The group says the movie, Anonymous, portrays the playwright as a barely literate frontman for the Earl of Oxford and has tried to rewrite English history. Their protest coincided with the movie’s premiere

at the London Film Festival. Directed by Roland Emmerich, it stars Rafe Spall as Shakespeare and Rhys Ifans as the Earl of Oxford. For the first time in its 120-year history, TAFE NSW Sydney Institute is taking over Town Hall to wrap up a year of anniversary celebrations. TAFE has a huge reputation for producing leaders in the creative arts and on 9 November more than 200 students will be involved in parades showcasing couture, theatre costume, floristry design, hair and makeup. Designs from star graduates including Alex Perry, Nicky Zimmermann, Akira Isogawa and Dion Lee will also be featured. Organisers of the Sculpture By The Sea exhibition along the Bondi Beach to Tamarama coast walk have told the media the project is struggling financially, despite state government funding. They say the New South Wales government provides $300,000 – or 15 per cent of the project’s budget – but the Australia Council hasn’t coughed up any money for it since 2007. Even so, this year’s exhibition has more than 100 works on display.

COMEDY REVIEWS SAM SIMMONS: THE PRECISE HISTORY OF THINGS Fusebox, Factory Theatre

Simmons is a one-man overstatement. His comedy works with the ten per cent dating approach – you might need to ask 90 percent before you get to the ten per cent who will sleep with you,

but they will. They will. Simmons doesn’t want to shag his audience (necessarily), although if asked to play chicken he just might, I reckon. The point is that he’s so ridiculously prepared that you have to give him credit – you can’t walk out even if you hated 90 per cent, because the ten per cent will get you.

cent – Simmons, if comedic ability is shagability, then you’re well equipped, my friend. Smart, unusual, confident, musical, but equally fond of silly – these are all things that a partner (I mean an audience) will be impressed by. Simmons is a totally good sort. Get into him – sorry, it.

But, he also needs to remember that he doesn’t need the ten per

Until 12 November LIZ GIUFFRE THE DRUM MEDIA 1 NOVEMBER 2011 • 59 •


frontrow@drummedia.com.au

THE PUBLIC LIFE OF RALPH MYERS BELVOIR ARTISTIC DIRECTOR RALPH MYERS TALKS TO DAVE DRAYTON ABOUT THEIR 2012 SEASON. Australia, and Sydney in particular, has been lucky in the theatre stakes of late. Sure, there have been some overseas blockbusters (as well as equally impressive smaller productions) gracing our stages, but there has also been an impressive representation of new stories from Australian voices, young and old. For their 2012 season Belvoir has programmed no less than ten new Australian works, but as artistic director Ralph Myers observes, the true achievement is in getting Australian voices telling universal stories. “It’s really exciting, but I don’t even know that regarding it as new Australian work in the end is all that useful except for statistical analysis by the Australia Council. What’s interesting is that they are all plays that have never been performed before and they’re all plays by people who come from the culture and society that we live in, which happens to be Australia. But they’re not about kangaroos and Ned Kelly and I think that’s an interesting phenomenon as well; that what we’re interested in doing is putting on theatre by people who are in the same place and time and world as the audience and the theatre is, rather than importing plays

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from overseas that are about an experience that is removed from that or a specific cultural experience that isn’t necessarily that relevant. “There isn’t a nationalistic project like there was for instance in the new wave theatre in the 1970s where there was an explicit and stated project to make theatre about Australian ‘stuff’; I think we’ve moved past the need to be so defensive about that, which is a good thing. It’s about what it’s like to be human through the prism of living here and now, rather than a whole lot of historical ballads about Australia in the 19th century or whatever.” The phenomenon Myers speaks of, a theatre born of the here and now relative to its presentation, is what binds Belvoir’s 2012 season together. “We never set out to, say, do a whole lot of plays about incest,” Myers explains, “or a whole lot of plays about one thing or another in terms of the subject or content, but I suppose that are all united by being things that piqued our interest and that we thought show great potential as ideas. “I suppose the vision is to try and find a collection of projects that in themselves are each really exciting and

offer the possibility of being a fabulous piece of theatre but then all together form a coherent body of work that you may be interested in coming along to as a series of works. Theatre is a really intimate, personal, analogue, local activity. It’s not transferable, it’s not transmittable like film is or like other art forms are. It’s something that has to be made for and by the people who are going to see it. That’s the people who – like you and I, basically – live in this city.” So what are Belvoir making for the people of this city? Some impressive collaborations to say the least: Buried City, a co-production with the Bankstown-based Urban Theatre Projects, will premiere as part of the Sydney Festival (where Simon Stone’s Thyestes will also get its Sydney debut), while Beautiful One Day brings together version 1.0 and the Ilbijerri Theatre Company to examine the death of an Aboriginal man in custody on Palm Island. “Version 1.0 have such great technique and have such great methodology in terms of telling stories from current events. And Rachael Maza Long, who runs Ilbijerri, has such a great connection to that place personally and being such a great theatre maker that it makes for a very exciting prospect,” says Myers. The 2012 season will also see Myers make his directorial debut at Belvoir, directing Toby Schmitz in Private Lives. “I wanted to do a really great play, I suppose. The advantage of that is you don’t have to think about whether the play’s any good or not; you just have to worry about whether your directing is any good or not. And Private Lives has got to be one of the most perfect

plays ever written; it’s funny, it’s radical, it’s subversive, it’s everything [laughs] – I love it! That was an easy choice in a way. “I think it opens on my wedding anniversary, it’s the perfect play to open on your wedding anniversary; a play about divorce. I don’t know that my wife knows yet!” he adds, laughing. In the Downstairs Theatre there’s Roslyn Oades’ I’m Your Man – “This great piece about boxing and what it’s like to punch people in the face for a living” – and four more new Australian works. “We deliberately don’t make a distinction in the way that we talk about the shows but the nature of a smaller space means you can do things you perhaps wouldn’t expect to or be able to sustain the kind of numbers you have in the upstairs theatre. So you can do thing where you’re not sure of what the outcome will be. That’s a really thrilling thing; we could programme the downstairs season ten times over – there’s so many great people in Sydney with so many great ideas that kind of fit into that. The hardest thing from that is choosing which ones to fit in.” They’ve narrowed it down to Oades’ work and four more new Australian works: Medea performed by children, Old Man by Matthew Whittet, Steve Rogers’ Food, and Eamon Flack and Leah Purcell’s adaptation of Ruby Langford Ginibi’s memoir, Don’t Take Your Love To Town, for stage. WHAT: Belvoir’s 2012 season, starting with Thyestes WHERE & WHEN: Belvoir St Theatre and Carriageworks from 15 January 2012


live@drummedia.com.au PAPA VS PRETTY @ MANNING BAR. PIC: LINDA HELLER-SALVADOR

NATIONAL

PAPA VS PRETTY

THE VASCO ERA GLASS TOWERS

Manning Bar 28/10/11

Glass Towers had a small and unenthused crowd to play to and lacked any real charisma or basic stage comfort and persona to battle this. Their indie pop/rock had solid variety and structure though, even if stylistically rough around the edges with imprecise lyrics. Rotating the second and third slots on their tour, The Vasco Era were first up tonight and suffered slightly from rushed soundchecks to start at 9.30 despite Glass Towers running over. The boys shot straight out with the new bombastic confessional Rock And Roll Is The Only Thing That Makes Me Feel Good, which is clearly the band’s new favourite, though not an easy introduction for the uninitiated. Frontman Sid O’Neil’s new Strat spazzed out halfway in, so with some delay the old Resonator finished the song and they moved into their previous closer, Honey Bee. That song always lifts things and from there they fell into their groove while soliciting requests (When It First Showed Up and Lucille) and offers for house parties after the gig. O’Neil went through the motions slightly, with few inspired riffs or variations from the script. This is all fair, since the crowd was still middling and uncohesive, yet their newly acquired organist showed his surprisingly mature skill throughout the set. Ted O’Neil all but burst out of his skin and took more than a few bass lines for a walk/rampage, ultimately wading into the crowd as they closed out with their version of Voodoo Child. The new album’s additions were definitely well received and their skills in live performance finally invigorated the crowd. Papa Vs Pretty had an easy job in keeping the energy lifted, yet the audience or the atmosphere really let both headliners down since there was a polarity in reception; either maddened enthusiasm or ambiguous observance. Playing only a few songs from the EPs (e.g Ballad), frontman Thomas Rawle took every opportunity to move around and shred his various guitars in Buckley/Hendrix/Prince fashion, which for a 20-year-old is just electrifying. The songs he crafts are always heartfelt, humble, complex and often multi-tonal. He knows how to build drama and increase tension throughout a song which has character of its own and still offers a range of musical textures. This means that their softer songs (such as Charity Case), though sweet with Rawle’s falsetto and highend clean guitar, are still gritty and frenetic to a degree. Credit definitely has to go to drummer Tom Myers, who anchored the show with good humour and focused drumming, which is sure to become more integral to song creation down the line. Jarred Keane THE VASCO ERA @ MANNING BAR. PIC: LINDA HELLER-SALVADOR

MOJO JUJU: Nov 1 Porteno, Nov 2 Brass Monkey, Nov 3 Clarendon Guesthouse, Nov 5 Ryans Hotel, Nov 6 Lizotte’s Newcastle, Nov 8 Porteno LOVERS ELECTRIC: Nov 1 The Vanguard BOY & BEAR: Nov 2 Newcastle Panthers, Nov 3 Wollongong Uni, Nov 5 & 6 Enmore Theatre PAUL DEMPSEY: Nov 2 & 3 Annandale Hotel LANIE LANE: Nov 2, 3, 4 & 5 The Vanguard DARREN HAYES: Nov 3 Enmore Theatre PHIL JAMIESON: Nov 3 Brass Monkey, Nov 4 Vault 146, Nov 18 Lizotte’s Newcastle, Nov 19 The Vanguard PARIS WELLS: Nov 3 Beach Road Hotel, Nov 4 Kings Cross Hotel EPIDEMIC… OVER: Nov 3 Valve Bar, Nov 4 St James Hotel, Nov 5 Blush Nightclub KIKUYU: Nov 3 Emma Soup Gallery, Nov 5 Yours & Owls, Nov 6 The Vanguard PETE MURRAY: Nov 3 Penrith Panthers, Nov 4 Newcastle Panthers, Nov 5 Hornsby RSL, Nov 6 Mingara Recreation Club THRALL: Nov 4 Bald Faced Stag THE SHAKE UP: Nov 4 World Bar CAMERAS: Nov 4 The Standard EMMA LOUISE: Nov 4 GoodGod THE ASHTON SHUFFLE: Nov 4 Beach Road Hotel BACKSLIDERS: Nov 4 Vault 146, Nov 5 Brass Monkey HEROES FOR HIRE: Nov 4 Oasis Youth Centre, Nov 5 The Loft, Nov 6 Bald Faced Stag, Nov 9 Tuggeranong Youth Centre THE CROOKED FIDDLE BAND: Nov 4 The Factory, Nov 5 Cambridge Hotel, Nov 12 Katoomba RSL STICKY FINGERS: Nov 4 Annandale Hotel, Nov 24 Yours & Owls CROOKED SAINT: Nov 4 Upstairs Beresford, Nov 9 The Gaelic, Nov 30 Rock Lily PUTA MADRE BROTHERS: Nov 5 Lansdowne Hotel LAURA IMBRUGLIA: Nov 5 King’s Cross Hotel NOVA & THE EXPERIENCE: Nov 5 Spectrum BETTY AIRS: Nov 5 Roxbury Hotel FAKER: Nov 5 The Patch, Nov 10 Cambridge Hotel, Nov 11 The Standard THE STRIDES: Nov 5 Heritage Hotel, Nov 17 505, Nov 24 Shore Club, Nov 25 Great Northern Newcastle, Nov 27 Brass Monkey WITCH HATS, LOST ANIMAL: Nov 5 The Gaelic COLD CHISEL: Nov 9 & 10 Allphones Arena, Nov 12 Bimbadgen

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EMMA LOUISE

FEATURE TOUR

Queenslander Emma Louise is heading out on her first headlining tour, after having enjoyed a national support slot for Josh Pyke. Playing songs from her successful debut EP, Full Hearts And Empty Rooms, as well as no doubt a smattering of new material, she’s at GoodGod on Friday, supported by Charlie Mayfair.

Winery, Nov 13 WIN Entertainment Centre, Nov 15 Sydney Entertainment Centre, Nov 17 AIS Arena DANIELLE SPENCER & STEVE BALBI: Nov 10 The Vanguard GOLD FIELDS: Nov 10 Transit Bar, Nov 11 Oxford Art Factory, Nov 13 Level One, Nov 30 Beach Rd Hotel, Dec 1 The Patch 360: Nov 10 Level One, Nov 11 Waves, Nov 12 Annandale Hotel DROPBEARS: Nov 10 Brass Monkey, Nov 11 Sandringham Hotel THE GRATES: Nov 10 Waves, Nov 11 Cambridge Hotel, Nov 12 The Metro SARA TINDLEY: Nov 10 Empire Hotel, Nov 12 Mars Hill Café HUSKY: Nov 10 Clarendon Guesthouse, Nov 11 Northern Star, Nov 12 The Standard, Nov 13 Brass Monkey WAGONS: Nov 10 The Front, Nov 12 & 13 The Vanguard LACHLAN BRYAN: Nov 10 Sandringham Hotel, Nov 11 Heritage Hotel, Nov 12 Vault 146, Nov 13 The Junkyard, Nov 19 The Front DAVE TICE & MARK EVANS: Nov 10 Ryans Hotel, Nov 13 Lizotte’s Kincumber, Nov 17 Lizotte’s Newcastle, Nov 19 Sandringham Hotel, Nov 20 Lizotte’s Dee Why SHAMELESS SEAMUS & THE TULLAMORE DEWS’: Nov 11 The Gaelic LAURA JEAN: Nov 11 Petersham Bowlo ALEKS & THE RAMPS: Nov 11 The Gate MY FRIEND THE CHOCOLATE CAKE: Nov 11 Lizotte’s Dee Why, Nov 12 Lizotte’s Newcastle NANTES: Nov 11 Spectrum, Nov 12 Transit Bar LEO SAYER: Nov 11 Shoalhaven Entertainment Centre, Nov 12 Belmont 16ft Sailing Club DEEP SEA ARCADE: Nov 11 Annandale Hotel, Nov 12 Cambridge Hotel DAVE GRANEY & THE LURID YELLOW MIST: Nov 11 Camelot Lounge, Nov 12 Great Northern

Newcastle KOOII: Nov 11 505, Nov 12 Clarendon Guesthouse, Nov 13 Old Manly Boatshed JINJA SAFARI: Nov 11 The Metro, Nov 17 Wollongong Uni GUINEAFOWL: Nov 11 Great Northern Newcastle, Nov 13 ANU Bar, Nov 25 The Standard, Nov 26 Yours & Owls MIC CONWAY & ROBBIE LONG*: Nov 11 The Vanguard, Nov 12 Royal Exchange, Dec 3 Clarendon Guesthouse TABERAH: Nov 11 The Patch, Nov 12 The Basement Belconnen, Dec 31 Sandringham Hotel DICK DIVER: Nov 12 GoodGod THE CELIBATE RIFLES, SEMINAL RATS: Nov 12 Sandringham Hotel BRITISH INDIA: Nov 12 The Gaelic ISRAEL CRUZ: Nov 12 Fanny’s Nightclub REDCOATS: Nov 12 Spectrum CELADORE: Nov 16 Rock Lily, Nov 17 Phoenix Bar, Nov 18 Yours & Owls THEY WILL HAVE THEIR WAY feat. SARAH BLASKO, HOLLY THROSBY, PAUL DEMPSEY and more: Nov 16, 17 & 18 Sydney Opera House MARK MY WORDS: Nov 16 Hamilton Station Hotel, Nov 24 Blush Nightclub, Nov 25 Killer Nightclub, Nov 26 Chatswood Youth Centre STRAIGHT TO YOU feat. ADALITA, LANIE LANE, LISA MITCHELL and more: Nov 16 Royal Theatre, Nov 17 Enmore Theatre, Nov 19 Newcastle Panthers STEP-PANTHER: Nov 17 GoodGod CLAIRY BROWNE & THE BANGIN’ RACKETTES: Nov 17 The Vanguard TIJUANA CARTEL: Nov 17 Oxford Art Factory, Nov 18 Cambridge Hotel THE BON SCOTTS:

Nov 17 Sandringham Hotel, Nov 18 The Junkyard THOUSAND NEEDLES IN RED: Nov 17 City Diggers, Nov 18 The Gaelic LANEOUS & THE FAMILY YAH: Nov 17 Beach Road Hotel, Nov 18 Pot Belly Bar, Nov 19 Kings Cross Hotel TIM FREEDMAN: Nov 17 & 18 Street Theatre, Dec 13 & 14 Lizotte’s Newcastle, Dec 17 The Metro FRANKENBOK: Nov 18 Bald Faced Stag, Nov 19 The Basement Belconnen UNDERGROUND LOVERS: Nov 18 The Factory LAURA: Nov 18 Annandale Hotel GEOFFREY O’CONNOR, TWERPS: Nov 18 GoodGod CLOUDS: Nov 18 Oxford Art Factory SUSY BLUE*: Nov 18 Excelsior Hotel Glebe BROUS: Nov 18 Kings Cross Hotel EMMY BRYCE*: Nov 18 El Rocco SOPHIE KOH: Nov 18 The Basement Circular Quay HATCHET DAWN: Nov 18 Bald Faced Stag, Nov 19 The Basement Belconnen RON S. PENO & THE SUPERSTITIONS: Nov 18 The Vanguard WITHOUT WOLVES: Nov 18 Yours & Owls, Nov 19 Kings Cross Hotel LEEK AND THE WAR WICK TRAGEDY: Nov 18 Brass Monkey, Nov 19 The Patch, Nov 20 Mars Hill Café THUNDAMENTALS: Nov 18 Hotel Gearin, Nov 19 Cambridge Hotel, Nov 26 Oxford Art Factory JAMIE HUTCHINGS*: Nov 18 Notes, Nov 19 Yours & Owls, Dec 16 Clarendon Guesthouse LACHY DOLEY: Nov 18 Northern Star, Dec 1 The Vanguard, Dec 2 The Junkyard, Dec 3 Beaches Hotel, Dec 15 Old Manly Boatshed, Dec 18 Vault 146 THE SNOWDROPPERS: Nov 18 Great Northern Newcastle, Nov 19 Beachcomber Hotel, Dec 9 The Metro JEBEDIAH: Nov 19 The Metro

THE DRUM MEDIA 1 NOVEMBER 2011 • 61 •


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DEF WISH CAST

BINGETHINKERS BLADES

GYROSCOPE: Nov 19 The Factory KOBRA KAI: Nov 19 Woodport Inn, Nov 24 Mona Vale Hotel, Dec 2 Cambridge Hotel, Dec 9 The Patch, Dec 17 The Gaelic, Dec 18 Clubhouse JACK COLWELL & THE OWLS: Nov 19 The Front ASHTON TREMAIN: Nov 20 Newport Arms Hotel, Dec 2 Narrabeen Sands Hotel BOB EVANS & ADALITA: Dec 15 Lizotte’s Kincumber, Dec 16 Notes, Dec 17 Lizotte’s Newcastle, Dec 18 Lizotte’s Dee Why

INTERNATIONAL CARSICK CARS: Nov 2 Croatian Club, Nov 3 Kings Cross Hotel ONRA: Nov 3 Oxford Art Factory CARTEL: Nov 3 The Gaelic, Nov 4 ANU Bar TIM FINN: Nov 3 The Playhouse, Nov 4 The Metro, Nov 19 Belmont 16ft Sailing Club LADYSMITH BLACK MAMBAZO: Nov 4 State Theatre BIG JAY MCNEELY: Nov 4 The Basement Circular Quay GRAMOPHONEDZIE: Nov 4 City Hotel CREEPING: Nov 4 Bald Faced Stag DON DIABLO: Nov 4 Trinity Bar, Nov 5 King Street Hotel KINGS OF LEON: Nov 4 & 5 Allphones Arena PLEASUREKRAFT: Nov 5 Chinese Laundry SHAPESHIFTER: Nov 5 The Metro DESTRUCTION: Nov 5 The Gaelic MAD SIN: Nov 5 Annandale Hotel, Nov 6 Cambridge Hotel JANET JACKSON: Nov 5, 6 & 8 Sydney Opera House Concert Hall THESE KIDS WEAR CROWNS: Nov 6 The Lair FOLK UKE: Nov 7 & 8 Clarendon Guesthouse, Nov 9 Brass Monkey KD LANG: Nov 7 AIS Arena, Nov 9, 10, 16, 17, 19 & 20 State Theatre ROBYN HITCHCOCK & JOE BOYD: Nov 9 The Basement Circular Quay TUCK & PATTI: Nov 9 Clarendon Guesthouse, Nov 10 The Basement Circular Quay, Nov 11 Street Theatre, Nov 12 Camelot Lounge, Nov 13 Lizotte’s Newcastle PASSENGER: Nov 11 The Gaelic WAY TO BLUE: THE SONGS OF NICK DRAKE feat. VASHTI BUNYAN, ROBYN HITCHCOCK and more: Nov 11 Sydney Opera House Concert Hall THE MOODY BLUES: Nov 11 State Theatre GOOD CHARLOTTE: Nov 11 Selina’s RON CARROLL, VULA, LUCIANA: Nov 12 Sydney Harbour CHILDREN OF BODOM: Nov 12 Big Top

KURT VILE

DRUM PRESENTS

LANIE LANE: Nov 2, 3, 4 & 5 The Vanguard EMMA LOUISE: Nov 4 GoodGod THE CROOKED FIDDLE BAND: Nov 4 The Factory, Nov 5 Cambridge Hotel, Nov 12 Katoomba RSL FAKER: Nov 5 The Patch, Nov 10 Cambridge Hotel, Nov 11 The Standard FOLK UKE: Nov 7 & 8 Clarendon Guesthouse, Nov 9 Brass Monkey 360: Nov 10 Level One, Nov 11 Waves, Nov 12 Annandale Hotel GOLD FIELDS: Nov 10 Transit Bar, Nov 11 Oxford Art Factory, Nov 13 Level One, Nov 30 Beach Rd Hotel, Dec 1 The Patch JINJA SAFARI: Nov 11 The Metro, Nov 17 Wollongong Uni GUINEAFOWL: Nov 11 Great Northern Newcastle, Nov 13 ANU Bar, Nov 25 The Standard, Nov 26 Yours & Owls CLAP YOUR HANDS SAY YEAH: Nov 14 Oxford Art Factory THOUSAND NEEDLES IN RED: Nov 17 City Diggers, Nov 18 The Gaelic JEBEDIAH: Nov 19 The Metro GYROSCOPE: Nov 19 The Factory HOMEBAKE: Dec 3 The Domain MUDHONEY: Dec 6 Manning Bar KURT VILE & THE VIOLATORS: Dec 6 Oxford Art Factory FESTIVAL OF THE SUN: Dec 9 & 10 Sundowner Breakwall Tourist Park SUMMER RHYTHM: Dec 9 – 11 Goolabri Resort EXPLOSIONS IN THE SKY: Dec 11 The Metro BOB EVANS & ADALITA: Dec 15 Lizotte’s Kincumber, Dec 16 Notes, Dec 17 Lizotte’s Newcastle, Dec 18 Lizotte’s Dee Why PEATS RIDGE: Dec 29 – Jan 1 Glenworth Valley GROUPLOVE: Jan 3 The Factory ALOE BLACC: Jan 4 Enmore Theatre THE JIM JONES REVUE: Jan 5 Annandale Hotel THE KOOKS: Jan 6 Hordern Pavilion ARCTIC MONKEYS: Jan 12 Hordern Pavilion, Jan 13 Enmore Theatre THE DAMNED: Jan 21 The Metro SEETHER: Feb 5 The Metro JESSIE J: Mar 8 Hordern Pavilion FUTURE MUSIC: Mar 10 Royal Randwick Racecourse WILD FLAG: Mar 13 Manning Bar

Annandale Hotel 27/10/11

Sandringham Hotel 28/10/11

Blades (formerly Blades Of Hades) have lurked under the radar for years and after witnessing this caustic performance, it’s obvious the Steel City outfit prefers an underground existence. This was as far from festival friendly hip hop as is humanly possible: with their boom bap beats, complex lyricism and a generally belligerent attitude, Blades showed that Aussie hip hop’s real underground continues to flourish in the shadows.

