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AUSTRALIAN INSTITUTE OF MUSIC
THE DRUM MEDIA • 3
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THE FUTURE OF MUSIC IS HERE WITH THE SAMSUNG MUSIC HUB
THE SAMSUNG MUSIC HUB is a totally new and exciting way of accessing and listening to music via ‘the cloud’. Now you can ‘stream’ music to compatible Samsung devices*. It’s a revolutionary step in making a connection between music and devices like never before. ENTER THE HUB AND: ACCESS MILLIONS OF SONGS: Enjoy so much music it will blow your mind. Create more playlists than you could listen to in an entire lifetime.
MUSIC VIDEOS: Coming soon** The Hub has access to over 10,000+ on-demand HD music clips with stereo sound for all 2011 Smart AV devices. Now your lounge room will become the dance ﬂoor.
AUTO SYNC: Create a playlist on one device and
then play it on another.
MULTIPLE PLATFORMS: The Premium service works across all 5 Samsung devices featured below.
FOLLOW ME FEATURE: Samsung Music Hub will remember which playlist and track you were up to, so if you stop playing on one device and resume on another, it will pick up from the start of the last track played.
SMART CACHING: Available for Samsung GALAXY
Tablets and Samsung GALAXY Smartphones. This allows you to download music from Samsung Music Hub and then store up to 500 tracks and play it locally without the need to be connected continuously to a network.
DISCOVERY FEATURE: The Hub offers an intelligent
suggestion tool, in-depth discography, extensive artists information and a fast search functionality. Searching and ﬁnding has never been so fun and easy.
AND THAT’S JUST A LITTLE TASTE OF WHAT’S TO COME. SOUND GOOD? Join the Samsung Music Hub revolution and get all this for less than $15 per month.
Find me in
WITH SAMSUNG, MUSIC JUST GOT INFINITELY BETTER. samsungmusichub.com.au * Access to all four platforms & web browser PC available on Premium service from December 2011. ** Available in December 2011 on Samsung 2011 Model Smart TV’s, Smart Blu-ray & Smart Home Theatre Systems.
Find me in 8 • THE DRUM MEDIA
THE DRUM MEDIA • 9
TRIVIA WITH KEVIN
Weekly Jackpot 7.30pm
$500 PRIZE POOL
Open Mic Night 7.30pm
Thurs 12 Jan
OPEN MIC NIGHT
Fri 13 Jan
Sat 14 Jan
OLD MAN CROW
10 • THE DRUM MEDIA
BYO Instruments (PA Provided) Rock up to play
email@example.com | www.thelaunchsquad.com.au
THE DRUM MEDIA • 11
th f e or ha m rperl hoy te
COMING SOON MONDAY 9TH JANUARY
JOE ROBINSON + Lyall Moloney
TUESDAY 10 JANUARY 2012
VALLEY FLOOR (THE BEAUTIFUL GIRLS)
+ Sherman Downey & The Silver Lining + Tyran Hall
WEDNESDAY 11 JANUARY
STEVE SMYTH + Kirrakamere
THURSDAY 12TH JANUARY & FRIDAY 13TH JANUARY
+ Handsome Young Strangers + Juke Baritone & The Swamp Dogs Fri 13th w/ Sydney City Trash + Handsome Young Strangers + Jack Flash
SATURDAY 14TH JANUARY
EMMA PASK SUNDAY 15 JANUARY
TOM UGLY +Snowale