Since the still only semi-regular appearances of Crow’s sporadic revival, it’s a rare thing to have them playing second fiddle – in terms of curiosity, hope and/or nostalgia. But this night was more about the one-off reformation (maybe) of Peg, their mid-‘90s to turn of the century career and the lack of wider acclaim thereof.

Sydney’s Bingethinkers shook the walls with a heavy dose of old school funk mixed with a nimble brand of emceeing. After offering up a large dose of their recent debut Where Are They Now, the boys topped proceedings off with a tribute to Australia’s hip hop pioneers, with DJ 2Buck churning out a wicked collage of Bias B, Killawattz, Prowla and a host of other local legends. The rousing reception they received from the assembled faithful was more than enough proof that they are one of Australian hip hop’s brightest hopes. The members of Def Wish Cast are not only the fathers of Australian hip hop; they remain its most potent force. Emcees Sereck, Defwish and Die-C, along with Tom Rock and DJ Murda 1, burst onto the stage and delivered a rapid fire double knockout in the form of Allstars and 1993 classic A.U.S.T. But as good as the older material was – and it was phenomenally delivered – what really set jaws dropping was the glimpse of what’s to come from the Def Wish family. Recently, in these very pages, Sereck promised to take us all back to the age of the future funk – and that’s just what Def Wish Cast did. In the cold light of day this claim might sound contradictory, but in the face of a massive 808 styled sound and flawless emceeing it made perfect sense. The new material unleashed by Def Wish Cast somehow delved into hip hop’s roots while also expressing the genre’s future. It’s not often you get the feeling that you are watching history in the making, but everyone who witnessed this performance sensed that Def Wish Cast is on the cusp of something massive. Twentysomething years after bursting out of the Western suburbs of Sydney, Def Wish Cast remains the most vital Australian hip hop act ever. You’ve been warned: the kings have returned – and they want their crowns back. Mark Hebblewhite

THE CONTORTIONIST: Nov 12 Masonic Hall (arvo), Nov 12 Venom (evening), Nov 13 Oasis Youth Centre BLIND IMAGE: Nov 13 Valve Bar CLAP YOUR HANDS SAY YEAH: Nov 14 Oxford Art Factory THIS TOWN NEEDS GUNS: Nov 14 The Vanguard BRIGHT EYES: Nov 14 Enmore Theatre THE POINTER SISTERS: Nov 14 Royal Theatre, Nov 16 Enmore Theatre, Nov 19 Penrith Panthers KEVIN DEVINE: Nov 15 The Vanguard TV ON THE RADIO: Nov 15 The Metro FLORENCE + THE MACHINE: Nov 15 Seymour Centre DOLLY PARTON: Nov 15 Allphones Arena, Nov 19 & 20 Hope State, Nov 29 Allphones Arena WEIRDO HEROES feat. BUSDRIVER, LOUIS LOGIC, CESCHI RAMOS: Nov 16 The Gaelic JOHN HAMMOND JR: Nov 16 Lizotte’s Newcastle, Nov 17 Lizotte’s Dee Why, Nov 20 Lizotte’s Kincumber, Nov 22 & 23 The Basement Circular Quay, Nov 25 Southern Cross Club KATCHAFIRE: Nov 18 Selina’s RAY BONNEVILLE: Nov 18 505, Nov 19 Heritage Hotel, Nov 20 Clarendon Guesthouse THE MAGICIAN: Nov 18

• 62 • THE DRUM MEDIA1 NOVEMBER 2011

Trinity Bar, Nov 20 Ivy Pool AFTER THE FALL*: Nov 18 Hamilton Station Hotel, Nov 19 Hermann’s Bar, Nov 20 Black Wire Records, Nov 23 Bar 32 CUT OFF YOUR HANDS: Nov 19 The Standard THE DYNAMITES: Nov 19 & 20 The Basement Circular Quay MUDHONEY: Dec 6 Manning Bar KURT VILE & THE VIOLATORS: Dec 6 Oxford Art Factory EXPLOSIONS IN THE SKY: Dec 11 The Metro GROUPLOVE: Jan 3 The Factory ALOE BLACC: Jan 4 Enmore Theatre TOTALLY ENORMOUS EXTINCT DINOSAURS: Jan 4 Trinity Bar THE JIM JONES REVUE: Jan 5 Annandale Hotel THE KOOKS: Jan 6 Hordern Pavilion ARCTIC MONKEYS*: Jan 12 Hordern Pavilion, Jan 13 Enmore Theatre THE DAMNED: Jan 21 The Metro SEETHER: Feb 5 The Metro JESSIE J: Mar 8 Hordern Pavilion WILD FLAG*: Mar 13 Manning Bar

FESTIVALS HARVEST: Nov 13 Parramatta Park

NEWTOWN FESTIVAL: Nov 13 Camperdown Memorial Rest Park STEREOSONIC: Nov 26 Sydney Showground BREAKOUT: Dec 2 Hordern Pavilion/Byron Kennedy Hall HOMEBAKE: Dec 3 The Domain FESTIVAL OF THE SUN: Dec 9 & 10 Sundowner Breakwall Tourist Park SUMMER RHYTHM: Dec 9 – 11 Goolabri Resort PEATS RIDGE: Dec 29 – Jan 1 Glenworth Valley MISSION TO LAUNCH: Dec 31 Weston Park HARBOUR PARTY: Dec 31 Luna Park SHORE THING: Dec 31 Bondi Park FIELD DAY: Jan 1 The Domain ILLAWARRA FOLK FESTIVAL: Jan 12 – 15 Bulli Showground NEW BEGINNINGS: Jan 14 Morriset Showground BIG DAY OUT: Jan 26 Sydney Showground LANEWAY: Feb 5 Sydney College Of The Arts SOUNDWAVE: Feb 26 Sydney Showground FUTURE MUSIC: Mar 10 Royal Randwick Racecourse CMC ROCKS THE HUNTER: Mar 16 – 18 Hope Estate THE GUM BALL*: Apr 27 & 28 Dashville * indicates new or amended listing this week

CROW

PEG LOBSTERMAN

THE DRONES

ADALITA

The room was already well-filled when the ever-obtuse, but ever-endearing, Lobsterman took the stage in full sprawling, upright-bass-and-all, band mode. Chris Lobb’s ramshackle tales of the mundanities and little adventures of suburban life are still a bit like finding the scrapbook you made in Year 8 full of pictures of old cars and old footballers you’d cut from magazines. Peg’s reputation had grown in their absence. They took to the stage a little nervously, then clattered into life. Brutal is maybe a bit strong a word, but there is an incessant pub brawl in their racket. Vocalist Dave Archer arched his back and crooned. Tony Bonser hunched over his guitar like he always had, sheets of noise washing over expert stand-in double-duty bass player Jim Woff and Craig Rossi’s drums with their sometimes near-jazz tangents. Things went roughly chronologically, with Jain’s Right from their opening EP giving way to the complex angst of later, like the huge Awaiting The Retriever. They held a couple back – “if you want an encore” – and finished with a pummelling New York, their once resentment for the song obviously softened over time. Much hand-shaking and backslapping ensued. Crow followed. Current default opener Ghost At The Crossroads was underpinned by guest Jason Walker’s pedal steel. While frontman Peter Fenton was throwing himself into his usual twisted shapes and bays at the moon, maybe some sibling rivalry with Peg’s Dave had guitarist Peter Archer going in particularly hard with his contributions. They were in big show mode, former member Michael Christie coming in for occasional keyboards and Pete Kelly’s trumpet adding more layers. The songs of most recent album Arcane centred the show, with enough smattering of ‘classics’ for most to go home (or to the downstairs bar, and/or the Townie down the road) happy. Ross Clelland

THE BOWERS

SOUNDS LIKE SUNSET THE NECTARS

Metro Theatre 29/10/11

Sandringham Hotel 27/10/11

This reviewer discerned no reason for the evidence of audience devotion to Adalita. A sort of indie Goth pomp (keening guitars, tombstone drum and a strong voice with no apparent tonal shading), she was ELP through a Bat For Lashes or Siouxsie prism. Street cred is all well and good, but there was a lack of melody and a sort of conceptual cul de sac being navigated here ad nauseum.

There’s a brand of guitar power-pop that comes out of Melbourne that doesn’t really have an equivalent sound in Sydney. Though all three bands had common traits, headliners The Bowers had that gorgeous Byrds-esque love of harmonies and jangle.

A King Inked, nicked and stripped fat little insect, The Drones have now developed a persona very clearly their own. Their great challenge, now that they possess such a physically, emotionally and intellectually all-consuming momentum (on display here in pulverising savagery), lies in feeding the beast to take it beyond their current clearly defined creative milieu. The release of their A Thousand Mistakes live DVD implies that they are aware now is the time to expand their ambition, or else be confounded by stasis or a case of diminishing returns. But that is tomorrow. Today is a black hole of churning, voluptuous, dark rock’n’roll – defining stuff. Mike Noga’s whip cracking drums are the centre of their universe at times, complementing Gareth Liddiard’s ferocious vocals (superficially self-consumed, the latter are in fact one element of a murderous enclave that is a band working with calculated, impassioned intent). It’s tempting to think of the hulking beast as nothing but negative, but the care of construction, articulate lyrics and the elevating impact they have on listeners constitutes, in fact, a healing tonic. Fiona Kitschin’s bass is enough to break your back, its thudding shudders belying their melodic dexterity. She fixates on Noga’s tempestuousness, whilst the guitars of Liddiard and Dan Luscombe scorch, cut and consume each other in a vicious, pornographic sex-grapple. Guest keyboardist Steve Hesketh added depth, though the guitar-tilted mix didn’t allow him enough oxygen. The band has some classic pieces of ragged art in their repertoire, but they could probably do with some more ‘signature’ tunes. Conceptually, their lovingly cultured approach of alternating shambling, spiky passegiatas with electric storms of utter, crippling mayhem helps make them, conclusively, one of the world’s great rock bands. Craig N Pearce

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The Nectars were more garage rock focused and at the complete other end of the rock band experience spectrum from the two other bands on the bill. Having only formed earlier this year, they were still very raw and fresh out of the box, but a couple of songs really buzzed, building around a catchy hook. The vocals were mixed a little too low and the band needs to move away from so obviously citing its influences. Having been around a lot longer than The Nectars were Sounds Like Sunset. A throwback from the early days of Modular before everything went a bit Cut Copy, Sounds Like Sunset played a gloriously fuzzy, droney shoegazer set. This time, having the vocals low in the mix was just the right way to complement the feedback-drenched music. Though they don’t play very often, Sounds Like Sunset were a bittersweet reminder that bands these days seem to have forgotten just how majestic fuzzy indie pop can be. The Bowers started their set with a steady backbeat and upbeat hand clapping before settling into a set of bright, clean jangle pop. Though lead singer Liam Linley and guitarist Phil Gionfriddo regularly swapped guitars, Linley’s pretty impressive 12-string electric was this reviewer’s favourite. Kit Warhurst at the back provided plenty of the band’s drive. Formerly of Rocket Science, his garage rock history gave the poppier elements of this music a nice bit of grunt. Linley and Gionfriddo were happy exchanging vocal duties and Linley made a very dynamic frontman, especially when he put down the guitar and danced his way around the Sando stage. These guys have all been playing music in various forms for over ten years. There was an ease and enjoyment that shone through their set. And of course, that Melbourne sound. Danielle O’Donohue


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SYDNEY BLUES AND ROOTS FESTIVAL

Windsor 28/10/11 – 30/10/11

The normally sleepy town of Windsor came alive for a four-day blues and roots festival featuring a plethora of Australian and international acts across ten stages, one of them afloat. The Hawkesbury River provided a scenic backdrop, giving punters the best of both natural and man-made attractions, which is definitely part of the appeal of this festival. Rolling into town at about sundown on the Friday, the atmosphere in the town was undeniable and there was definitely a buzz in the air. Walking down the main street, partly closed off due to the festival, there was literally music coming from every street corner. As these things go, the buskers often provided as much entertainment as the acts on stage. Ironically, this reviewer’s Blues And Roots Festival experience began with a taste of reggae inspired grooves by Jesse Morris and band. The mouth organ lent a brassy, sax inspired sound to the mix. It was quite a chilled out start to the weekend. However, The Snowdroppers soon put an end to that. They put on a lively performance, with frontman Johnny Wishbone spending his time in between songs intentionally swearing at the audience, who nevertheless lapped it up. Wishbone used the stage well, putting in a sweaty effort that had the girls dancing along up front. A short stroll up the street and the Bondi Cigars were playing a heated set to a packed and sweaty group at the Cook’s Plumbing Stage. There was definitely love in the air outside as a female busker sang soulful songs of love and hurt, which made for a sweet ending to the night’s proceedings. Or so one thought. Sometimes as these things go, “shit gets weird”, but that’s not such a bad thing when you get to catch an impromptu performance by Kira Puru & The Bruise. With a vocal range and depth unheard of in recent times, she still managed to wow a crowd that was boozed and certainly not expecting to be so thrilled at such a late hour. Saturday morning was a bit rough, with your reviewer suffering from a slightly sprained left foot from the previous night’s walk home. Hobbling over to the fender stage in time to catch local act Two Girls Will, vocalist Colleen Fricker sounded a little like Melissa Etheridge at times. Then it was time to board the Hawkesbury Paddlewheeler for a blues cruise down the river, which got off to a shaky start, as it seems seats were a premium on this dingy. Luckily Claude Hay was there, brilliant as ever, to keep our minds on the music. Hay is an old hand at this thing nowadays, playing swampy, atmospheric and blues inspired originals using a variety of musical instruments. After the seasickness subsided, Michael Peter was at the Craft Stage and it was nice to hear a distinctive Aussie voice coming through the speakers. Then it was over to witness Ash Grunwald playing his electro-blues mash-up to a toe tapping audience at the Rhythms stage. Grunwald has managed to successfully fuse rhythm and blues with a dance inspired sensibility, which was a lot of fun to watch, especially with Ashleigh Mannix and Genevieve Chadwick lending their considerable talent on backup vocals. Grunwald finished the set with a couple of blues standards that were a fitting end to a great live show and so the highlight of the festival. Emerging ‘folk’ singer Kim Churchill, unfortunately sandwiched between Ash Grunwald and the Baby Animals, did a good job of keeping the crowd all warm and fuzzy and vibed up with his take on electric folk.

WAGONS ROLLS TO THE USA

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H

enry Wagons recently jetted over to the US to check out the Americana Music Awards and while there kept a diary for us. Before you head to see him at The Front Thursday 10 November and The Vanguard Saturday 12 and Sunday 13, catch up on what he got up to…

CROSSING RED LINES What’s the title of your new EP? Young And Free.

How many releases do you have now? This is our debut EP.

How long did it take to write/record? Songs were written between 2006 to 2010. The EP was recorded in two months at Damien Gerard Studios in Balmain, engineered by Russell Pilling, mastered by Andy Beck and the executive producer was Marshall Cullen. They are all very successful and experienced long-term practitioners in the Australian music industry and it was a rewarding experience to work with them.

Was anything in particular inspiring you during the making? The response to our music from industry people was inspiring, from Marshall Cullen and Russell Pilling to Bliss N Eso and Robbie Rowlands, musical producer and visual artist.

What’s your favourite song on it? Interestingly we do not have a favourite and at different times, each one of the six songs on the EP has been the flavour of the day. Vampires was first to jump out, but Run And Hide and Big Changes have become solid favourites with people. Really, based on the feedback and in our humble opinion, there are no weak tracks on the EP and we’re looking forward to following it up with a strong sequel in 2012.

Overall, it was a very well organised festival and one that should continue to grow in popularity if managed well.

DAY 2: It was time to legitimise my presence at the Americana Festival and register. The Sheraton hotel foyer was bustling with Americana music industry and fans. There was no danger of walking up to someone and talking about the beauty of the songwriting of Gram Parsons and them replying that they prefer Smash Mouth. That night, I went over to my favourite venue in Nashville, The Basement, where The Dirt Daubers were playing. The Canadian band New Country Rehab followed and played one of my favourite sets at the whole festival. At some point in the evening some friends passed me my first ever flask of Moonshine. I was assured it was the real underground stuff, made in the mountains in someone’s bathtub by sweaty men. Last thing I remember was someone telling me it was a derivative of kerosene. DAY 3: It was the night of the big awards ceremony. Was very tempted to yell out “Hi Mum!” at various quiet moments, but refrained. The night was held in the famous Ryman Auditorium, former home of the Grand ‘Ol Opry. It’s the only place I’d happily sit on the Spartan hardwood bench seating without grumbling. The

THE START OF THE END - APPLE PIE MOONSHINE ceremony itself was a cavalcade of cool country stars. The first two performers were my two favourite female vocalists of all time: Emmylou Harris and Lucinda Williams! After they played I would have happily left; little was I to know that there was a whole lot more goodness to come. As I sat back and sipped on a few glasses of wine through the three-hour ceremony, my highlights were Jessica Lea Mayfield, Justin Townes Earle and The Civil Wars. Robert Plant also played. I found seeing him here a little unusual. Though his music is now very Americana-esque, his live performance still involved a lot of mic stand humping and hip gyration, which seemed a little out of place. It was still amazing to see such a legend doing his thing. DAYS 4 & 5: I had a hectic schedule - four gigs and countless interviews. By the time it was all over I’d definitely come close to hearing enough of my own songs and opinions. I had a great time playing a Sounds Australia showcase at The Second Fiddle in the thick of the cheesy country bars. I was only to play three songs, which I really enjoyed. I gather later that night, the bar was taken over by blue and black ‘80s Western shirt-wearing Garth Brooks cover bands. I also had a great time at my showcase at The Basement, a lengthier set where I had time to really dig in and have a lot of fun with the crowd. Last time the band played there, I accidentally ripped down their disco ball during our set, only to have it shatter in someone’s lap. I was very pleased to see they’re yet to put it back up again.

Will you do anything differently next time? We are very happy with the recording process and the quality of the sound outcome and would not really change anything in this department. We could work a bit smarter on presentation of the disc itself and better coordination of the artwork.

Will you be launching it?

SURF ON Surf rock, ambient and more all get a showing at Valve on Wednesday, where local rockers In Measures will join Bradley Cork & The Folklore Mantra and Ray Ray Ray & The Jetsons for a night of music.

MAGIC OF TOM JONES

Saturday – Valve Friday 16 December – Sandringham Hotel

Jeff Duff and Ed Wilson’s Big Band host The Best of Tom Jones this Saturday at The Basement Circular Quay. With an 18-piece band, the big band magic will be undeniable so get down from 9.30pm.

Friday 10 February – The Metro

For more info see: crossingredlines.com

METAL MAYHEM

SHAKE AND BAKE This Friday at MUM, the World Bar kids have The Shake Up, Naysayer & Gilsun, Royston Vasie, Rargo, Albatross, Rainbow Chan and a DJ set from Ghoul all lined up.

HEY DIDDLE DIDDLE It’s all about the humble fiddle at Notes on Friday, with the launch of The Fiddle: Greatest Hits Of The Devil’s Instrument. Among the musos you’ll find extolling the instrument’s virtues are Ian Simpson, Mike Kerin, Genni Kane and heaps more.

Baby Animals spent a lot of time getting the sound right, with the drummer taking a good amount of time working on levels. It was really refreshing to see and hear a full drum kit on stage after a day of the “one man band”. They kicked off their set with classic song Early Warning and then continued to play a set of crowd favourites that included Painless. It was hard to believe it’s been 20 years since those songs were released, but Suze DeMarchi’s voice was still as raw and warm as ever. It was a shame that the Fitzroy had a band playing in the front bar and a DJ playing top 40 dance music out the back, as it was not really appropriate for a Blues Festival weekend. In the front bar however, Ray Beadle was steaming up the stage and sending the girls wild. He just may have sold his soul to the devil for the ability to play guitar like Jimi Hendrix; either that, or Hendrix does indeed temporarily possess the soul of Beadle during a performance.

DAY 1: I watched Bridesmaids for the fourth time on the long plane ride. It’s one of those movies I’m proud to be watching while people visually eavesdrop on my 7” screen on the way to the toilet. Having lulled me into sleep with a smile and sense of familiarity I had a good flight, basking in the glory of an exit row seat. I hopped off my internal connection to Nashville to be greeted with some amazing news – Wagons won the best country album category at the AIR Awards back home! I promptly found the nearest American flag and recorded a jet-lagged acceptance speech in a Nashville suburban front yard. What better place to accept a country music award than Nashville!

SOUP KITCHEN The Gladstone this Saturday has culinary saints The Helpful Kitchen Gods, Special Patrol Group, Milkmaids and Antibodies, down from Nimbin to launch their new album. The show starts 8pm.

FISHER’S GIG Campbelltown’s premier youth festival Fisher’s Gig is on this Saturday at Bradbury Oval, with Ghosts Of York, Suburban Lies, Paintbox City, Revertigo, Bleech, Cejay Grundy and more playing from 2pm.

TALK TO DARREN

TWICE THE FUN

Savage Garden’s Darren Hayes is still a hard-working dude. He’s released a new single, Talk Talk Talk, and is heading into the Enmore Thursday to show it, and more, off. Brendan Maclean plays in support.

There are two sets at the Macquarie Hotel on Friday, with Epizo Bangoura playing African percussion music from 8.30pm and Leisure Bandits following that up at midnight with a touch of soul.

PRAY FOR MOJO

PICKETT UP

Mojo Juju is heading around the place this week to share her sultry tunes, playing tonight at Porteno for free, Wednesday at The Brass Monkey, Thursday Clarendon Guesthouse, Saturday Ryan’s Hotel and Sunday Lizotte’s Newcastle, joined by Frank Sultana.

Originally from New Zealand, singer/songwriter Tommy Pickett is currently living and playing in the lovely city that is Sydney, Australia. He takes his guitar and tunes, hops in the van and drives out to the Fitzroy Hotel Sunday, where he’ll play a free show from 1pm.

CASCADE

BACK UP

Get funky with Brass Knuckles at the Macquarie Hotel Thursday, where they’ll be sharing their Afrobeat and roots tunes.

It’s all about metal Saturday at Valve when Rampage, Herratik, Tortured, Infested Entrails (lovely!) and Festering Drippage (even more lovely!) team up to take the stage from 7pm, presented by Stigmata Production.

BACKSLIDERS

Backsliders continue on their Starvation Box tour this month, an album that recently garnered them an ARIA nomination. This week they stop by The Brass Monkey on Friday and Vault 146 in Windsor on Saturday.

HANGING FROM MY NECK AND MY CHAIN

ROLAND K. SMITH & THE SINNERS

COVER ME

SINNERS OR SAINTS?

Bringing the hits of Maroon 5, Red Hot Chili Peppers and more to life, Cascade hits the Excelsior Glebe on Friday, the six-piece playing all your fave tunes.

Roland K. Smith & The Sinners head to the Botany View on Sunday to launch their new single, bringing pals Deadwood 76 along for what’s sure to be a rollicking alt.country ride.

Francesa Palazzolo

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THE DRUM MEDIA 1 NOVEMBER 2011 • 63 •


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HAVE IT YOUR WAY

T

he They Will Have Their Way tour is coming, featured artists including Sally Seltmann, Alex Gow, Paul Dempsey, Clare Bowditch and more paying tribute to the songwriting greats the Finn brothers. Wednesday 16, Thursday 17 and Friday 18 November they’re taking over the Sydney Opera House to do just that, but not before sitting down with Drum to chat about all things Finn. What’s your all-time favourite Finn moment? Sally Seltmann: Dancing to Don’t Dream It’s Over at my Year 6 farewell dance, wearing a purple striped ruffle skirt with matching purple T-shirt. Alex Gow: Neil leaning over to Tim at the Farewell To The World gig and tuning his acoustic guitar for him. Paul Dempsey: I’m no good at playing favourites but I will never forget the first time I heard Mean To Me as a kid. It was really powerful. Clare Bowditch: Watching Neil assist Tim with his guitar strap during a show in Melbourne a few years ago – tender/awkward. Which song are you most looking forward to performing?

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SS: Four Seasons In One Day. It’s such an incredible song. AG: Split Enz – Poor Boy, featuring an incredibly satisfying rhythm guitar part. PD: All of them. I’m looking forward to collaborating with everyone, doing some duets etc. I’m looking forward to finding out how we’re going to put together a great tribute whilst also giving the songs something of each of our own styles and personalities. CB: I’ll tell you on the night. How does bringing these songs to life on stage differ from doing so in a studio? SS: You never know what’s going to happen live! You could sneeze, or someone could call out in the audience. There’s always a sense of the unknown on stage, which can be nerve wracking, but also very addictive. Everything feels more controlled in the studio. I like the feeling of being in the moment and feeding off the other band members when I perform live. AG: Finding the reasonable mix between satisfying your creative desires and acknowledging what a live audience wants to hear from some of their favourite all-time songs.

SALLY SELTMANN PD: Crowd energy. I think that the music of the Finns is so ingrained in our culture and it’s also music that really lends itself to being sung by groups of people, either at concerts, at parties, around campfires etc. I think there’ll be a lot of audience participation, which ought to make for a really fun and special night. CB: When things are live, there’s a factor of random that feels dangerous and delicious. It’s the audience actually – they’re the true factor of random.

PAUL DEMPSEY strong melodies, dynamics between the verse and chorus, inclusive subject matters. Basically the ability to be catchy and memorable, but without being overly plain and simple. AG: Their obvious respect for the craft and the integrity with which they approached it. It sounds like they give a shit.

What is it about the Finn brothers’ music that gives it such longevity?

PD: An honesty and down-to-earth quality. Their songs are immediately catchy, melodic, great lyrics but not in the least bit throwaway. They’re so well crafted they stand up to almost any treatment or situation.

SS: Intelligent, interesting lyrics, clever song structures,

CB: I guess because there are so many good ones.

GOT THE BLUES The Best of Blues kicks on at Notes on Saturday, this week’s edition featuring performances from Ray Beadle, Mal Eastick and Jim Conway’s Big Wheel.

FEEL LIBERATED Macquarie Hotel favourites The Liberators are back yet again this Saturday, playing funky tunes to get down to.

BONE PICKIN’ The lineup for Falcona Fridays this week is so good, the music will be picking at your bones and flesh all night (falcons do that, right?). Joyride, Hansom, The Godfather, Andy Walsh and Fauce will be in the house at Kit & Kaboodle from 8pm.

PLEASUREKRAFTER Techno headliners Pleasurekraft hail from Sweden/ USA and are spending this Saturday at Chinese Laundry along with The Only, Wax Motif, Jamie Vale, Reckless, Raull, Mike Hyper, Murray Lake and King Lee, who will be kicking it from 9pm.

LAURA IMBRUGLIA

KARATE KID

What’s the song about?

The one and only Kid Kenobi will be launching his EP, Bass Music, at Chinese Laundry this Saturday. With mates Hydraulix, Buenos Diaz, Gabriel Clouston, Reload and King Lee supporting him, the night will still be young even at 4am.

Why’d You Have To Kiss Me So Hard? You wouldn’t believe me if I told you. I would rather learn how most people interpret it. Can you please ask most people and get back to me?

Is this track from a forthcoming/existing release? Yes, this track is off my forthcoming third album, which is due for release sometime in 2012. Possible album title is Depression Glass Enthusiast, but I am likely to change my mind on that.

How long did it take to write/record? It was written rather quickly, by my standards. I wrote it in one or two nights, during a brief period of hibernation. Stiff (bass) and Ben James (drums) added their considerable magic over various rehearsals and Sam Cross joined the band recently to add the Neil Young lead guitar wigouts I always wanted and could never play myself. We recorded it in two days in August with Liam Judson (Belles Will Ring) twiddling the knobs.

BONDI BATTLE There’s a Battle of the Bands raging at Bondi Pavilion Saturday from 7pm, the winner guaranteed a slot at Blitz. Head down to see the six finalists go head to head in the under-18 event, which costs $10 on the door.

NOMAD’S LAND

JESSE MORRIS & THE 3 BEANS

THE MUSICAL FRUIT Newtown locals Jesse Morris & The 3 Beans bring their folk/roots tunes to Notes in neighbouring Enmore Thursday, launching a new single, Should I Go, joined on the night by The Delroys and, from New Zealand, Julian Temple.

IMPOSSIBLY ELECTRIC Husband and wife duo Lovers Electric are stopping by Sydney to play a single show in support of their new offering, Impossible Dreams. The couple play at The Vanguard tonight for a low $15 on the door. A dinner package is available for $47 too, if you want some grub with the music.

DON’T BE BITTER

ROAD RUNNER

The Bitter & Twisted Beer Festival is happening over the weekend in Maitland, with bands including Hungry Kids Of Hungary, The Crooked Fiddle Band, Mikelangelo & The Tin Star and Watussi set to share their tunes.

Beep beep! Road Runners are back at the Town & Country Hotel this Sunday for a nice rock’n’roll-filled arvo gig, free from 4.30pm.

SPARE CHANGE With new single, A Dollar Down, jangling in his pocket, Taylor King heads down this Saturday to the Valve Bar, where he’s joined by Crossing Red Lines, Dan O’Connel. Limited Headspace, Papa Pilko & The Bin Rats and Equal Army.

UP IN THE CLOUDS

A HAPPY ENDING

There’s a SoundCloud meeting and showcase at Valve on Sunday, where you might just discover your new fave artist or band amongst RemmosK, Prezence, We’re No Angels, Richard Lawson, Soft Enerji & Moonperle, Anbis, Fronz Arp and more from 3pm.

Sticky Fingers have a new EP, Happy Endings, to launch at the Annandale Friday with The Bungalows.

CELL OUT

Afro Nomad brings the sights and sounds of Africa to Sydney Wednesday, playing at the Macquarie Hotel.

LOVERS ELECTRIC

Still writing, still playing and probably recording too, Stormcellar cruise down to the Jannali Inn this Saturday for a show from 7.30pm.

Was anything in particular inspiring you during the making?

HEADING HOME Homeward Bound will be launching their album, Chorus Of Castouts, this Saturday at Black Wire Records with Brisbane’s Army of Champions and Sydney locals Firearms and Deadly Visions, kicking off 7pm.

STOP! FBI! FBi Social is getting radiant this Thursday at Radiant Live. China’s Carsick Cars as well as Mere Women and Rites Wild will be playing from 8pm. On Friday, Paris Wells will be playing from 8pm and on Saturday, Laura Imbruglia will be playing with Magnetic Heads and Polyfox & The Union Of The Most Ghost.

POP A GLOCK Chicks Who Love Guns are keen as a bean to launch their second EP, Stutter, this Friday at Spectrum. They’ll be playing for $12 on the door with Let Me Down Jungleman and Sweet Teeth.

Liam Judson’s dance moves.

What’s your favourite part of the song? The wailing guitar solo by Sam Cross. I also enjoy the intentionally delayed beat hit in the last chorus.

Do you play it differently live? Probably. I will be playing with my Melbourne rhythm section on this run, whereas it was recorded with my Sydney rhythm section. Each musician brings their own nuances but either way, it’s a rollicking good time.

Will you be launching it? Saturday – FBi Social, supported by Magnetic Heads and Polyfox & The Union Of The Most Ghosts

For more info see: lauraimbruglia.com • 64 • THE DRUM MEDIA 1 NOVEMBER 2011

THE PAPER KITES

A BOY AND HIS BEAR One of the country’s biggest recent folk/indie success stories, Boy & Bear are headed for Wollongong Uni on Thursday and the Enmore Theatre this weekend, playing both Saturday and Sunday. They released their debut album, Moonfire, this year to massive reactions around the country. The Saturday Enmore show is sold out but you can still head along on Sunday, and both nights they’re supported by Ball Park Music from Brisbane, as well as The Paper Kites.

BATFOOT!

HARD ON The Hard-Ons will be starting their residency this Wednesday called the No Sleep Til Sando. This week they have Epics and Batfoot! joining them, with special giveaways each week.

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DEXTER MORPH

MORPHING INTO LIZOTTE’S Dexter Morph will be launching his newest single, Timeless, at the Lizotte’s venues this week, playing Lizotte’s Newcastle on Thursday, Lizotte’s Central Coast on Saturday and finishing off the run with Lizotte’s Dee Why on Sunday.


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GETTING THROUGH

CHANGING HATS

ROB TOWNSEND CHATS TO CAMERAS SINGER/KEYBOARDIST ELEANOR DUNLOP ABOUT THE RELEASE OF THE SYDNEY BAND’S DEBUT ALBUM.

’m more excited than nervous. I just want to get it out there.”

THOUGH THEIR SONGS ARE STILL ABOUT “DEATH AND SEX AND LOTS OF STUFF LIKE THAT”, WITCH HATS ARE MAKING THE KIND OF MUSIC SINGER KRIS BUSCOMBE NEVER THOUGHT THEY WOULD, HE TELLS IZZY TOLHURST.

For keyboardist/vocalist Eleanor Dunlop, Cameras’ debut album has been a long time coming. Over the past three years, the Sydney trio has wowed crowds on the local scene, released an acclaimed EP and also just recently toured America. Now, finally, the public can get their hands on the band’s first longplayer, In Your Room, and Dunlop can’t wait to unleash it on the world. “Some of the songs were on the EP, but I’m excited for people to hear the new ones,” she enthuses.

f punk rock outfit Witch Hats and their first LP, one reviewer suggested that the band “are four brats who play disagreeably loud songs”. Apparently, they’ve also played gigs where “a sizable chunk of the audience walked out covering their ears”. The foursome have been paid not to play and there’s a YouTube video of the boys after their 2009 Meredith performance, in which they flagrantly dump a ton of smart-arse on their interviewer.

“I

The record sees Cameras fuse the dichotomous styles of their two vocalists. Dunlop comes across all atmospheric and ethereal on keys, while guitarist Fraser Harvey’s compositions are more direct and urgent. It is a fine combination and one which has garnered interest from far afield. Hence the recent trip to the US. “We’ve had really good feedback and support from over there, so it was always going to be a given that we’d go. We’ll also be going to the UK early next year as well. So that will be another expedition.” It’s clear from talking to Dunlop that Cameras are an ambitious bunch and that they have always been keen to take their music to Europe and America. “It’s interested us from the very beginning,” she admits. “Relatively speaking, we’ve had a lot more support from overseas. We were first signed to a US label, then we were signed here. We’ve always felt an affinity to the US. You normally crack the UK and then go to America, but the US has always seemed to be quite receptive to our music.” So, when the opportunity arose to test the water overseas, they didn’t need to be asked twice. Like many Australian bands, relocation to Europe or America is something Cameras are seriously considering. “Going [to the US and the UK] will give us the chance to see if it will work for us and to find out where we feel most comfortable. Fraser has always spoken about Berlin and we’ve always loved the idea of New York. It’s good to travel first and find out where you feel most comfortable and then see what happens.”

[V] SATURDAY 8AM MUSIC VIDEO CHART Big Bad Wolf DUCK SAUCE We Found Love RIHANNA FT. CALVIN HARRIS Sexy And I Know It LMFAO Act Yr Age BLUEJUICE Good Feeling FLO RIDA Pumped Up Kicks FOSTER THE PEOPLE Cinema BENNY BENASSI FT. GARY GO Love On Top BEYONCE Feel So Close CALVIN HARRIS Somebody That I Used To Know GOTYE FT. KIMBRA

FBI’S FAVOURITE NEW AUSSIE TRACKS 1995 THE LAST KINECTION Kreuzberg CAMERAS Promothug DRO CAREY Dog MICHAEL MOONEY Hector Myola TIN SPARROW Crookedile KING GIZZARD & THE LIZARD WIZARD Form A Form MOE GRIZZLY Higher Duties RE:ENACTMENT No More TRUE VIBENATION Sir SEEKAE

ON THE DRUM STEREO Biophilia BJÖRK Will The Guns Come Out HANNI EL KHATIB Reworked/Remixed TRENTEMØLLER The Great Escape Artist JANE’S ADDICTION Acoustic Chapel Sessions JOHN FARNHAM 4everevolution ROOTS MANUVA When We On CRAZY P Noel Gallagher’s High Flying Birds NOEL GALLAGHER’S HIGH FLYING BIRDS Diamond And Death VHS OR BETA Pleasure Syndrome WITCH HATS

O

That’s not to say the Sydney band is forgetting their roots. Their album is launched here this week and will be followed by some more dates across the country. While they are officially a three-piece (Dunlop and Harvey are joined by drummer Ben Mason) when they play live, they bolster their numbers to create a fittingly epic, huge sound. On stage, three becomes six. “That was mainly due to how we were recording the songs,” Dunlop explains. “We record heaps of different layers – Fraser does at least three or four layers of guitar on each song – and it just lent itself to broaden the sound. When we first started the band we didn’t even have a bass player. So we’ve gone from having no bass player to having six people on stage. The music just needs it.” While they are clearly ambitious, talented and ready to take on the world, it’s never been about shifting units. This is a group that has been very patient, paid their dues on the local scene and at no stage compromised their original vision. “We’ve just tried to believe in what we’ve been doing from the very beginning and stuck to it. When Fraser and I started writing we knew it would take time for people to catch on and for us to develop our sound. It’s taken a while but I think we are finally getting through to people. There’s no real masterplan though. We’ll just see where it all takes us.” WHO Cameras WHAT In Your Room (Speak N Spell/Inertia) WHEN & WHERE Friday, The Standard; Friday 30 December, Peats Ridge Festival

But a brief chat with Witch Hats lead singer and founder Kris Buscombe reveals an endearing humility. Maybe this is a natural progression in demeanour for a punk band that has been around for more than seven years and seen the loss and acquisition of several members, including co-founder Duncan Blachford and guitarist Tom Barry, but whatever the catalyst, Buscombe has definitely noted the band’s maturation on new album, Pleasure Syndrome. “Well, it’s changed a lot for that reason I guess. As well we started out as a much noisier band; it was a bit more bratty, a bit more straight-ahead punky, yelly, screamy stuff. To look at the progression to now, this latest record, it’s the kind of music I really never thought I’d end up making… It’s a lot poppier and melodic and tuneful but I guess that’s just what happens as time goes by and you explore different areas. You end up in places you never thought you would!” And when asked what exactly they were shrieking about – and what they saw as society’s major ills – Buscombe’s tact was again made clear. “That’s a pretty big question. A lot of different things… I guess a lot of it’s to do with the frustration of all sorts of parts of society and when you’re younger, it’s a general sort of angst that people have at that age I guess. That channelled into the music I was making at the time. I still feel very angry about lots of things, but it’s just died down a bit; it’s not as obvious, not as bratty.” Despite being able to hear new experience and sophistication on the latest LP, there are still some

CLIMB WITH FINN

COUNTRY GRAMMAR

The legendary Tim Finn is in town once again this week, showcasing tunes from his 2011 album, The View Is Worth The Climb. Catch him in action at The Playhouse on Thursday and The Metro Friday, supported by Swamp Thing.

Serbia comes to Sydney with the arrival of Gramophonedzie at the City Hotel on Friday, house music his speciality.

THE PIANO DIARIES

Queensland boys Epidemic… Over are in town this week, spreading the word on their new single, The Stone, playing Valve Thursday, SFX Friday and Blush Nightclub Saturday.

Joanna Weinburg launches The Piano Diaries at 505, Surry Hills, this Sunday, the album a personal yet musical account of her life. Doors for the show open at 6.30pm and for $25 you get entry and a copy of the CD.

PRO-JAM The Studio 57 Pro Jam continues as usual at Club Cronulla hosted by Al Britton, Ross Ward and Tony Ward. Come down at 7.30pm to find other musos or just to jam.

TONE UP Ton Up Boys Motorcycle Club is hosting the Annual Rockers Ride this Sunday at the Jets Sports Club. They’re got Malpractice slated in to play (with members of The Sets and Stupidity), as well as Drey Rollan Band, The Crimplenes and DJ Brian. The party starts 1pm.

very raw and gruesome moments and certainly some of Buscombe’s influences prefer the blunt end of the storytelling stick. “As far as books go there’s a song called The Bounty which opens up the record and I might have loosely pinched the narrative from a book by Cormac McCarthy, called Blood Meridian. He also wrote The Road, which became that film that was out a couple of years ago. But it’s about the Glanton Gang, who were basically people in the 1800s in America who were hired by the government to just cull Indians… They were seen as causing all sorts of problems. And they were given a certain amount of money for every Indian they could kill and they just had to take scalps in to get their reward. So the story is loosely about that, I guess.” But Buscombe says generally, the lyrics on the new LP, regardless of their often grisly origins, are “really nothing revolutionary… just death and sex and lots of stuff like that.” Not that Witch Hats lacked anything prior to their second LP, but what is noted in Pleasure Syndrome is a definite coming of age for the band. “I think I like In The Mortuary, which is the fifth track, just because it was a bit of a freaky song. I had a lot of fun making it and I was pretty surprised at the way it came out, just that I’d ever end up singing a melody like that. It’s kind of the dark love song, the idea of which would have horrified me to shit myself in the past, but somehow it makes more sense now.” WHO Witch Hats WHAT Pleasure Syndrome (Longtime Listener) WHEN & WHERE Saturday, The Gaelic

ep FOCUS

IT’S OVER

S.E.B.

CHICKS WHO LOVE GUNS

The Steve Edmonds Band has a handful planned for the week, kicking off at the Empire Hotel Thursday, 7.30pm. Friday they play New Orana Hotel, on Saturday they’re at George Tavern and finally Sunday they’re at The Brewery in Newcastle.

What’s the title of your new EP?

GRINNERS ARE WINNERS

How long did it take to write/record?

Grinspoon’s Phil Jamieson continues on his solo acoustic tour this week, bringing the stripped-down sounds of all your favourites to The Brass Monkey on Thursday and Vault 146 Friday.

Stutter.

How many releases do you have now? Two. Well, I guess it didn’t take a particular amount of time to write, the songs on there are ones we wrote in between releasing the first EP and deciding to do a second. We spent five days recording, I’m pretty sure.

Was anything in particular inspiring you during the making?

HOW TO WALK

We have a pretty good relationship with the dude who recorded it, also just hanging around the studio being stupid arseholes is pretty inspiring in a way, like it psychs you up perhaps to perform with a positive energy which I hope translates to the record.

Learn to catwalk with The Model School this Friday. They’re launching their new video at The Square in Haymarket and have invited World Champion and Jo Meares & The Honeyriders along for the lesson.

What’s your favourite song on it?

HITTING THEIR STRIDE

Stain Alive. It’s my favourite to play at least.

Will you do anything differently next time?

Still buzzing from the release of their second album, Reclamation, earlier this year, local reggae lovers The Strides are playing the Heritage Hotel on Saturday.

PENNY FOR YOUR THOUGHTS Melbourne guitar slinger Penny Ikinger will be heading to The Square this Saturday with Deniz Tek, Jim Dickson and John Fenton and supporting will be The Dead Marines. Penny also plays solo at the Roxbury on Sunday with Johnny Casino.

SATELLITE V

V GOOD From 9pm on Friday, rockabilly blues rockers Satellite V take themselves into the Rose of Australia, playing songs from across their three discs.

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Well, hopefully next time it’s an album and not an EP!

Will you be launching it? Friday – Spectrum with Let Me Down Jungleman and Sweet Teeth

For more info see: facebook.com/chickswholoveguns THE DRUM MEDIA 1 NOVEMBER 2011 • 65 •


live@drummedia.com.au

justVISITING

LATIN LOVERS

single FOCUS

The grand final of the Clave Contra Clave Latin Band Comp is happening on Saturday at the Hordern Pavilion, so head along to cheer for your favourites and hope they take out the crown.

GET FREE CARSICK CARS Why are you coming to visit our fair country? To do some recording and to play a few gigs arranged by our friend Shaun Hemsley, who runs Tenzenmen. He has helped so many Chinese bands get exposure in Australia and he set up all these shows for us.

Is this your first visit? Yes, and we are really excited about it. Many Australian bands are known in China and some have played here, and of course many Chinese musicians know that Nick Cave and Birthday Party is one of the best bands in history, so we feel excited to play there.

How long are you here for? We will be here ten days. We want to stay longer but we have shows in China before and after our tour.

What do you know about Australia, in ten words or less? Australians like much more healthy lifestyle than ours.

Any extra-curricular activities you hope to participate in? Of course to see Australian musicians. My friends also say that food in Australia is very good, so we want to eat a lot.

What will you be taking home as a souvenir? I will try to bring back a koala bear and put him in the panda bear cage at the Beijing zoo.

Where can we come say hi, and buy you an Aussie beer? Wednesday – Croatian Club Thursday – FBi Social Friday – House show, Canberra

For more info see: maybemars.org myspace.com/carsickcars site.douban.com/carsickcars/

JED’S YER UNCLE Uncle Jed is playing just one night this week, Friday at the Sugar Lounge in Manly from 9pm.

GET MAGGOT Maggotfest II takes over The Red Rattler on Saturday, with The Sailors, Royal Headache, Woollen Kits, Unity Floors and heaps more playing from 4pm.

HEATING UP Heatwave is exploding at GoodGod this Saturday, a huge lineup of hip hop, R&B and dancehall DJ sets. Konnected As 1, Miracle, Mike Champion, Scrappy of Justice Crew, Kween G & Bad Ezzy, Candy Borquaye, Young Phaze and Jerk SYD will be performing, kicking off 8pm ‘til late.

Aussie crooner Pete Murray is still on his Free tour (no, it’s not free to go, sorry – you’ll have to buy tickets!), hitting our suburbs this week. Thursday he’s at Penrith Panthers, Friday Newcastle Panthers, Saturday Hornsby RSL and Sunday Mingara Recreational Club.

SHE’S GOT SOLER Singer/songwriter extraordinaire Andrea Soler grew up in the Blue Mountains, so it’s only fitting she returns there Friday night to play the Clarendon Guesthouse with James Ross in duo mode.

YOUR WEIGHT IN BLACK GOLD Black Gold, the record fair hosted by Eastside FM, is back at the Local Taphouse from 11am on Saturday. There’ll be plenty of vinyl to check out, lots of tasty drinks to consume, so head down with $5 to chuck in at the door.

LIVE AT THE QUAY The Quay Live band comp is happening Saturday at the Paragon Hotel, the winner of the overall competition getting a paid residency at the venue in 2012, as well as more performance opportunities.

CREEPING UP SLOWLY The Kill City Creeps residency kicks off at the Upstairs Beresford this Saturday, with East River and The Slips in support. Lancelot is taking DJ duties. Doors open 6pm and they’re on at nine.

BACKSTAGE The Green Room this Thursday will have Adele & Glenn play, taking time out from recording their upcoming album, Carrington Street, supported by Wintah.

SUMMERTIME The Beach Road Hotel this week is getting just as geared up for music as for summer. Wednesday, Super Wild Horses, Straight Arrows and Ganaschz play from 8pm, on Thursday Paris Wells, Benjalu, Somatic and Bentley play and on Friday The Aston Shuffle is in the house.

DIABLO Don Diablo is a Don of all trades. A producer, DJ, singer and more, the man now admits he’s a hooligan as he continues on his Hooligans tour. Friday he stops by the Trinity Bar and Saturday it’s King Street Hotel in Newcastle.

SOUND OF SPRING Sydney’s Sound Of Seasons have their guns at the ready, set to take on Hot Damn at Spectrum this Thursday as they launch their new single, Sweet Decline. Later on this month, they head out on tour with fellow young ‘uns Sienna Skies and Built On Secrets.

THAT’S YOUR CUE Anna McCue heads back to Australia for her last show for 2011, at Beaches in Thirroul Saturday. She’s just released her new single, Pleasure And Pain, and will be playing with Luke Herbert and Nick Hill in support.

CCTV

TRISTEN BIRD

BUSY BIRD Singer/songwriter Tristen Bird has a busy week ahead with his debut album, Horse To Water, in hand. He steps into The Gaelic on Wednesday, the Arthouse Hotel on Thursday, The Tea Club on Friday, the Front Gallery on Saturday, the Mars Hill Café on Sunday and to finish the week off, Hotel Gearin in Katoomba on Monday.

RED PANTHER Sydney rock’n’garage-pop trio Step-Panther is heading to Red Eye Records this Thursday at 5pm to launch the new self-titled record.

JUST MARRIED The April Maze, also known as Todd and Sivan, took some time off to get married, believe it or not. Now back to the touring life, they’ll be playing this Friday at The Front Gallery and Saturday at the Woden Valley Festival.

KAWAII

EPIDEMIC… OVER

The Stone

What’s the song about? It’s about making mistakes and dealing with the ‘stones’ that life throws at you, and coming to terms with that.

Is this track from a forthcoming/existing release? We’ve released The Stone as a single in the lead-up to our EP, titled Long Way Home, out in February.

How long did it take to write/record? I’m not sure about how long it took to write. It slowly came together over a few months of jamming. It was actually the last song we finished on the EP and it took us a while to nut it out, but I think the end result is great.

Was anything in particular inspiring you during the making?

Melbourne micropopster Kikuyu is bringing her lo-fi musical stylings to the Emma Soup Gallery this Thursday, followed by Yours & Owls on Saturday and The Vanguard on Sunday.

This song was a little different. I have more of an emotional attachment to it than normal. Lyrically, I tend to write to the mood the music puts me in and for some reason this song really resonated with me.

ME GUSTA

What’s your favourite part of the song?

Local Latin band Musica Linda has been called in to perform at the Cuban Festival at the Marconi Club this Friday. The seven-piece band is vibrant and alive with the sounds of the conga, bongo, flute and violin.

Do you play it differently live?

SUPERNOVA

From the bridge all the way through to the end. Every time I hear it I smile. Not really. There are a couple of parts vocally I have to cut a little shorter but other than that it’s the same.

Nova & The Experience continues their tour this week with ILUKA, AKA Nikki Thorburn, stopping by Spectrum this Saturday at 8pm. You also get a copy of the new EP, Sexy Love, on arrival!

Will you be launching it?

WITCHES AND ANIMALS

Saturday – Blush Nightclub

This Saturday’s double headliner at The Gaelic is a special one – Witch Hats and Lost Animal will both be launching their new albums, Pleasure Syndrome and Ex Tropical respectively. They’ve also invited guests Circle Pit and Kirin J Callinan to come along.

epidemicover.com.au

IN GAELIC Pop/punk kids Cartel are heading down to Australia all the way from Atlanta this week, stopping by The Gaelic this Thursday with their new EP, In Stereo, and their back catalogue in tow and supported by Melbourne’s The Miracle Is Now and locals Ladies & Gentlemen.

JAMMING WITH JIM

Sydney’s Cameras are gonna be snapping away at The Standard this Friday with their new album, In Your Room, ready to show off. The band has just started to get recognition from MTV USA.

Jim Finn’s gigging run for the week starts a day early! Tonight he plays with Flamin’ Beauties at the Royal Hotel, Wednesday and Thursday he officiates at the Bald Faced Stag and Carousel Inn, Friday he plays at the Edgeworth Tavern and finally, he plays Jack Duggan’s Irish Pub Saturday.

MOTHER & SON

THE NEVER EVER

Thursday – Valve Friday – SFX

For more info see: facebook.com/epidemicover

LOVE THEM Faker are on their first national tour in about three years, having just released their new EP, How Did We Not Get Loved? They stop by the Patch this Friday.

THRASH THIS Thrash mayhem is due at The Gaelic this Saturday with 4ARM touring the country with German thrashers Destruction and Aussies Mortal Sin. The bands are on the four-day Pre Album Launch tour.

LET’S GET PHYSICAL Blues rock cover band Physical Graffiti loves to play tunes by the likes of Zeppelin to Deep Purple and Hendrix, with that gritty sound at the centre of it all. They’re playing at the Empire Hotel on Saturday from 11pm.

THE DELTA RIGGS

SAINTHOOD Crooked Saint apparently doesn’t stop for a breather, ready to release another EP called Sweating Bullets barely six months after the last one. He’ll be launching it at the Upstairs Beresford this Friday, where Tim Wheatley will play solo and acoustic with Dirty Little Rebels and The Delta Riggs also playing. Naysayer & Gilsun will DJ the night away. • 66 • THE DRUM MEDIA 1 NOVEMBER 2011

MUY CALIENTE!

ALL NINE OF THEM

Mariachi-soul-garage music makers Puta Madre Brothers are hitting up the Lansdowne this week to showcase songs from their new album and get you shaking to their rock’n’roll rhythms. They play with Mother & Son on Saturday and also play at the Great Northern Newcastle on Sunday.

Nine Sons Of Dan will be shaking and shivering on their Shake Or Shiver tour, which hits the east coast this month. The pop rock boys stop by The Lair at The Metro this Saturday for an all ages show with The Never Ever and The Monster Goes Rawrr.

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NEW NAVY

YVAN EHT NIOJ Sydney up and comers New Navy head to Oxford Art Factory on Sunday, bringing their increasingly popular tunes to the stage for what promises to be a super night. The cause for celebration this time is the launch of their brand new EP, Uluwatu.


campbelltown city council and indent present

'

bradbury oval 5 november 2011

2pm to 930 pm

Ghosts of York Suburban Lies Paintbox City Revertigo aimless uproar Bleech cejay Grundy Addison Grundy Suzie M

drug and alcohol free event

all ages

an environmentally sustainable event

Chapter Music and Mobile Industries present

LAURA JEAN New album

A Fool Who’ll

out now on Chapter Music

FRIDAY 11TH NOVEMBER PETERSHAM BOWLS CLUB tickets via www.oztix.com.au / 1300 762 545

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THE DRUM MEDIA 1 NOVEMBER 2011 • 67 •


single FOCUS CHRIS PICKERING

BETTY AIRS

Juvenile

What’s the song about? It’s about reckless abandon, being naughty childmen and child-women. Ha ha times.

Is this track from a forthcoming/existing release? Yep, we just released the songs as a free single. You can download it from our triple j Unearthed page.

How long did it take to write/record? I wrote the song in four minutes, the lyrics took about 36 years. To record and produce probably took 16 hours, 16 minutes and 16 seconds.

Was anything in particular inspiring you during the making? The Easybeats, stolen cars, hookers, fireworks that sounds like gangsters’ guns, annoying other people’s little sisters.

What’s your favourite part of the song? Probably the lyrics and maybe the weird ‘60s psych harmony in the verse…

Do you play it differently live? It’s a bit rougher and more garage-y!

Will you be launching it? Saturday – Roxbury Hotel

For more info see: bettyairs.blogspot.com

• 68 • THE DRUM MEDIA 1 NOVEMBER 2011

CREEP IN

KIRA PURA & THE BRUISE

BRUISING SOUNDS The strong sounds of Kira Puru & The Bruise are out on the road this week, stepping into The Factory on Friday, supporting The Crooked Fiddle Band and The Barons Of Tang.

LADY, HEAR ME TONIGHT Ladybelle plays Bondi Icebergs on Sunday after some time off, with Tim McArtney on double bass and Fenix Martinez manning the keyboards. Expect original jazz tunes and some reimagined standards from 5pm onwards.

DEATH TO THE PIXIES Rockers and rollers The Pixiekills are heading to Newtown this Friday night to take the Sando stage, where they’re joining Rufflefeather, The Black Heist and Eden’s March for a loud night of local goodness.

A-OKA The traditional Indigenous sounds of OKA are making the rounds this week, hitting Petersham Town Hall on Friday, Rhythm Hut Saturday and North Steyne Hotel in Manly Sunday, showcasing their latest album, Milk And Honey.

JUST JACK Jack Jones takes his pop/rock tunes to Rooty Hill RSL on Friday, playing from 8pm for a $20 entry fee.

New Zealand’s Creeping comes to Australia for the first time this week, hitting The Wall on Friday with Thrall, Erebus Enthroned and Bleakwood. Tickets are $15 and available on the door only.

HALLOWEEN TIME There’s a belated Halloween party happening at Club 77 on Friday 4 November, with Devine Electric, Neon Heart and Pleasure Overload all playing. From 9pm, it’s fancy dress so come as your favourite spook.

SHARE THE LOVE With the latest single, Now That You’re In Love, neatly tucked into their collective pocket, Underlights head to GoodGod on Thursday to strut their stuff.

WHAT THE FOLK Friday at Wollongong City Diggers, the Illawarra Folk Club presents Mark Davidson, RAPT, Snez and a mystery artist in concert. It all happens from 7.30pm, with members getting in for $10 and other guests $15.

INTO THE DARK Having only been around since the early months of this year, Through A Glass, Darkly has been working hard and has an EP ready to show for it. It’s called Be My Guest and it’s set to be launched at the Townie on Friday, where the band will be joined by Thayne, Charli Rainford and The Vyvyans. The action begins at 9pm, so be there or be square – and don’t worry about sacrificing precious beer money either, as the gig’s free.

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JONATHAN ZWARTZ

ZWARTZ IN THE HOUSE The seductive sounds of Jonathan Zwartz are the main event at The Basement Circular Quay tonight, bringing together different genres and moods as he collaborates with friends including Barney McAll, Phil Slater, Martha Zwartz and more.

DRIVE TO THE BRIDGE Peter Northcote and Bernie Segedin continue their long-running DRIVE residency at the Bridge Hotel on Sunday, playing from 3.30pm. Kids are welcome.

505 GETS LUCKY WA-based American pedal steel guitarist and ABC Radio National presenter Lucky Oceans comes to 505 on Saturday to play with a huge crew of musicians, including Bruce Reid on slide guitar, Brett Hirst on bass, Hamish Stuart on drums and Gary Daley on keys.

GET YOUR SHIT IN ATTN: Local bands! If you have a gig or release in the pipeline that you want to promote, send the details, blurb (no longer than 100 words) and pic (no bigger than 1MB, NO SMALLER THAN 200 DPI and in .JPG or .PDF format) to live@drummedia.com.au. Get in quick, it’s fuckin’ FREE!


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Off The Record “Acid Tapes Vol. #2” and “ “Acid Acid Tapes Vol. #3 #3” ” from www.offtherecord.cc

Acid Tapes Vol. #2

Acid Tapes Vol. #3

1. Annie McKinnon Robin Hood

1. Karl Christoph Lady Luck

myspace.com/anniemckinnonsolo triplejunearthed.com/anniemckinnon

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2. Nova & The Experience Beautiful Minds

2. Beth’n’Ben Little Lady

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3. Conics Illuminate

3. 11:59 Britney, Don’t Hit Me

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www.1159.com.au www.facebook.com/oneoneÄvenine

4. Little Napier Tourist

4. The Fiennes You’re Not Left Behind

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5. Doc Holliday Takes The Shotgun Gutter Garter

5. My Beloved Monster Want Me

dochollidaytakestheshotgun.com facebook.com/DocHollidyTakestheShotgun

facebook.com/mybelovedmonster soundcloud.com/my-beloved-monster

6. Michael McKiernan Leavin’ Shore

6. Anti Prophet Dooms Day

soundcloud.com/msmckmusic myspace.com/msmckIVmusic

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7. Fanny Lumsden The Cat Song

7. Black Bird Hum Sleep

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8. Elisa Kate Any Smarter

8. Harvey Swagger Band Pioneer

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9. The Icebergs Alone In The City

9. Ben Dales Sundown

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10. Jack R Reilly Panic & Alarm

10. The Trobes Ha_gma_

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thetrobes.com facebook.com/thetrobes

11. Capital Control My Head

11. Mystic Flare Where Do We Go From Here

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myspace.com/mysticÅare

12. LisaLive New Horizons

12. The Can Top Band Coming For You

myspace.com/listenlisamusic triplejunearthed.com/LISALIVE

facebook.com/thecantopband triplejunearthed.com/thecantopband

13. The Pennys Dying To Know

13. Brother Funk Knock Knock

facebook.com/thepennys triplejunearthed.com/thepennys

triplejunearthed.com/BrotherFunk myspace.com/brotherfunkband

14. The Waysmiths Love At Speed

14. Astrochem Funkadelic Samurai

triplejunearthed.com/thewaysmiths reverbnation.com/thewaysmiths

facebook.com/astrochem triplejunearthed.com/astrochem

15. Adrian Heath Right From The Start

15. Sativa Sun Superman

adrianheath.com.au Find me on Facebook!

facebook.com/sativasun

16. ELIZA Fred’s Song

16. Portable Junk Be With You

myspace.com/elizacox triplejunearthed/ELIZA

myspace.com/portablejunk

17. Leather Feather 35W009

17. KVE Five Days triplejunearthed.com/KVE

18. The Hurricanes Feel No Pain

18. Room 6 Twisted Reality

myspace.com/wearethehurricanes

reverbnation.com/room6

19. Sid Hallifax Neck Deep

19. Run Squirrel Changing Sides

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Wanna feature your songs on an Off The Record CD? Contact Rob Carroll on rob@ateammusicco.com

Drum Media Full Page - AT Vol 2 & 3.indd 1

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20. Justine Wahlin I Don’t Care myspace.com/justinewahlin Find me on Triple J Unearthed!

27/10/11 3:54 PM


GIG GUIDE TUE 01

2 OF HEARTS: Wests-Illawarra Leagues Unanderra ABBALANCHE - ABBA SHOW: Castle Hill RSL - Auditorium ADAM PRINGLE, + FRIENDS: Sandringham Hotel, street level ALL STAR TRIO, ACCA DACQUIRIS: Bankstown Sports Club ARMCHAIR TRAVELLERS DUO: Parramatta Leagues Firehouse BARB WIRE: Engadine RSL DAVID AGIUS TRIO: Castle Hill Tavern DEEP DUO, GTS: Coogee Bay Hotel - Beach Bar DR DAVE: Windsor Castle Hotel Newcastle GET THE PARTY STARTED-THE PINK SHOW: Club Marconi - Bossley Park H BOMB, TAYLOR HOGAN, BEC & BEN: Beach Rd Htl (Rex Room) Bondi HAPPY HIPPIES, MARK TRAVERS: Ettamogah Hotel - Rouse Hill IGUANA: Duke of Wellington Hotel INCOGNITO: Exchange Hotel - Newcastle JAZZGROOVE feat…, LEIGH BARKER AND THE NEW SHEIKS, RON PHILPOTT QUINTET: 505, 280 Cleveland St Surry Hills JIM OVEREND: Waratah Rugby Union Club - Newcastle JOHN FIELD DUO: Mounties Mt Pritchard Terrace Bar KOGARAH + LIVE feat., DAVID SATTOUT, MATTHEW FLOOD, DAN USHER, BLACK DIAMOND, PETER CROWDER, THE SPHINXES, CAROLYN CRYSDALE: Kogarah Hotel LOVERS ELECTRIC: The Vanguard - Newtown MAL BARNES: Drummoyne Sailing Club MAMATONE: The Mark Hotel - Newcastle MANDI JARRY DUO: Dee Why Hotel MARTY STEWART, KRISHNA JONES: Greengate Hotel - Killara MATT PRICE, JESS DUNBAR: Mill Hill Hotel - Bondi Junction MATT SEABERG: Beach Palace Hotel Coogee MELBOURNE CUP LUNCH with, THE ANDY MCLEAN & DAN KING DUO: Lizottes, Kincumber MELBOURNE CUP LUNCH WITH, MARK WELLS, MORGAN EVANS: Lizottes, Newcastle MIKE BENNETT: Peachtree Hotel - Penrith OMG!: Scruffy Murphy’s - City OUTLIER: Custom House Bar - City

PANORAMA: 3 Wise Monkeys Pub - City PARTY VIBE: Terrigal Hotel - Terrigal PAUL SUN, MONIQUE LYSIAK: Jazushi Restaurant Surry Hills PETE GELZINNIS: Club Singleton POP FICTION, HIP TRIP: Castle Hill RSL POP PANIC feat, PABLO CALAMARI, CONRAD GREENLEAF: World Bar Kings X RENAE KEARNEY: Waterworks Hotel Botany ROB HENRY: Observer Htl SAM & JAMIE TRIO: Kirribilli Hotel - Kirribilli SHANE FLEW: Rag & Famish Hotel North Sydney STEVE TONGE: Mean Fiddler Hotel Rouse Hill STEVE TONGE: O’Malleys City STUDIO 57 PRO-JAM: Club Cronulla - Cronulla THE ANDY SHOW: Cessnock Supporters Club THE RATTLE: South Leagues Club THEY CALL ME BRUCE: Maloneys Hotel - Sydney THIRD TIME LUCKY: Seven Hills/Toongabbie RSL TOM T DUO: Revesby Workers UPTOWN SEROTONIN: Coogee Bay Hotel - Beer Garden WILDCATZ: Teagardens Hotel, Bondi Junction ZOLTAN, AM 2 PM: Cabravale Diggers Canley Vale

WED 02

ANDY MAMMERS DUO: Maloneys Hotel - Sydney BIG WAY OUT: 3 Wise Monkeys Pub - City BOY AND BEAR, BALL PARK MUSIC, THE PAPER KITES: Newcastle Panthers BRADLEY CORK & THE FOLKLORE MANTRA, RAY RAY RAY & THE JETSONS, IN MEASURES, + GUESTS: Valve Bar - Tempe CRAIG SCOTT QUINTET: 505, 280 Cleveland St Surry Hills CRAIG THOMMO: Coogee Bay Hotel - Beach Bar DAN SPILLANE: Mean Fiddler Hotel, Sub Bar - Rouse Hill DAVE SEASIDE: Artichoke Café Manly GEMMA: Observer Htl GEORGIA FAIR: The Standard - Surry Hills HARD-ONS, EPICS, BATFOOT: Sandringham Hotel, upstairs JAMIE LINDSAY: Northies Cronulla HtlSport Bar LIVE & LOCAL: Lizottes, Dee Why LUKE DIXON: Summer Hill Hotel Summer Hill MEREWETHER FATS BLUES JAM: Great Northern Hotel Newcastle MISION MEXICO FUNDRAISING FIESTA: Lizottes, Newcastle

• 70 • THE DRUM MEDIA 1 NOVEMBER 2011

1 - 7 NOVEMBER 2011 gigs@drummedia.com.au MOJO JUJU: Brass Monkey - Cronulla OUTLIER: Scruffy Murphy’s - City PAPER PLANE PROJECT, MIKE WHO, RAINE SUPREME: Oxford Art Factory, Live Art Space PAUL DEMPSEY, BEN SALTER: Annandale Hotel Annandale PHILIP RICKETSON: Sandringham Hotel, street level SALT VOCAL GROUP: Lizottes, Kincumber SONGS OF MOTOWN: IN MEMORY OF MARV TARPLIN feat, ILIAS: White Revolver - Bondi Beach SONGS ON STAGE feat., RUSSELL NEAL, + GUESTS: Cat & Fiddle Hotel Balmain SONGS ON STAGE feat., TAOS, JOHN CHESTER, SENANI, + GUESTS: Coach & Horses Hotel, Randwick SONGS ON STAGE feat., MEN WITH DAY JOBS, DaNIEL HOPKINS, + GUESTS: Taren Point Hotel - Taren Point SUPER WILD HORSES, STRAIGHT ARROWS, GANASCHZ: Beach Rd Htl (Rex Room) Bondi THE STUDY feat, TRISTEN BIRD: The Gaelic - Surry Hills THE WALL feat., STARJUMPS, DOUBLE GOOSE, CLOCKWERK, COTTONMOUTH, TONGUE IN MOO, EMPRESS YOY: World Bar Kings X

THU 03

ANDY MAMMERS: Dee Why Hotel BARNEY MCALL: 505, 280 Cleveland St Surry Hills BOB CORBETT & THE ROO GRASS BAND: Lizottes, Kincumber BOY AND BEAR: Unihall - UOW - Wollongong CAMBO: Observer Htl CHRIS ATKINSON: Campbelltown Catholic Club CLAIRE, BROADWAY MILE: Oxford Art Factory Gallery CRAIG WOODWARD: Toxteth Hotel - Glebe DANIEL WELTINGER TRIO: Camelot Lounge - Marrickville DAVID AGIUS: Northies Cronulla HtlSport Bar DEXTER MORPH: Lizottes, Newcastle DROP presents, PARIS WELLS, BENJALU, SOMATIC, BENTLEY: Beach Rd Htl (Rex Room) Bondi EPIDEMIC…OVER, FIFTH FICTION, I NATION, FACEDOWN FAX MACHINE: Valve Bar - Tempe HEROES FOR HIRE, I CALL FIVES, I AM VILLAIN, JUST DIVIDE, CONQUER: Bathurst RSL - Bathurst

IGNITION: 3 Wise Monkeys Pub - City JESSE MORRIS & THE THREE BEANS: Notes Live - Enmore JULIA MORRIS: Lizottes, Dee Why KING CANNON, JACKSON FIREBIRD, THE STRUMS, THE JAZZ FACTORY: Great Northern Hotel Newcastle KRISHNA JONES: Gymea Bay Hotel LANIE LANE, FEARLESS VAMPIRE KILLERS: The Vanguard - Newtown MARTY from RECKLESS: Coogee Bay Hotel - Beach Bar MATT JONES TRIO: Scruffy Murphy’s - City MICHAEL MCGLYNN: Greengate Hotel - Killara NIKKI THORBURN: Artichoke Café Manly ONRA, + SPECIAL GUESTS: Oxford Art Factory, Live Art Space OUTLIER: Stacks Taverna - Darling Harbour PAUL DEMPSEY, BEN SALTER: Annandale Hotel - Annandale PETE MURRAY, BUSBY MAROU, M. JACK BEE: Penrith Panthers, Evan Theatre - Penrith PHIL JAMIESON: Brass Monkey - Cronulla PROPAGANDA feat., TOM BALLARD, URBY: World Bar Kings X SAM & JAMIE TRIO: Maloneys Hotel - Sydney STEVE TONGE: Harbord Beach Hotel Harbord TALK OF THE TOWN: Charlestown Bowling Club TOM TRELAWNY: O’Malleys Kings X TRISTEN BIRD, ESTHER LAMB, MIKE ANTONIOU: Arthouse Hotel - Sydney

FRI 04

1927, ABSOLUTE 80’S: Waves Nightclub Towradgi AM 2 PM: 3 Swallows Hotel - Bankstown ANDREA SOLER, + GUESTS: Clarendon Guest House Katoomba ANDY MAMMERS DUO: Castle Hill Tavern ARLEY BLACK DUO: The Stag & Hunter Hotel ARMCHAIR TRAVELLERS DUO: Coogee Bay Hotel - Beach Bar AT THE HOP: Belmont 16’s BEDE KENNEDY: O’Malleys Kings X BEN FINN DUO: PJ’s Irish Pub Parramatta BIG JAY MCNEELEY, ADAM HILL BAND: The Basement - Circular Quay BLONDE 182: Custom House Bar - City BUDDY THE CONCERT: Mounties Club Mt Pritchard CAMBO: Castle Hill RSL - Cocktail Lounge CAMERAS, WINTER PEOPLE, MICHAEL MOONEY, BEAUFIELDS: The Standard - Surry Hills CHARTBUSTERS: 3 Wise Monkeys Pub - City

CHICKS WHO LOVE GUNS: Spectrum - Darlinghurst COLD CHISEL, YOU AM I: Stadium Drive Hockey Fields - Coffs Harbour CRAIG THOMMO: Royal Oak Htl Parramatta DAN BEAZLEY: The Mark Hotel - Newcastle DAN SPILLANE: Quakers Inn - Quakers Hill DANIEL LAWRENCE: Harbord Beach Hotel Harbord DARYL BRAITHWAITE: Manly Fishos DAVID AGIUS DUO: Crows Nest Hotel (early) DIRTY DEEDS - AC/DC SHOW: Ettalong Beach Hotel DISCO-MATT MC, TOKYO DENMARK SWEDEN: Hermanns Bar Darlington DOUGIE DE KROO’S KENTUCKY MOON: Town & Country, St Peters DREAM TAMBOURINE: Duke of Wellington Hotel DREW MCALISTER: Novotel - Brewery Bar, Olympic Park EBONY & IVORY: Matraville Hotel - Matraville ELEVATION-U2 SHOW: Wentworthville Leagues (Late) END OF DAYS: Belmore Hotel - Newcastle ENDLESS SUMMER BEACH PARTY: Marlborough Hotel Newtown FALCONIA FRIDAYS feat, JOYRIDE, HANSOM, THE GODFATHER, ANDY WALSH, FAUCE: Kit & Kaboodle - Kings Cross FRIDAY LIVE: Lizottes, Kincumber GEMMA: Observer Htl - Late GEOFF RANA: Mill Hill Hotel - Bondi Junction GOLD CADILLAC: Club Singleton GOOD COMPANY: Hotel Jesmond GRAND MASTER MONK: Great Northern Hotel Newcastle GTS: Taren Point Hotel Taren Point HEATH BURDELL: PJ Gallaghers Drummoyne HEROES FOR HIRE, I CALL FIVES, I AM VILLAIN, SWALLOW YOUR PRIDE: The Loft - Newcastle Mall HORNET: Exchange Hotel - Newcastle HUE WILLIAMS: Ettalong Beach Cabana (Day) IGNITION: Scruffy Murphy’s - City IGUANA: Windsor Castle Hotel Newcastle INCOGNITO: Cessnock Supporters Club JACK JONES: Rooty Hill RSL JELLYBEAN JAM: Campbelltown Catholic Club JJ DUO: Heathcote Hotel

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JOHN WILLIAMS: Oasis on Beamish Hotel Campsie JOSH MCIVOR: The Belvedere Hotel Sydney KELLY HOPE: Kincumber Hotel - Kincumber, Central Coast KILLER feat., ABSOLUTION, EPIDEMIC… OVER, I-NATION, HUNT THE HAUNTED: St James Hotel - Sydney KING CANNONS, JACKSON FIREBIRD, THE STRUMS: Oxford Art Factory, Live Art Space KINGS OF LEON, BAND OF HORSES: Allphones Arena - Homebush KIRA PURU & THE BRUISE: Cambridge Hotel - Newcastle KIRK BURGES DUO: Stacks Taverna - Darling Harbour KOLONEL BIZARRE: St Marys RSL LADYSMITH BLACK MAMBAZO: State Theatre LANIE LANE, FEARLESS VAMPIRE KILLERS: The Vanguard - Newtown LIZA OHLBACK: Lizottes, Dee Why LUKE DIXON BAND: Rock Lily - The Star Casino - Pyrmont LUKE ROBINSON: Castle Hill RSL - Courtyard MACKA: Courthouse Hotel - Taylor Square MANDI JARRY TRIO: Kirribilli Hotel - Kirribilli MATT JONES DUO: Mean Fiddler Hotel Rouse Hill MATT PRICE: Massey Park Golf Club, Concord MEMORY LOSS: Dundas Sports Club MICKEY PYE: Parramatta RSL MIKE MATHIESON, CHRIS ALEXANDER: Dooleys - Silverwater MISSION JONES: Club Rivers - Riverwood MONICA TRAPAGA, THE TODD HARDY SWING ORCHESTRA, BRAD CHILD: 505, 280 Cleveland St Surry Hills MUCHO MAMBO: Camelot Lounge - Marrickville MUDDY FEET: Pioneer Tavern - Penrith MUM feat., THE SHAKE UP, NAYSAYER & GILSUN, ROYSTON VASIE, RARGO, ALBATROSS, RAINBOW CHAN, GHOUL (DJ SET), KATO: World Bar Kings X NEILL BOURKE: Macquarie Hotel - Liverpool NEVERMIND-NIRVANA SHOW: Engadine Tavern NEWCASTLE GRAMMAR SCHOOL BRASS RAZOO: Lizottes, Newcastle OMG!: Warners at the Bay ONE HIT WONDERS: Club Central - Menai PANORAMA DUO: Parramatta Leagues Firehouse PARIS WELLS: Kings Cross Hotel - Kings Cross PETE GELZINNIS: Charlestown Bowling Club

PETE MURRAY, BUSBY MAROU, M. JACK BEE: Newcastle Panthers PHIL JAMIESON: The Vault - Windsor RAMPAGE, HERRATIK, TORTURED, INFESTED ENTRAILS, FESTERING DRIPPAGE: Valve Bar - Tempe RICKY BLOOMFIELD: Red Cow Inn Penrith ROAD WORTHY: Crown Hotel - Sydney ROB HENRY: Observer Htl ROCKETS, SATIVA SUN, CONICS: Oxford Art Factory Gallery RUFFLE FEATHER, THE PIXIEKILLS, THE BLACK HEIST, EDENS MARCH: Sandringham Hotel, upstairs RYAN ENRIGHT: Grand Hotel - Rockdale SAM & JAMIE DUO: Woolloomooloo Bay Htl SATIVA’S SON, THE PREHISTORICS, RACK N RUIN, THE WAYSMITHS: Lansdowne Hotel Broadway SEATTLE SOUND: Bull & Bush - Baulkham Hills SHANE FLEW, TIM WEDDE: Dee Why RSL SIMA feat, THE COFFIN BROTHERS: The Sound Lounge Seymour Centre SKYZ THE LIMIT: Penrith Gaels - Kingswood SONGS ON STAGE feat., MARK DE VOSH, DaNIEL HOPKINS, + GUESTS: Royal Hotel - Bowral SONGSALIVE! feat., ELISSA SHAND, GARAGE DAZE, BENWARDI, HANNAH WISSE, OWEN PLATT, TIM RICHARDSON, CAROLYN WOODORTH, + GUESTS: Everglades Country Club Woy Woy STEVE TONGE: Northies Cronulla HtlSport Bar STICKY FINGERS: Annandale Hotel Annandale STRIP: Crows Nest Hotel (late) SYDNEY CITY TRASH, BILLYGOAT & THE MONGRELS, 10 PACES: The Gaelic - Surry Hills THE ABSTRACTIONISTS: Artichoke Café Manly THE APRIL MAZE: The Front - Canberra, ACT THE ASTON SHUFFLE: Beach Rd Htl (Rex Room) Bondi THE BACKSLIDERS: Brass Monkey - Cronulla THE DELTA RIGGS, DIRTY LITTLE REBELS, CROOKED SAINT: Upstairs Beresford Beresford Hotel THE FIDDLE: Notes Live - Enmore THE MATCHBOX TWENTY TRIBUTE SHOW: Riverstone Memorial Club THE MODEL SCHOOL, WORLD CHAMPION, JO MEARES AND THE HONEYRIDERS: Capitol Square Hotel -

Haymarket THE V DUBS: Orana Hotel - Blacksmiths THEY CALL ME BRUCE: Engadine RSL THROUGH A GLASS DARKLY, THAYNE, CHARLI RAINFORD, THE VYVYANS: Town Hall Hotel - Newtown THUNDERSTRUCK-AC/ DC SHOW: Bomaderry Hotel Bomaderry TIM FINN, SWAMP THING: Metro Theatre TOMBSTONE RAMBLERS, ANTIBODIES, DEADWOOD 76: Petersham Bowling Club TRISTEN BIRD: Tea Club Nowra VENUS: Hillside Hotel - Castle Hill WILDCATZ: Commercial Htl Parramatta ZOLTAN: Club Menai

SAT 05

ABBALANCHE - ABBA SHOW: South Sydney Juniors ALMOST FAMOUS: Smithfield RSL AM 2 PM: Parramatta RSL ANDY MAMMERS DUO: Mean Fiddler Hotel Rouse Hill ARREBATO ENSEMBLE: Camelot Lounge - Marrickville BEATNIX: Castle Hill RSL - Auditorium BEN FINN DUO, JAMIE LINDSAY: Ettamogah Hotel - Rouse Hill BIG BEN TRIO: Mercantile Hotel - The Rocks BITS & PIECES: Beauford Hotel - Mayfield BLACK DIAMOND HEARTS: Rock Lily - The Star Casino - Pyrmont BNO ROCK SHOW: Mean Fiddler Hotel, Woolshed - Rouse Hill BOY AND BEAR, BALL PARK MUSIC, THE PAPER KITES: Enmore Theatre CHRIS PATON: Northies Cronulla HtlSport Bar CHRIS TURNER & THE CAVEMEN: Sandringham Hotel (afternoon) CLUB LUSH feat, MC MAYNARD, GAVYN VINCENZE, NEIL HUME, NIKKI NOUVEAU: The Polo Lounge, Taylor Sq COLD CHISEL, YOU AM I, STONEFIELD: Robert Oatley Vineyards Mudgee CROSSING RED LINES, LIMITED HEADSPACE, TAYLOR KING, PAPA PILKO & THE BIN RATS, EQUAL ARMY, DAN O’CONNEL: Valve Bar - Tempe (Early) DAVE STEVENS: Observer Htl - Early DAVID AGIUS: Castle Hill RSL DES GIBSON: Lansvale Hotel - Lansvale DESTRUCTION, MORTAL SIN, 4 ARM, KILLRAZOR: Bald Faced Stag - Leichhardt


“Backsliders have delivered their most potent album yet...”

ABC Radio

Starvation Box Tour FRI 4 NOV BRASS MONKEY CRONULLA 9544 3844 | www.brassmonkey.com.au

SAT 5 NOV VAULT 146 WINDSOR 4587 8146 | www.vault146.com.au

SAT 3 DEC THE VANGUARD NEWTOWN 9500 3666 | www.thevanguard.com.au backsliders.com.au

New album STARVATION BOX out NOW through THE DRUM MEDIA 1 NOVEMBER 2011 • 71 •


GIG GUIDE DEXTER MORPH: Lizottes, Kincumber DIRTY DEEDS - AC/DC SHOW: Oatley Hotel DOC HALLIDAY: The Belvedere Hotel Sydney DR ZOOM DUO: Cessnock Supporters Club ENDLESS SUMMER BEACH PARTY: Teagardens Hotel, Bondi Junction ENORMOUS HORNS: Tracks, Epping Hotel Epping FAKER, ROCKETS, THE PAPER SCISSORS: The Patch - Fairy Meadow GET THE PARTY STARTED-THE PINK SHOW: Halekulani Bowling Club - Budgewoi GREG LINES: Cabramatta Leagues HEATWAVE feat, KONNECTED AS 1 (K1), MIRACLE, MIKE CHAMPION, SCRAPPY ( JUSTICE CREW), KWEEN G & ANDY BORQUAYE WITH BAD EZZY, YOUNG PHAZE, JERK SYD, + more: Goodgod Small Club - City HEROES FOR HIRE, I CALL FIVES, I AM VILLAIN, SMOKIN’ MIRRORS, ATLANTIS: Oasis Youth Centre Wyong HITSEEKERS: 3 Wise Monkeys Pub - City HUMPTY DUMPTY FOUNDATION FUNDRAISER EVENT: Lizottes, Dee Why JAMES CHATBURN: Waratah Rugby Union Club - Newcastle JD’S DUO: Engadine RSL JJ DUO: Courthouse Hotel - Taylor Square JOSH MCIVOR: Sir Joseph Banks Hotel Botany KAMAKAZI COWBOYS: Orana Hotel - Blacksmiths KEEP THE FAITH - BON JOVI SHOW: Blacktown RSL - Auditorium KILL CITY CREEPS, EAST RIVER: Upstairs Beresford - Beresford Hotel KINGS OF LEON, BAND OF HORSES: Allphones Arena - Homebush KINGTIDE: Beach Rd Htl (Rex Room) Bondi KRISHNA JONES: Greengate Hotel - Killara KRISHNA JONES DUO: Quay Bar - Sydney (afternoon) LANIE LANE, FEARLESS VAMPIRE KILLERS: The Vanguard - Newtown LATE SHIFT: Wentworthville Leagues (Late)

LOONATIC FRINGE: Warners at the Bay LUCKY OCEANS: 505, 280 Cleveland St Surry Hills LUKE O’SHEA, MEDICINE WHEEL: Brass Monkey - Cronulla MACKA: Bidwell Hotel MAD SEASON: Mingara Recreation Club - Auditorium MAD SIN, THE CASINO RUMBLERS, THE CORPS, RUST: Annandale Hotel - Annandale MANDI JARRY DUO: Northies Cronulla Htl MARK DA COSTA: Scruffy Murphy’s - City MARK TRAVERS: PJ Gallaghers Drummoyne MATT JONES: Novotel - Brewery Bar, Olympic Park MICHAEL MCGLYNN: Mean Fiddler Hotel, Sub Bar - Rouse Hill MICHAEL STEWART, RESIDENT DJs: Jacksons on George Sydney MIKE MATHIESON, CHRIS ALEXANDER: Manly Leagues MOONLIGHT DRIVE: Exchange Hotel - Newcastle MOTO SOUL: Marrickville Bowling Club NEW NAVY, FLUME, FUTURE CLASSIC DJs: Oxford Art Factory, Live Art Space NICKELBACK SHOW: Colyton Htl OMG!: The Stag & Hunter Hotel PEACHY: Bayview Tavern - Gladesville PENNY IKINGER BAND, THE DEAD MARINES: Capitol Square Hotel Haymarket PETA EVANS TAYLOR: The Mark Hotel - Newcastle PETE GELZINNIS: Windsor Castle Hotel Newcastle PETE MURRAY, BUSBY MAROU, M. JACK BEE: Hornsby RSL PHASE III: Belmont 16’s PHYSICAL GRAFFITI: Empire Hotel - Annandale PINUP KITTENS: Great Northern Hotel Newcastle RAPTURE: PJ’s Irish Pub Parramatta REASONS 2B CHEERFUL: Coogee Bay Hotel - Beach Bar RENEE PRICE: Charlestown Bowling Club ROAD CREW: Beach Palace Hotel Coogee RUBICON: Belmore Hotel - Newcastle SAM & JAMIE BAND: Crows Nest Hotel (late)

• 72 • THE DRUM MEDIA 1 NOVEMBER 2011

1 - 7 NOVEMBER 2011 gigs@drummedia.com.au

LANIE LANE

GIG OF THE WEEK

Not quite rockabilly lovely lady Lanie Lane has a big week, playing a whopping four nights to finish up her national tour for the release of her debut album, To The Horses. She’s at The Vanguard on Wednesday, Thursday, Friday and Saturday, along with The Fearless Vampire Killers and Miss Little. All shows but the first are sold out.

SFX feat., TENPENNY TOWERS, HOWLER, MUNG, ASTEROIDS: St James Hotel - Sydney SHARRON BOWMAN: Brewhouse Pub Marayong SIMA feat, THE DILWORTHS: The Sound Lounge Seymour Centre SINGLED OUT: Marlborough Hotel Newtown SMELLS LIKE 90s: Penrith RSL, Castle Lounge SONGS ON STAGE feat., RUSSELL NEAL, + GUESTS: Terrey Hills Tavern Terrey Hills SOUNDSTREAM: Brighton RSL SPECIAL PATROL GROUP, THE ANTIBODIES, THE MILKMAIDS, HELPFUL KITCHEN GODS: Gladstone Hotel - Chippendale STEVE TONGE: Observer Htl - Afternoon STORMCELLAR: Jannali Inn TALL POP SYNDROME: Macarthur Tavern Campbelltown THE BACKSLIDERS: The Vault - Windsor THE BEST OF BLUES feat, RAY BEADLE

BAND, MAL EASTICK BAND, JIM CONWAYS BIG WHEEL, ALL-STAR JAM: Notes Live - Enmore THE CROOKED FIDDLE BAND, THE BARONS OF TANG, KIRA PURU & THE BRUISE: Cambridge Hotel - Newcastle THE CROOKED FIDDLE BAND, THE BARONS OF TANG, KIRA PURU & THE BRUISE: The Factory Theatre THE GOYLES: Imperial Htl, Bowral THE LAST WALTZ TRIBUTE SHOW: Lizottes, Newcastle THE NEVER EVER, NINE SONS OF DAN, THE MONSTER GOES RAWRR: The Lair @ The Metro THE RUMJACKS, THE BENNIES, BEING AMAZING, WIL WAGNER: Town Hall Hotel - Newtown THE WAVES: Harbord Beach Hotel Harbord TOM T DUO: Opera Bar - Circular Quay TONY WILLIAMS: Kirribilli Hotel - Kirribilli TOTALLY GA GA - AUST.

LADY GAGA SHOW, CHARTBUSTERS: Bull & Bush - Baulkham Hills TRISTEN BIRD, ESTHER LAMB, MIKE ANTONIOU: The Front - Canberra, ACT WHAM! feat., SHIVERS (ACT YO AGE), JAMES TAYLOR, TELEFUNKEN, MATTTT, TRENT RACKUS, BRENDEN FING, JOHNNY RAD, FOUNDATION: World Bar Kings X WILDCATZ: Campbelltown Catholic Club WITCH HATS, LOST ANIMAL, CIRCLE PIT, KIRIN J CALIHAN: The Gaelic - Surry Hills YUM: Penrith Gaels - Kingswood ZOLTAN: Malabar RSL

SUN 06

ANTOINE: O’Malleys Kings X BLUES SUNDAY feat., MARK HOPPER: Artichoke Café Manly BOB LOUIS DUO: Oatley Hotel (afternoon) - Oatley CHRIS TURNER & THE CAVEMEN:

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Bald Rock Hotel - Rozelle CRAIG THOMMO: 3 Swallows Hotel - Bankstown DAN ACFIELD, FRONZ ARP, LUKE CLELAND: Lansdowne Hotel Broadway DAVE WHITE DUO: Northies Cronulla Htl DAVID AGIUS: Harbord Beach Hotel Harbord DEXTER MORPHP: Lizottes, Dee Why DJ JAMIN (THE TRIP), THE LIVE COLLECTIVE, + WEEKLY GUESTS: Beach Rd Htl (Camera Club) Bondi DUNHILL BLUES: Sandringham Hotel (afternoon) DUST feat, JAMES TAYLOR, ALLEY OOP: World Bar Kings X DYNAMITE: Beauford Hotel - Mayfield EAT NOISE feat, BREAKING ORBIT, AURAL WINDOW, THE KHYBER BELT, GEMININE, + MORE: Annandale Htl (afternoon) ELEVATION - U2 ACOUSTIC: Orient Hotel - The Rocks ENDLESS SUMMER BEACH PARTY: Towradgi Beach Htl

GEMMA: Empire Bay Tavern Empire Bay, Central Coast GLEN BAIN: Hurstville RSL Club GOOD COMPANY: Duke of Wellington Hotel HEATH BURDELL, WHITE BROS: Ettamogah Htl - Afternoon HEROES FOR HIRE, I CALL FIVES, I AM VILLAIN, HIGHWAYS, AS ROCKETS FALL: Bald Faced Stag - Leichhardt HORNET: The Mark Hotel - Newcastle JAMES CHATBURN: Warners at the Bay JAZZY JESS: Charlestown Bowling Club JOHN LEIGH CALDER, TOM DONALD: The Clarendon Hotel Surry Hills JP TRIO: Mean Fiddler Hotel, Sub Bar - Rouse Hill JUS GORDON: Kincumber Hotel - Kincumber, Central Coast KERRIE GARSIDE: Toukley RSL - Toukley KIKUYU, JUGU, ANNA CHASE: The Vanguard - Newtown KRISHNA JONES: Parramatta Leagues Firehouse LEIGH BARKER & THE NEW SHIEKS, COPE STREET PARADE: Camelot Lounge - Marrickville LOVE THAT HAT: Windsor Castle Hotel Newcastle LUCKY STARR, CRAIG MORRISON: Cabravale Diggers Canley Vale MAD SIN, THE CASINO RUMBLERS, THE RUMJACKS, MONSTER A GO GO: Cambridge Hotel Newcastle MARK DA COSTA, DAN SPILLANE: Coogee Bay Hotel Beach Bar MARTYS PLACE: Gymea Bay Hotel MIKE BENNETT: Observer Htl MIKE MATHIESON, CHRIS ALEXANDER: Bankstown Sports Club MOJO JUJU: Lizottes, Newcastle PAUL GREENE, CHRISTIE LAMB: Campbelltown Catholic Club PETE MURRAY, BUSBY MAROU, M. JACK BEE: Mingara Recreation Club - Auditorium PETER NORTHCOTE, BERNIE SEGEDIN: Bridge Hotel - Rozelle POSTCARDS DUO: Mean Fiddler Hotel Rouse Hill

PUTA MADRE BROTHERS: Great Northern Hotel Newcastle RECKLESS: Northies Cronulla HtlSport Bar REMOSK, PRESZENCE, WE’RE NO ANGELS, RICHARD LAWSON, SOFT ENERJI & MOONPERLE, ANBIS, FRONZ ARP, + more: Valve Bar - Tempe (Afternoon) ROB HENRY, CAMBO: Observer Htl - Afternoon ROCKERS RIDE AFTER PARTY feat, MALPRACTICE, THE DREY ROLLAN BAND, THE CRIMPLENES, BRIAN: Jets Sports Club, Tempe SHANE MACKENZIE: Cohibar - Darling Harbour SONGS ON STAGE feat., RUSSELL NEAL, + GUESTS: Coach & Horses Hotel, Randwick SONGWRITERS & OPEN MIC NIGHT, JESS MCALISTER, CAROLYN WOODORTH, + GUESTS: Avalon Beach RSL SPENCERAY: The Belvedere Hotel Sydney STEPHEN R CHENEY, DAN BEAZLEY: Belmont 16’s STEVE PASSFIELD & THE HAND PICKED BAND: Penrith RSL, Castle Lounge THE 4 HIGHWAYMEN: Brass Monkey - Cronulla THE BLUES RATTLERS: Exchange Hotel - Newcastle THE PIGS: Empire Hotel - Annandale THE ROAD RUNNERS: Town & Country, St Peters THE SLOWDOWNS: The Hive Bar, Erskineville TRISTEN BIRD, ESTHER LAMB, MIKE ANTONIOU: Mars Hill Café - Parramatta WELLSY: Royal Federal Hotel WILDCATZ: 3 Wise Monkeys Pub - City

MON 07

20TH CENTURY DOG: 505, 280 Cleveland St Surry Hills BERNIE: Observer Htl DINKI DI ACOUSTIC, YOGATONES, STEVE HUSSBAND, + FRIENDS: The Hive Bar, Erskineville SONGS ON STAGE feat., SENANI, THE PUG, RUSSELL NEAL, + GUESTS: Kellys on King - Newtown TRISTEN BIRD, MIKE ANTONIOU: Hotel Gearin - Katoomba


& present

www.iconmusic.com.au

IN-STORE SIGNING

Featuring celebrated ESP endorsee and band driving-force Alexi Laiho, along with fellow ESP users rhythm guitarist Roope Latvala and bassist Henkka Blacksmith, this in-store appearance by the whole band is not to be missed!

Friday 11 November 5.30

pm

Icon Music 3 Chatham Rd West Ryde For more info contact the store on 02 9809 6700 With ESP Hardcase

$3199 SAVE $1900

Made in JAPAN

ESP Alexi Scythe

$1399 SAVE $900

With ESP Hardcase

$5289 SAVE $3710

Made in JAPAN

ESP Alexi Custom USA Model

$788 SAVE $311

ESP LTD Alexi 600 Scythe ESP LTD Alexi 200 BLK

With ESP Hardcase

$3199 SAVE $1900

Made in JAPAN

ESP Alexi Katakana

$1399 SAVE $900

ESP LTD Alexi 600 Blacky THE DRUM MEDIA 1 NOVEMBER 2011 • 73 •


BROUGHT TO YOU BY

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

IN SESSION WITH MARK OPITZ In conjunction with Studios 301, Allans Music + Billy Hyde present an evening in session with one of Australia’s most respected producers, double ARIA Award winner Mark Opitz, whose CV includes working with INXS, Divinyls, Cold Chisel, Lenny Kravitz, AC/ DC and KISS among many, from 6pm Thursday at the Camperdown store. Opitz will share his knowledge and tips on how to get the most out of your home recording setup, and there’s even an SE220A microphone valued at $329 up for grabs. As always, there are limited places, so while the session is free, it’s best to book a place by calling (02) 9557 7500. This event is a preview of a weekend-long Production Masterclass Opitz will be presenting 10am-7pm Saturday 26 and Sunday 27 at Studios 301 in Alexandria, details of and bookings for which can be made by calling (02) 9698 5888 or emailing adam@studios301.com.

DEAN BUTTERWORTH CLINIC Drummers Dream is taking over Canterbury Leagues Club from 7.30pm Monday so that Good Charlotte drummer Dean Butterworth can give you the inside on his playing technique. As well as drums, Butterworth is a singer, guitarist, pianist and composer, and has also played with Ben Harper in Innocent Criminals and backed up Morrissey, so he’s got plenty of tales to tell. Tickets are $15, bookings on (02) 9787 4177 or the Drummers Dream website.

CHILDREN OF BODOM INSTORE ESP Guitars, now based in North Hollywood, California, but which began life in Tokyo providing custom replacement part for guitars that eventually attracted the likes of Page Hamilton, Vernon Reid and Ronnie Wood, presents an exclusive in-store signing featuring celebrated ESP endorsee and band driving force Alexi Laiho, along with fellow ESP users rhythm guitarist Roope Latvala and bassist Hennka Blacksmith from Children Of Bodom 5.30pm Friday 11 November at Icon Music in West Ryde. The boys will not be performing; rather, they’re meeting, greeting and signing, and will be more than happy to chat about the Alexi signature guitars, a huge range of which is currently in store and on which Icon is offering substantial discounts. To book a place, check into the Icon Music website.

ABBEY ROAD TURNS 80 London’s Abbey Road Studios is probably the bestknown recording facility in the world, and November sees it celebrating 80 years since it was first opened as it always has – by continuing to be deeply involved in the creation of the best music possible. Among other things, the EMI Abbey Road recording of Rossini’s Stabat Mater, conducted by Antonio Pappano, has received the Editors Choice gong at this year’s Gramophone Classical Music Awards; Paul McCartney’s first original orchestral score for dance, Ocean’s Kingdom, was mixed and mastered there, and Ed Sheeren’s UK chart-topping album, +, was mastered there by Christian Wright.

SOUND BYTES Colorado-based melodic death metal monsters Allegaeon are heading into Lambesis Studios in San Diego in December to record their second album with producer Daniel Castleman (As I Lay Dying, Carnifex, Molotov Solution). Fabels, the new band for Ben Aylward, who readers will recall from the ‘90s band Swirl, recorded their debut, EP #1, at The Brain Studios in Sydney with producer Geir Brillion, taking it over to Studio Om, which is in his house in Lewisham, to mix it. Liz Stringer has been recording at Audrey Studios in Melbourne with the facility’s owner, Craig Pilkington, producing, the as yet unnamed album (working title Biscuit Box, so named it seems by collaborator guitarist Van Walker because the contents just kept constantly changing) showcasing her guitar work much more this time. Walker and Stringer have another project too called The Livingston Daisies, which has recorded a power pop record. Sydney-based Southern stoner grunge band Birdmouth recorded their album in Auckland, New Zealand with Garry Schellhorn, who also mixed it before it was sent to Dav Byrne (Agonhymn, Ex Terrorust, Cement Pig) in Melbourne for mastering. Simon Kelly recorded the bulk of his latest album, New Horizons, at Ampersonic Studios in WA, with Ben Morris mixing and some additional recording at the nearby Salomon Studios, while Alan Brey mastered all but one track at Liftoff! in Tokyo, that last track mastered at Abbey Road. • 74 • THE DRUM MEDIA 1 NOVEMBER 2011

ON THE RIGHT STREET

HERTFORDSHIRE, UK THREE-PIECE THE SUBWAYS KICKED OFF THEIR CAREER COURTESY RECORDINGS MADE IN THE GUITARIST’S LOUNGE ROOM. THREE HIGH PROFILE PRODUCERS ON, THEY TALK TO MICHAEL SMITH ABOUT NEW ALBUM, MONEY AND CELEBRITY.

B

ased in Welwyn Garden City in Hertfordshire, about 32 kilometres north of London’s Kings Cross, three-piece The Subways – guitarist Billy Lunn, bass player Charlotte Cooper and drummer Josh Morgan – started out like most bands, recording demos in Lunn’s lounge room. Things got interesting though when Lunn started recording other bands and one told him they were sending a demo off to the guy who runs Glastonbury. So Lunn sent a demo off and, as luck would have it, they won a spot on the 2004 festival. What’s even more impressive, however, is that they followed that up in 2005 with a debut album, Young For Eternity, recorded at Elevator Studios in Liverpool and produced by Lightning Seeds frontman Ian Broudie, while they got themselves to Conway Studios in Los Angeles to record their second album, 2008’s All Or Nothing, with producer Butch Vig. Another high profile veteran producer, Stephen Street, did the business on their latest album, the just released Money And Celebrity, recorded in Sofa Sound in Acton, West London. “We’ve been so lucky,” Lunn laughs. “We’ve always had our first choice of producer which, for someone who wakes up in the morning and still thinks, ‘Wow, I’m actually in a rock band, this is so cool,’ and then you get someone like Ian Broudie; then you get someone like Butch Vig and then you get someone like Stephen Street, it’s just absolutely bonkers. I guess they just really liked the demos and we like to pick people that we feel that we can get on with and luckily all these genius producers are so easy to get on with and really nice, which allows us to feel comfortable in a studio.

of the guitar solos from the demos because they had such a rough energy to them, a few of the vocal parts, and Stephen actually asked, ‘So, what microphone did you use to record this?’ [laughs] ‘Oh, just this crappy hundred pound microphone that I got at the local music shop.’ So the songs still have some of that raw demo quality to them.” The Subways have always really been about performing live, so it’s obviously always been important to capture as much of that live sound and energy as possible.

“With Ian, especially for our first record, it’s just straight in the speakers, just so brash and kind of rock’n’roll. Butch was just an absolute genius and what he did was allow us to perform the tracks and it was such a relaxed process. With this third record, what Stephen brought was me forward actually in the producing world. He knew that I like recording, I like desks, I like talking about microphones and so he’d position the microphone and go, ‘Bill, come in and see if this is okay?’ [laughs] And I’m thinking, ‘You’re Stephen Street! You know exactly what you’re doing, you don’t need to ask me!” While they may have gone into a big studio to cut Money And Celebrity, it turns out the album includes substantial chunks of the home demos the band originally made. “Absolutely,” Lunn admits. “We spent all of last year actually writing and demoing the songs for the album and we chucked away about sixty songs during the process, ‘cause over the weekend I’d write maybe three or four songs, and then on the Tuesday in rehearsals I’d present the songs and maybe we’d pick three out of four that would work. On the Wednesday we’d record the songs on ProTools, on Thursday I’d mix them and then send them off to our manager, and by about halfway through the process we realised that the demos were actually sounding really good and recorded quite well. “So when I presented the demos to Stephen, he said the demos were pretty much there, all we need to do is tweak tiny little bits here and there, change a lyric, change a little bit of a melody. We ended up using some

“When I was writing the songs, that was always in the back of my head. Whenever I present a new idea to Charlotte and Josh in rehearsal studios, we’re always saying, ‘How is this going to come across live?’ That’s really why I think we came out with twelve threeminute rock songs; there’s not a single acoustic track on there, not a single ballad. And quite a lot, during the writing process, we’d play a few shows and we’d test out some of the new numbers and after the show we’d go, ‘Wow, it lost it a bit in this little bit of the song – what can do here to maybe change the structure or change something about it so that it builds or doesn’t lack where we think it’s lacking?’” Considering Lunn has effectively been a producer since the earliest days of the band, you’d have to wonder why he’s opted to hand over the job to someone else, even if that someone else is a Broudie, Vig or Street. “I’d love to produce myself,” he admits, “but with a producer, I think they present something different; they sort of steer the record. Being so involved in the process, in the songwriting and the orchestration and actually singing and playing guitar, you can get quite lost inside the song and you need someone outside to say, ‘Right, okay, there’s something wrong here, this isn’t quite working…’ You do still need that sort of outside element that a producer presents, especially someone like Stephen Street. You can totally trust someone like him because he’s made these fantastic records with The Smiths and Blur and Kaiser Chiefs and The Cranberries.” Money & Celebrity is out now on Warner Music.

STUDIOS 301

Tim Carr, producer

What’s the studio set up you have there equipment-wise?

knowledge base that we all draw from, and hosting as many external engineers both local and international is what makes places like 301 constantly evolve.

Studio 1 houses a Neve 88R console. Studio 2 houses an SSL 9000K series console. Studio 6 houses a Neve 8816 summing amp. KRK, Genelec, Yamaha, Auratone, Tannoy, Orpheus and a cornucopia of monitors are also available to all studios. All studios have access to a very well collected armoury of boutique, classic and modern outboard gear and microphones.

Is the studio capable of holding a full band at once for recording? There are two main studios that can each house a full band with isolated booths. Studio 1 is capable of housing a 90-piece orchestra as well as a full band, and Studio 2 has a large main room with 4 booths. Studio 6 is primarily a mix and overdub suite, not so much a full live band room, in a recording sense, but a large space that a whole band could hang out in.

Any tips for artists entering a studio for the first time? Be well rehearsed and prepared with your ideas and performances. Talk to your engineer or producer about the best gear for the job, demo and pre pro your material, trust in the professionals you are paying to capture your art. Don’t be afraid to express your concepts prior and ask as many questions as you feel necessary. Which notable artists have worked at the studio? Kanye West, Lady GaGa, Powderfinger, Coldplay, Muse, U2, INXS, Snoop, Jay-Z, Black Eyed Peas, Mark Ronson, Cold Chisel – to name a few. Who do you have on staff and what’s their background in the industry? Steve Crane – head engineer and technical wizard. Has worked in some of the world’s biggest studios and designed and worked on some of the biggest selling Neve products to date. Mike Morgan – platinum selling mix engineer and accomplished producer and talented musician, trained in audio engineering and spent nine years at 301. Simon Todkill – producer/engineer, trained in audio engineering and previously working at Electric Avenue studios, now four years at 301. Stevie is one of the most respected and skilled Australian

studio boffins, steering indie music into the 22nd century.

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

Simon “Ice Cold” Cohen – the go-to guy for Australian hip hop, trained in audio engineering, previously ran East St studios in Five Dock.

Absolutely!

Lastly, myself. I have trained in audio engineering and music production. I have been in and out of 301 over the last nine years, often wandering to find remote and interesting recording locations to augment the studio work I have captured. Analogue vs digital – discuss. Some people have very strong opinions on why analogue is better, some have stronger opinions on why it’s redundant. I like to think of them as two dishes and sometimes either dish might not agree with the palate of he who is attempting to digest. Both formats require an experienced and interested party to properly deliver a professional product, and a great song is bigger than the format it’s captured or played back on. Can bands bring in their own engineer or do they have to solely use a house engineer? Artists are welcome to use the facilities in any manner they see fit. Other engineers are part of a collective

twitter.com/drummedia

Do you have any in-house instruments at the studio acts can use, or is it totally BYO? There is a lot of gear around that bands and artists are welcome to use – stacks of amps, guitars, keys, vintage organs, percussion etc. What’s the access to the studio like with regards to parking, flat load, etc? Client parking and flat load in, with access points to all areas and separate studios. Working in the studio can be arduous and we’ll need a break – what are the amenities in the local area? At the studio we have a courtyard, three bedroom apartment, table tennis and foosball! Alexandria has many fine cafes and restaurants, and like most of Sydney, a pub on every second corner. What are your contact details? studios301.com; (02) 9698 5888; timc@studios301.com


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EMPLOYMENT

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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

MANAGEMENT Manager wanted - Earn 100% commission 1st 6mths -Help book live performance gigs, update Social Media sites, business deals, etc. Contact: Louie 0409 749 906 iFlogID: 15467

Trace Elliot acoustic amp. Use with guitar or any other acoustic instrument. Two channels including cannon socket for a mic. Various preset effects for reverb and or delay. As new. $850. Call 0466 699 094. iFlogID: 16119

BASS YAMAHA 6 STRING BASS GUITAR YAMAHA TRB 1006 with professional case.......$1700 0416 845 701.......sydneybass@yahoo.com iFlogID: 16196

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CD / DVD HEAVY ALTERNATIVE BAND ALPHA DEGENERATE NEED BASS PLAYER, WILL HAVEN, MARK OF CAIN, UNSANE, SHELLAC, BREACH. GIGS WAITING. PRE-PRODUCTION SONGS AVAILABLE TO LISTEN TO AT www.soundcloud. com/alpha-degenerate CALL MATT 0422796666 OR EMAIL alpha.degenerate@gmail.com iFlogID: 16165 LEAD VOCALIST WANTED, 70’S TO 80’S FOR GLAM/HARD ROCK STYLE, MANY ORIGINALS WRITTEN, IF INTERESTED CALL 0425365408 MAQK iFlogID: 16187 Manager wanted for established artist, industry experience preferred. Brisbane based but looking for the right one Australia wide. Ph: Justin 0467448963 info@earthgoat.com www.earthgoat.com iFlogID: 15871

SOUND GUY EXPERIENCED SOUND GUY WANTED for REGULAR FRIDAY and SATURDAY NITE WORK at NEW CITY ORGINAL VENUE. jacksongigs@gmail.com - 02 9456 3124 iFlogID: 15264 WAVELENGTH RECORDING. $350/day (BYOE) $550/day (Eng inc). Best Value for money. Guaranteed international quality. SSL console. Acoustically acurate mixing and recording. Freelance Engineers & Producers welcome. Free Assistance. Ph 0404066645 iFlogID: 15602

EDUCATION & TRAINING MUSIC TEACHERS URGENTLY REQUIRED Guitar, Bass, Banjo & Flute teachers URGENTLY required for immediate start. For interview phone: 9585 0037 iFlogID: 16127

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

DRUMS DRUM KIT WANTED or cymbals, snares etc. Also interested in anything vintage. Ph 0419760940 iFlogID: 13232 Zildjian K crash cymbals. 18” K Dark thin brand new in plastic bag, $290. 16” K Dark thin brand new in plastic bag, $275. Ph 0419760940 iFlogID: 15332

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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. 0414355763. iFlogID: 13264

Christmas Mastering Special... giving your music the gift of sonic perfection. .>.We’re giving away 8 sessions for December and 8 sessions for January at a never to be repeated price... Album $400 EP - $200 Single - $50 .>.Your music will pass delicately through over $50,000 worth of the best valve and solid state outboard equipment on earth, plus be heard through a monitoring system worth double this amount, and more importantly, will be... .>.Utilising a skilled engineer working with numerous Indie and Major Record Labels, including EMI Music and Liquid US, with credits for major artists such as FAKER, Papa Vs Pretty & Melody Black. .>.This is a complete package price, including a Master Red-Book CD, Master DDP DVD, Master Listening Copies and a high resolution project archive. .>.Plus, you are more than welcome to attend the mastering session! .>.Terms; -book before November 30; for sessions in December or January. - 20% deposit required on booking. - Spaces are limited to 8 sessions per month at this special rate. .Contact; info@the-butler.com/ 0403 435 686 / www.the-butler.com iFlogID: 16081

LINE - 6 POD VERSION 2.

QUALITY PA HIRE with friendly, experienced operator. Vocal systems to full band rigs. All with lighting and at great rates. Corporate entertainment specialist. Graham 0418 423 463 platonic@bigpond.com iFlogID: 14573 Sound Hire. Systems to suit your needs for parties ,bands,ipod to full band systems let me look after your event from $65 pickup or delivered and setup Neville 0413802337 iFlogID: 14518

From Simple Pub Systems to Large Clubs and Functions, we have the Best Gear at the Best Prices in Sydney. All Systems with Experienced and Friendly Operators. 9456 3124 sydneyhire@gmail.com iFlogID: 15472 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 - PHOTOGRAPHER Affordable Sydney based professional photographer. Band and solo promo shots for print/cd/ online use. Contact Kat 0431 166 774 mynameiskaterina@gmail.com iFlogID: 15706 Band photographer available for Sydney bands looking to stand out and impress! I am an independent and experienced photographer who has a passion for photography and music. Can help with promotional, artistic or live shots. Contact sydneyrockphotography@gmail.com for more info! iFlogID: 15867

GUS MUNOZ PHOTOGRAPHY

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Specialising in Music Photography. 100% Guaranteed Fixed Price. No Hidden Fees. Studio or Location, Live Gigs, Posters, CD Covers Unlimited Hi-Res Images on a Disc Full Info: www.gusmunozphotography. com email: guspo1@netspace.net.au Mobile: 0415617346 iFlogID: 15919

OTHER PRODUCERS OF ‘DARK ROOM’ ARE LOOKING FOR INVESTORS TO HELP FUND THE FILM. FOR $50 YOU GET TO APPEAR AS A PHOTO VICTIM AND YOUR NAME IN THE CREDITS EMAIL darphi@tpg.com.au iFlogID: 15988 Slam Poets needed for Rock & Writers gig at the Sando! Consumptive fops and lovesick swains also welcome. Call Charles 0407 286 391 iFlogID: 16055

SOUND & MUSIC RemmosK @ The Wall - Bald Faced Stag Hotel - Leichhardt - 17-11-11 iFlogID: 16202 RemmosK live @ the Valve Bar - Tempe - 06-11-11. For lovers of pure unashamed rock, be sure to catch this gig for full bragging rights. iFlogID: 16061

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FOR SALE

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PEAVEY BANDIT 80WATT 12” GUITAR COMBO 2 channel.footswitchable.great fat tone. reverb/saturation etc.USA made.VGC.$350. Ph.0428744963. Cooroy iFlogID: 13019

BIEMA W1 10 11 AMPLIFIER Biema w1 10 11 amplifier with speakers and cables iFlogID: 15858 For sale: GALLIEN-KRUEGER 400RB MARK IV Bass Head. Good Condition, barely used. $450 or nearest offer. Ph Jaimey 0430641158. Parramatta area. iFlogID: 16182 Peavey MKII Bass amplifier 600 watt. Good condition, great sound and loud. $390 no offers. 97590970 iFlogID: 16070

CD MANUFACTURING:Acme is Australias best price CD manufacturer. 500 CD package = $765.05: 1000 CD package = $1320.00 Short run also available. www.AcmeMusic. com.au KevinW@AcmeMusic.com.au iFlogID: 13117 Metaverse Music offers online song mixing/ mastering to musicians needing their songs professionally mixed/mastered.Mark offers great sounding recordings,great rates and friendly service.more info visit www. metaversemusic.co.uk . say Sam sent you. iFlogID: 16137

HIRE SERVICES

Are you an emerging unsigned independent artist? Free tips, you-tubes and workshops (f2f or skype) on band/ artist planning and all things indie. Get the edge. Sort out where you wanna go and how you’re gunna get there. www. crazybandplans.com iFlogID: 15800 Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact info@bizwebsites.com.au or see www. bizwebsites.com.au. iFlogID: 15452 Music publicity. Do you want to get noticed? Affordable exposure for your band by someone that actually cares! www.perfectlywrite.com. au Drop me a line! iFlogID: 15737

MUSICSTAGE.COM BENCHMARK STUDIO’S giving away free studio time to the winners of the WWW.MUSICSTAGE.COM competition. Upload your profile and a video of you or your band playing original music and your in the running to record your song with renowned producers. iFlogID: 16141

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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.seancarey.com.au. Ph: 0424923888. iFlogID: 15612 Want to be a recording artist? We’re looking for singers/songwriters for recording & development. Contact studio@musicentourage.com or 02 4013 1977 iFlogID: 14616 Want to know what it takes to record a song? Book in an obligation free Q&A session in our recording studio at Five Dock. Visit www. musicentourage.com or email hookmeup@ musicentourage.com iFlogID: 14478 Written a song but don’t know where to go from here? Get your songs professionally produced, mixed & mastered to an ARIA quality at affordable rates. Visit www.musicentourage. com or email hookmeup@musicentourage. com iFlogID: 14476

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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, air-conditioned 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

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Spring Clean your Songbook! Get those dusty old songs you wrote in winter out of your head and onto CD or start some new ones! I can come to your rehearsal space, home, church, school, wherever you are creative. Call 0438382873 Send me a message with ideas - I can work with any budget or project scale iFlogID: 15942

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TUITION 5 STRING BANJO TUITION Up-Picking (Pete Seeger Style) and 3 Finger Picking (Scruggs Style). tel. John 0431953178 iFlogID: 16006

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Cubase and Nuendo tuition $25/hr Darlinghurst area. Ph. 0416117743. iFlogID: 15735 DRUM TUITION. Drum Tuitiojn in Stanmore with a Billy Hyde trained teacher. Dip Ed, Dip Drums. All levels and all styles taught. Beginner Welcome! Call Lee 0403307796. www. lee-carey.com iFlogID: 15519 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

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Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area. $40 hr, $30 half hr. Mature & patient. Harps for hire. Ph: 02 98905578 iFlogID: 15158 Paramount Guitar Tuition. Learn to play the guitar. Or learn to compose &/ or improvise on guitar. Most importantly, learn at your own pace, no pressure! Classical & other styles. 0402 630 243 www.pgtonline.net pgtonline@hotmail.com Parramatta area iFlogID: 15320

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RemmosK @ The Wall - Bald Faced Stag Hotel - Leichhardt - 17-11-11 iFlogID: 16204 iFlogID: 13555

SONG FINALISING for bands and singer songwriters. To get a record deal or played on the radio or before recording; you want your songs to have maximum impact to give you maximum career success. Working with you at your rehearsals or home; I focus on : lyrics, structure, form. Phone Carl on 0424 176 699 iFlogID: 15191

A sound treated Analog Studio(half inch tape) equipped with Tube Compressors, Mikes, Amps, Vintage Instruments and Pro Tools friendly. Rates start at $50 per song 0416824147 iFlogID: 15845

Singing Lessons That >>>>>>>>>>ROCK<<<<<<<<<< Your voice has the ability to sing at the Audioslave/ Muse/ Aretha/ Yeah-Yeah-Yeahs level because of Design. Increase your range and sing with effortless power by learning to sing the right technique from the very first lesson. Microphone technique, recording techniques, songwriting how to start a band Newtown 0405-044-513 iFlogID: 15685

For as low as $100, you get a professional sound/pa mixer system with operator for the evening. Suitable for weddings, pub/clubs band gigs, private parties etc. Infovision@yayabings. com.au. Contact Chris 0419272196 iFlogID: 15173

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SINGING LESSONS Voice science is out there to help improve your singing quickly. One on one lessons in hi tech multi award winning studio with fully qualified singing and performance expert. First assessment FREE. Beginners and professionals. I will help you find your voice. www.avic.com. au studio - 9588 2184 mob - 0414 453 066 Stephen Baker MRA iFlogID: 15629

SLIDE GUITAR TUITION All styles from Duane Allman and Ben Harper to Blind Willie Johnson and Son House. www. acousticfingerpicking.com tel. John 0431953178 iFlogID: 16002

VOCAL TUITION for students having problems with pitch, placement and breathing. tel. John 0431953178 iFlogID: 16004

VIDEO / PRODUCTION Be part of RemmosK’s video shoot @ the Valve Bar, Tempe - 06-11-11 iFlogID: 16063 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

Percussionist is looking for band. Any style. Professional gear and attitude. Call 0415475206 or email: plevy_@hotmail.com iFlogID: 15971

PROFESSIONAL DRUMMER AVAILABLE Hard-hitting professional rock drummer seeks Dedicated, serious, professional band. I am based in the Southern Highlands - just over an hour from Sydney and a bit longer to Canberra. I have my own transport, so traveling is not an issue. I have top quality gear; a Gretsch acoustic kit with Rude cymbals and a top-of-the-range Roland electronic kit. This combination allows me to play in any venue, no matter the volume threshold, without sacrificing a good drum sound. Gigs upcoming or in the near future a must. Enquiries call James 0405 477 425 Please, no time wasters. iFlogID: 16212 Professional mature-age Drummer/Vocals/ reads/back acts/shows - all styles including jazz - available for casual work. phone:(02) 98073137 eMail: nadipa1@yahoo.com.au iFlogID: 13285 TOP INTERNATIONAL DRUMMER available, great backing vocals, harmonica player and percussionist. Gigs, tours and recording always desired. www.reubenalexander.net iFlogID: 14261

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 Syd based Guitarist, 24, have heaps of gear... looking to start jamming with others who are interested in taking it seriously.... Influences, bb king, gaslight anthem, springsteen... Call Grant, 0416511409 iFlogID: 15130

MUSIC VIDEO PRODUCTION

OTHER We are a friendly jazz band playing music to any style for romantic situations, weddings, anniversaries, small cozy clubs - very affordable. contact Chris 0419 272 196 ventura@yayabings.com.au iFlogID: 15177

SINGER

Creating professional music videos to help you boost exposure and broadcast your song via YouTube, Facebook and TV. We can scale any production to meet both your needs and your budget so visit us at www.popfilms.com. au or email paul@popfilms.com.au or call 0412 222 111 iFlogID: 15774 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

Attractive 25 year old female singer (trained) searching for covers band to either join or create. Prefer pop, country, modern funk, reggae beats contact me on pebblesandbam@ hushmail.me iFlogID: 15826

FEMALE SINGER Female singer for working bands, duo’s etc. 60’s to 80’s music. I also play keyboard. Loads of live performance experience and have own transport. Please call Steph 0403250560 iFlogID: 15980

Pro Bass player requires work. mature age, huge repertoire. Experienced in most types of music. Best equipment. Also play Double Bass. Ken 97590970 Mob. 0434475785 iFlogID: 15932 SINGER /HARP PLAYER NEEDED FOR DR FEELGOOD TRIBUTE BAND [A LEE BRILLO[ SO IF YOU GOT THE GOODS THE BAND KICKS TONS OF LIVE EXPERIENCE RING OR EMAIL PETE iFlogID: 16036

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

COVERS DRUMER GREAT SOUND Solid reliable and versatile drummer looking to join a working covers band (ideally rock!) Mid 30’s - with 15+ years gigging and studio experience. Pro gear, great sound good laugh! iFlogID: 16072

EXPERIENCE MALE DRUMMER Seeks working covers band/ fill in work 60’s to 80’s looking for easy going people with a positive outlook. Age group 35 plus NO DRUGS ph Mark 0422 173 728 96628330 iFlogID: 15725

Hardcore punk band wanted for recording ASAP. 2 or 3 songs recorded FREE at SAE sydney studio’s. 0450263335 iFlogID: 16097 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 WANTED \M/ New band is currently jamming & writing a set, influences metal, punk, hardcore, power groove but open to ideas, if it sounds good and moves people. Based around Lower North Shore, Manly & City. Drop me a line Jake 0402539280 iFlogID: 16101 BASS PLAYER WANTED For all original pop/rock band. I’m looking for someone with a reliable, dedicated attitude. Not necessarily Stanley Clark.Phone Paul on (0404) 283273 or email: promacca@gmail.com iFlogID: 16131

BASS PLAYER WANTED for original funk/pop band influences from Prince to RHCP, Stevie Wonder to Matchbox 20 Contact Robbie on 0400 177 221 iFlogID: 15582

BASS PLAYER WANTED for punky/garagey band “Ang and The Airbenders”. Check out www.myspace.com/ angandairbenders. We will be an unoriginal band that rips off better bands. We plan to go gigging soon. Email michaelcorpuzbrock@ hotmail.com iFlogID: 15833

BASS PLAYER WANTED

Bass and Lead guitar player needed for a new agency backed Rock Covers show based in Sydney.Profesional gear, transport and attitude a must.Gigs waiting.contact Roger after 5pm.0404044808 iFlogID: 15515

BASS PLAYER WANTED Original progressive rock Sydney band. Seeking full-time bass player with own transport, professional rig, and creative input to mesh with original material. Please contact: Jim on 0405 839 989, or Tom on 0411 288 190.Email: rickopaulo@gmail.com Demo/s on request. iFlogID: 15954 Drummer wanted established 5 piece band Newcastle area. Semi Pro or pro covers + originals. Hardrock,blues,pop,rocknrol l ,metal. 2 booking agents. gigs booked album 2012 peter 4984 4731 iFlogID: 16125 DRUMMER WANTED FOR $COVER’S DRUMER WANTED FOR PARTY COVER’SBAND SHANNON 0406346239 iFlogID: 16013

HARD ROCK COVERS BAND Guitarist based in Eastern Suburbs requiring drummer, bass and rhythm guitarists, male vocalist and keyboardist for covers band. Age 18-25 preferred but not essential. Influences: Lostprophets, 12 Stones, Story of the Year, Nickelback, 3 Doors Down, Metallica, Papa Roach, Linkin Park. Being committed and passionate is highly valued. Jordan - 0439 530 276 iFlogID: 16059 Hey – looking for musicians (Bass/drums/ vocals preferable, but all are welcome) who are influenced by the ethos of bands such as Stone Roses/Joy Division/The Verve/Suede/ Nick Cave/Ride/The Doors/Jeff Buckley/The Libertines/My Bloody Valentine/Oasis/Pixies/ Radiohead/The Smiths/Spiritualized etc. Some things are more important than talent. andrewblomberg@hotmail.com/0406386566 iFlogID: 15838

MALE GUITARIST WANTED Female singer/songwriter looking for a guitarist with experience aged between 20-30 that has a passion for playing Pop/Rnb/Soul/Jazz.The right person will need to commit to rehearsing at least once a week.There will be no pay for rehearsals but hopefully the aim will be to start getting paid gigs on a regular basis.Please email me if you are interested alanaderoma101@hotmail.com iFlogID: 16123

DJ 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 iFlogID: 14052

DRUMMER 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 EXTRAORDINAIRE WANTED For a band that is creating songs with a Nick Cave feel. You must have the desire and ability to play differing styles - blues, jazz, sea shanties and rock and roll - in order to form a truly original sound. Your influences should be varied, BAD SEEDS, Sarah Blasko, Johnny Cash, Tom Waits, Dresden dolls, Age 30-40 Rehearsal inner west. MARK 0421 840 720 iFlogID: 15936 Drummer required for Low Gear. Sydney 7 piece Reggae Soul and Ska band. JUst starting to gig, working towards paying gigs for Xmas. Please contact jon@low-gear.com if interesting! iFlogID: 15459

DRUMMER WANTED FOR ORIGINAL ROCK BAND Power trio, Gigs waiting, EP on iTunes, serious but fun over fame and fortune AC/DC, Motorhead, Nashville Pussy, Supersuckers etc www.myspace.com/secondnation Call Rob 0427909835 or Marco 0410296627 iFlogID: 15897 DRUMMER WANTED For all original pop/rock band, I’m looking for someone reliable and dedicated. Not necessarily John Paul Jones, phone Paul on (0404) 283273 or email: promacca@gmail.com iFlogID: 16133

DRUMMER WANTED for original funk/pop band influences from Prince to RHCP, Stevie Wonder to Matchbox 20. Contact Robbie on 0400 177 221 iFlogID: 15584 Energetic drummer needed to form a progressive heavy rock band in Bondi area. Are you serious, determined and able to drive the rhythm section whilst still keeping a groove? Call:0414399413. iFlogID: 14934

FEMALE DRUMMER WANTED Dollar Bill (X ‘the prickles’) seeks a female drummer to play snare with brushes to form almost acoustic duo, grand ole opry style. beginner no prob. phone steve 0411528300 iFlogID: 16094

BANDS

Looking to start a band in Sydney. Contact moniimusic@hotmail.com. Max age is 30. For Pop/Electro/Indie Style. Needed guitar, bass and drums. iFlogID: 15777

Experienced drummer available for classic rock, pop and light funk covers work. Good gear and transport. Ready to get to work and have some fun! Ph: Jeremy 0414 800 255 iFlogID: 16108

PUNK BAND REC

MUSICIANS WANTED

BASS PLAYER Freelance or join band. Experienced, backingvox/some lead. Melodic rock (non-metal) R&B, reggae, blues, country. Good gear/attitude. Email 10 song audition list n’ Let’s do it! Mature age. Ralph. razza50k@gmail.com iFlogID: 16025

ok were a rockabilly lovin band with out a slap bass player we palay in the vain of johnney bunnet trio /top cats / stray cats/ reverend horton heat ect were all in our 40s with 40 years of playin betwen us we dont care how old you are as long as you play young we have our own rehersal studio add good contacts were based in the shire [dont hold that againt us] look you dont have to be lee rocker just the right attitude and you dont have to be shit hot but if you want some fun and love true rockabilly give me a ring 0419637381 peter g iFlogID: 15911

Sydney hard rock/metal outfit HARD AS NAILS is looking4 a dedicated & dynamic Bass player. H.A.N is ready2 rock w/gigs waiting & recording well under way. Think BIG & be creative if you can make this you’re own we want to hear from you! Check out tracks on facebook.com/ HardAsNailsBand & if you think you can cut it email details to hard.as.nails@hotmail.com / call Leon on 0401 887 129. iFlogID: 16022

BASS PLAYER WITH VOCALS WANTED Sydney based, agency backed, working cover band is in need of a bass player with decent vocal ability. Applicant must be easy going, reliable, professional, have good gear, own transport and able to fit into a friendly working dynamic. Best suited age range would be late 20s to early 40s. Please feel free to call. Set lists available on request. Ronnie 0422 004 260 iFlogID: 16112

DEATH METAL BASSIST NEEDED BASS PLAYER required for death metal band in the sydney area. Must have ability,a decent live rig,own transport and be 25yrs or older. Band is new to the scene but has a solid fan base, find us on facebook under Exekute (OFFICIAL). Contact the band at exekuteband@gmail.com iFlogID: 16149 Looking for bassist interested in making art rock, influenced by ethos of bands such as StoneRoses, JoyDivision, Verve, Suede, NickCave, Ride, Pixies, Radiohead Doors, Oasis, Smiths, Blur, Pulp, etc... andrewblomberg@ hotmail.com/0406386566 iFlogID: 16018

ROCK COVERS BAND A newly formed pop/rock cover band are seeking a bass player aged between 25 - 40. Good giging gear, expirence and a demo is essential. Gigs waiting. Please forward your details to uprising@hotmail.com.au Kevin 0401465318 iFlogID: 16194 Schitzophrenic+eclectic Bass-keteer with groove to Join Band or do some gigs http:// soundcloud.com/ronymunoz call Rony on 0401658007 no time wasters appreciated. iFlogID: 16053 Two pieces of sh-musicians need a bass player. Waiting to record & get started. Sounds like Tumbleweed, Custard, Magic Dirt. Rehearsing at Marrickville. Call Poncho 0414184301 iFlogID: 15419

HEAVY GROOVE DRUMMER WANTED

ROCK COVER BAND NEEDS DRUMMER A newly formed pop/rock cover band seeks drummer aged between 25 40. Good giging gear, live experience and a demo is essential. Gigs waiting! Please forward your details to uprising@hotmail.com.au iFlogID: 16191

SYDNEY BAND WANTS DRUMMER We’re looking for a permanent drummer who is steady, empathetic, groovy, and able to shuffle. We are after a dedicated musician, who can learn a fair of bit material and is willing to attend regular rehearsals. We want somebody who is more Ringo Starr than Keith Moon and is reliable as the band’s solid anchor. We play originals and covers, and we’re big fans of the Beatles, Led Zeppelin, Steely Dan, Ween, Frank Zappa, David Bowie, Black Sabbath, King Crimson, Ben Folds, Radiohead, Herbie Hancock and the Strokes, just to name a few. We’re looking for somebody in their twenties and who shares our musical vocabulary— we have been gigging regularly and is finishing an LP. Our rehearsal studio is near Parramatta. Get in touch for a chat. Email: 10046009@ uts.edu.au iFlogID: 16185 WHO ARE YOU? Are you a reliable Metal Head into Conspiracies who plays Drums or Guitar? CONTROL NEEDS YOU...Contact: 0423 350 259 iFlogID: 15071

Acoustic guitarist/singer/songwriter wanting to rehearse with other acoustic guitarist singers with intention to gig at local acoustic venues and open mic nights.Phone Paul on (0404) 283273 or email promacca@gmail.com iFlogID: 16135

ANGUS FOR THUNDERSTRUCK A Lead Guitarist playing the role of Angus is required for one of Sydney’s premier AC/DC Tribute bands. Thunderstruck has been around for about 10yrs. A great agency represents us, rewards with good pay, great venues, continuous work. We want a good player who can perform to the music of AC/DC’s Angus Young. Please check out the web page www.thunderstrucklive. com.au or email patgeezer@hotmail. com or simply ring Pat on 0435 939 772 iFlogID: 15986

DARK SEXY GUITARIST WANTED

KICK ASS DRUMMER NEEDED!

METAL BAND WANT 2ND GUITARIST!

iFlogID: 15966

looking for a drummer for loud, postironicpunkrockalternativeantiegotistical band. influences: sonic youth, pavement, modest mouse, MBV, elliott smith, deerhunter, neutral milk hotel, the fall, pixies etc, call/message adam 0432930850 iFlogID: 15945 Looking for a drummer interested in creating amazing music, influenced by ethos of bands such as StoneRoses, JoyDivision, Verve, Suede, NickCave, Doors, Smiths, (although by no means exclusive). andrewblomberg@hotmail. com/0406386566 iFlogID: 16020

PIANIST OR AN ARRANGER? I need a pianist and an arranger to work with me on recording/creating covers and originals. In return for your services I offer my studio and compositional/engineering ability, trading 1 hour of my time for 1 hour of your time. If you wish to pay me with currency rather than services, I only accept Bitcoin [BTC]. Please contact me to chat in more detail on 0412 111 935 or michael@urbanfirebeats. com - any day between 9am and 9pm. iFlogID: 15510

MUSICIANS WANTED. to form new 60’s - 70’s group. Stones, Beatles Creedence, Eagles etc. Regular social rehearsals working towards gigs. We are experienced 50+ Vocalist, Rhythm Guitarist/Drummer 4727 0230 043 279 0076 iFlogID: 15850

PRODUCTION I need a pianist to work with me on recording/ creating covers and originals. In return for your services I offer my studio and compositional/ engineering ability, trading 1 hour of my time for 1 hour of your time. If you wish to pay me with currency rather than services, I only accept Bitcoin [BTC].Please contact me to chat in more detail on 0412 111 935 or michael@ urbanfirebeats.com - any day between 9am and 9pm. iFlogID: 15512

SINGER Attractive Female Backing Vocalist Required for a pop-rock Band/Show with Album on iTunes. Paid performances booked. Reliable Singer with melodic voice and professional experience. Mosman area. Phone: 9969 1179. iFlogID: 15952

CAN YOU SING?!!

GUITARIST

For a band that is creating dark sexy music very much with a Nick Cave feel. You must have the desire and ability to play differing styles blues, country, jazz, 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. Age 30-40 Rehearsal inner west. MARK 0421 840 720 iFlogID: 16180

Led Zeppelin Tribute playing just the heavy songs from every album, not a look-a-like show band, you will need solid timing, good gear, transport. Rehearsals at W.Gosford Haz Studios, weeknights. iFlogID: 16199

OTHER

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

Drummer wanted for Heavy Groove Rock Band based in Sydney Area. Influences: Breaking Benjamin, Day to Remember, Karnivool. Songs written and completed. Just need drummer to complete the unit. Own Transport essential. All members are from previous known Established Bands. Call 0421540972 for more info and mp3’s. iFlogID: 15843

Sydney inner city contemporary rock band needs a drummer to complete line up. Applicant must be between 22-30 years of age, have own transport and live within 30k’s from the city. We have weekly gigs as a cover act to support us while we are recording the album, so the chosen drummer will have the opportunity to earn between $200-$600 weekly. E-mail us at: theblacklist@live.com.au

Salsa band looking for piano/keyboard player. Must be experienced. Impro not essential but chart reading skills are useful. iFlogID: 16189

We are a metal band based in south west Sydney and we require a second guitarist who has decent ability, good gear, own transport, commitment, and is willing to rehearse at least once a week. We rehearse at Homebush and have a full set of songs ready to be unleashed. The driving influences behind this band include, but are not limited to, In Flames, As I Lay Dying, Soilwork and a variety of others. If anybody is interested in the position, please listen to some demo tracks at the following website before applying. http://www.starnow.com.au/ bands/9923-TIL-RAPTURE. Band consists of ex members of Sulkus, Misery, Art Imitates Crime, Black Horizon, and The Darkest Illusion. If you connect with the songs and are genuinely interested in joining this dedicated band, please contact Steve on 0404007460 or stevenhuch@hotmail.com. \m/ iFlogID: 16129

KEYBOARD Dead In Motion seeks a keyboard player. Style is metal, visual kei, heavy rock, Disturbed, GazettE, Evanescence etc. Preparing to gig and record EP. Age 18-25, intermediate+ skills. Contact Dead_In_Motion@hotmail.com iFlogID: 15786

PIANO / ORGAN / KEYS For a band that is creating songs with a Nick Cave feel. You must have the desire and ability to play differing styles - blues, jazz, 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, Leonard Cohen, Age 30-40 Rehearsal inner west. MARK 0421 840 720 iFlogID: 15934

Battle of Sydney the Rage Against the Machine Tribute Show is looking for a new frontman. Established tight band with gigs waiting. Looking for the next Zack. Contact Dan 0479021166 iFlogID: 15889 Rhythm guitarist seeking to join or form Blues/ Rock covers band in the Penrith district. Contact Paul on 0402 746 733 or 4774 0085 iFlogID: 13646

SINGER /VOCALIST wanted experienced vocalist to front our band covers and originals rehearse weekly at Wetherill Park ready to gig soon contact 0417044497 iFlogID: 15913

SINGER FOR FUNK/SOUL BAND Male or female singer with good harmonies wanted for a gigging covers & original funk/acid jazz/ Soul band. Experience and professional attitude plus good stage presence required. Influences are Jamiroquai, EWF, B N Heavies, Steely Dan, and similar. Interested?? - email pscottman@yahoo.com.au with your details, experience, and demos or myspace ref. iFlogID: 16091

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 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: 16041 Drummer, bassist and guitarist looking for versatile vocalist; influences ranging from Queen to RATM, RHCP and Metallica. Inner West Sydney. 16-24 (preferably). Email me: st_jimmy_greenday94@hotmail.com . Cheers iFlogID: 15425

FEMALE SINGER FOR COVERS BAND Female Singer wanted for Sydney based professional covers band with quality agent backing with gigs booked. Aged between 21 and 35 preferred with previous experience in fronting cover bands. Good pay , great musicians and very friendly work environment. Must be available most weekends for work. 4 sets of band material required to learn initially mostly consisting of top 40 and classic rock hits. Reliability , Work Ethic and Team skills are a must. Please submit musician resume with photo to touringmusicians@live.com to arrange audition in Western Sydney. iFlogID: 16074 Female, looking for Lori.S ACID KING inspired. We need you to complete line-up. CALL: 0439653489. iFlogID: 16171 GOSPEL SINGERS WANTED for non-denominational music ministry to record triple-CD in Perth. World-class, passionate and devotional vocalists sought. View www.THE001Music. com for details. Jesus is KIng! Reverend Eslam. God Bless You! iFlogID: 13088

GUNS N ROSES LOOKING FOR AXL

Sydney based Guns N Roses Tribute is looking for Axl Rose. If you’ve got what it takes to be the front man for one of the worlds greatest rock bands, in one of Australias premier Tributes contact james@thelaunchsquad.com.au Gigs are waiting. www.liesndestruction.com iFlogID: 15757

JUMP BLUES & SWING SINGER Established jump blues and swing band seeks engaging front personality with strong vocals. Professional attitude and a sense of fun both a must. Male or female. Age open but 30’s upwards preferred. Contact lemonsqueezindaddies@gmail.com for more info. iFlogID: 16057

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: 15216

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

Need to promote your restaurant, club and make it the place to go? Contact us now, because providing good entertainment is a personal skill. Chris 0419 272 196 ventura@ yayabings.com.au iFlogID: 15175

PROFESSIONAL BAND PHOTOGRAPHY

SINGER NEEDED We’re a new band playing heavy stoner rock and roll, looking for an experienced frontman. We have a lot of material written, but are missing the right singer. Inf; Sabbath, The Stooges, Motorhead etc. Call Jeff on 0405 225 267 iFlogID: 15958

SINGER WANTED FOR SYDNEY GRUNGE BAND.

WORLD MUSIC GUITARIST International world music band is looking URGENTLY for a guitarist. Immediate entry after an audition. Experience in Latin music is required (preferably Tango and Fado). Please contact Elena: elena.marci@gmail.com, 0425793572 or Joana: jruival@gmail.com, 0416572126 iFlogID: 15869

OTHER

RAGE TRIBUTE FRONTMAN!!!

Singer wanted to front Hard Rock band from Sydney’s West. Age between 16 to 20 would be best suited. Influenced largely by Motley Crue. Email: sr_2848@hotmail.com iFlogID: 13615

VOCALIST WANTED!!! New band currently jamming & writing a set. Influences are metal, hardcore, punk, Heavy blues/groove mix. Have myspace songs for listening. Contact Jake 0402539280 iFlogID: 16105

Studio, live, candid or location shots with an experienced band photographer. Gigs, promos, album covers, artwork.Affordable prices, professional quality. 25% off for unsigned bands! Mobile: 0479060317 Email: admin@ mattgphotography.com.au Web: www.mattgphotography.com.au iFlogID: 16047

TATTOO Monstrosity Dreadlocks, Sydney. Dreads and maintenance special: All service $30 per hour. Professional, guaranteed service. Kings Cross. Call 0421356410 iFlogID: 13613

TUITION Bass guitar lessons for beginner to intermediate levels. Aim to push students beyond the basics of bass and how to play the genre THEY love. Sydney’s Inner-West, Contact Blake: 0405182840 iFlogID: 16178

Want to be a successful recording artist? We’ll help you write a song produce, mix & master it then help you pitch it Email: studio@ musicentourage.com call: 02 4013 1977 iFlogID: 14472

SONG WRITER Does your band or act need original music? Let me write music for you in the style of folk/ pop/country/rock Call Paul on (0404) 283273 or email: promacca@gmail.com iFlogID: 16153

FREE TURNTABLES That’ right. get a free pair of Ministry of Sound Turntables when u book into our Nov 19th, 2011 Turntable Workshop course. More info at www.djbootcamp.com.au or call 95472578 iFlogID: 15790

GUITAR LESSONS

Written a song you want to share with the world? RECORD IT NOW with our professional music production team! Demos or full releases! Visit www.musicentourage.com.au or email hookmeup@musicentourage.com iFlogID: 14474

TEACHER GUITAR TEACHER WANTED We require a guitar teacher for our Eastern Suburbs based music school. The role is to commence in the new year. Applicants should have some teaching experience, good communication skills across many age demographics, and plenty of patience. Must also be reliable, consistent, and driven to succeed in teaching. Please email resumes to luke@lsguitar.com.au. iFlogID: 16117

SERVICES GRAPHIC DESIGN

With experienced and fully qualified tutor. Who has 20 years of studio and live performance. Most styles including Rock, Pop and Jazz. Learn to play your favourite songs, practical theory, improvisation, proper technique, etc. etc. Beginners to advanced are welcome. In the convenience of your own home. Good results guaranteed. Phone Oles on 0407413143 or email olesguitarlessons@yahoo.com iFlogID: 16110

P&O DJ CRUISE P&O and DJ Bootcamp present, 8 day, 3 island professional DJ Cruise # 2. Nov 26th, 2012. Book early and save. www.djbootcamp. com.au iFlogID: 15754

Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact info@bizwebsites.com.au or see www. bizwebsites.com.au. iFlogID: 15450

SINGING LESSONS THAT ROCK. Your voice has the ability to sing at the Audioslave/Muse/ Aretha/YeahYeahYeahs level because of Design. Increase range sing with effortless power using the right technique. Beginners-Advanced. 0405-044-513 iFlogID: 15761

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

Singing lessons! Friendly and informal help to overcome vocal problems. Beginners welcome. Your place or mine - Sydney East and inner. Pls call Steph on 0403250560 iFlogID: 15982

Limited Edition mens tees and hoodies with a sense of humour. All hand-screened and numbered. monstrositystore.com iFlogID: 13611

POSTERS & FLYERS 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: 14957

Male singer wanted for blues / southern rock band based hawkesbury area. Covers from Black Crowes, Skynyrd, Stones, ZZ Top , Bad Co . Own transport & be reliable. Scott 0416256471 Steve 0404959756 iFlogID: 15367

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

SINGING TUTOR

WANTED OTHER A new online modelling competition is looking for female entrants 18-35. Heat one begins November with the winner each month appearing in an exclusive 2013 calender. Plenty of great prizes Apply darphi@tpg.com.au iFlogID: 16210 Extras for RemmosK video shoot @ the Valve Bar, Tempe - 06-11-11 iFlogID: 16065


TICKETS $15*

AVAILABLE AT www.moshtix.com.au 1300 GET TIX (438 849) on your mobile moshtix.mobi and all moshtix outlets.

WHEN 15th November 2011 7:30pm

WHERE Canterbury League Club 26 Bridge Road, Belmore NSW, 2192

AKIRA

LIVE 2011

N E ON

T H IG

! Y L N O

JIMBO

T H E M AS T E R O F E L E C CT TR RO O N I C & A C O U S T I C H Y B R I D D RU M M I N G ! Internationally acclaimed drummer Akira Jimbo is visiting Australia to perform one exclusive clinic in NSW showcasing his amazing electronic/acoustic hybrid drumming techniques. You will be astonished by the complex melodies and rhythms Akira can produce using the best in Yamahaâ&#x20AC;&#x2122;s acoustic and electronic drum technologies. Akira will perform a selection of exciting, dynamic and musical tracks that you absolutely must experience if you are interested in the possibilities of sample triggering or have ever wondered about mixing cutting edge electronic instrument technology with natural, acoustic drums.

* Booking fees apply

CONTACT STORE: 02 9787 4177 / DRUMMERSDREAM.COM.AU PRODUCT INFORMATION: AU.YAMAHA.COM PROMOTIONS AND EVENTS: YAMAHABACKSTAGE.COM.AU

PROUDLY PRESENTED BY


DONT TURN YOUR BACK ON A CAREER IN MUSIC AUSTRALIAN INSTITUTE OF MUSIC

APPLY NOW for 2012 Courses start 30 January uary

SCHOLARSHIPS AVAILABLE E FOR 2012 IN CONTEMPORARY BRASS & SAXOPHONE

T: (02) 9219 5444 .au E: enquiries@aim.edu.au

AUSTRALIAN INSTITUTE OF MUSIC

CRICOS Code 00665C

www.aim.edu.au


Drum Media Sydney Issue #1084