Tuesday 17 January Brave It Through The Night Wednesday 18 January Vince Martin Friday 20 January Jeff Duff Saturday 21 January Ray Beadle Sunday 22 January Monsieur Moon Wednesday 25 January Chase The Sun Friday 27 January The Black Sorrows Saturday 28 January The Black Sorrows Wednesday 1 February Anthony Hughes Thursday 2 February Grimskunk Friday 3 February Peter Northcote Saturday 4 February Bones Atlas Thursday 9 February Tania Doko Friday 10 February Ian Moss Saturday 11 February Ian Moss Thursday 16 February Casey Donovan
900 PRINCES HIGHWAY, TEMPE PH: 9559 6300 www.valvebar.com.au WED 11 7PM
“BRADLEY CORK & THE FOLKLORE MANTRA”
INDIE BLUE SHOW WITH SUPPORT FROM “SPOOKYLAND” , “LESSONS IN TIME” , “LIAM GORDON” , “RAY RAY RAY & THE JETSONS”
THURS 12 7PM
THE LIVE-RACKETS AWARDS FINALS
FEAT: “DROP TANK” , “THE CHOKE” , “WITCH FIGHT” , “WAGGA TEK” + “JUSGO MOSH” , “PARTICLES” , “ELECTRIC FLU”
FRI 13 7PM
SAT 14 2PM
IF YOU’RE NOT THERE - YOU’RE DEAD
SUN 15 12PM
HARDCORE SHOW WITH SUPPORT FROM: “VIGILANTE” , “SICK PEOPLE” , “DOWNPOUR” , “NEVER RIGHT” , “BLIND SIGHT”
FEAT: “HOMEBREW” , “BUSTACAP” , “HIDDEN ACE” , “MOTHER BRODY” , “THE POSTMODERNISTS” , “SYSTEM OF VENUS” , “FOUULHAWK” , “GUTTER TACTIC” , “ONE DAY SOON”
VIBRATIONS AT VALVE BAND COMPETITION
FEAT: “TRIBAL” , “MUGGER” , “PORTLAND’ , “SUPERLATIVES” , “SAMSARA” , “BLACK ROSE” , “INTO THE FIREPLACE”
SUN 15 4PM
BLUES SHOW WITH SUPPORT FROM “THE MAJESTICS” , “THE SUNSHINE LAUNDRY”
COMING UP: Wed 18 Jan: Hard Rock Show with “Xemper Phi” , “Black Rose” , “Glass Chain” , “Broken Young”; Thu 19 Jan: Punk Show feat: “RUST” , “Liberation Front” , “Seek The Silence” , “Dividers” , “Cloud Four” , “Lost In Verona” ; Fri 20 Jan: Post Punk Show feat: “Incredibly Strange Creatures” , “Thrashed” , “Slamdance” , “Cast Iron Pinata” , “Danger! Bus” ; Sat 21 Jan: Midi In The City Live Electronica Party feat: “Alphatown” , “Luke Killen” , “Holotropic” , “Methodixxx” , “Xanthopan” , “We-D” , “Raine Supreme” , “DRox” , “Andosound” , “Oliver Gurney” , “MC Bean” and many more; Sun 22 Jan: 12pm - Vibrations At Valve band competition, 6 bands battling for great prizes; 4pm: Kill Your scene presents “London In Terror” , “Sinister Valley” , “Seeking ﬁrst Light’ , “Flatliner” , “Clipped Wings” For band bookings please email firstname.lastname@example.org
Bistro open Lunch and Dinner !!
‘VERY MERRY CHRISTMAS’ OUT NOW
TUESDAY 17TH JANUARY
Peggy Seeger (US/UK) Only Sydney Show! ….tix selling fast!
FRIDAY 20TH JANUARY
Tim Edey (Ire) & Brendan Power (UK/US)
+ Jim Conway’s Little Wheel WEDNESDAY 25TH JANUARY
Gene Fehlberg Trio + Sarah Bird + Alex Gibson
WEDNESDAY 1ST FEBRAURY
Vince Martin + Tommy Moeller
SATURDAY 28TH JANUARY
Gervais KofFI & The African Diaspora www.johnwho.com.au 12 • THE DRUM MEDIA
Fri 3/02 Tangled Up In Bob – A Tribute to Dylan Sat 4/02 Miss Ink NSW – Featuring Sunset Riot Wed 8/02 O’Shea Thur 9/02 Angie Hubbard Fri 10/2 Suzy Connolly Album launch + The Laughing Outlaws Sat 11/02 First Ladies Of Soul Fri 17/02 REM Tribute Wed 22/02 Rick Price Thur 23/02 Madison Violet Fri 24/02 Dan Mangan Sat 25/02 CASH – 80th Birthday Show Fri 2/03 Bridie King
THE DRUM MEDIA • 13
$8(PRE) & $10(DOOR)
$30(PRE) & $35(DOOR)
$18(PRE) & $25(DOOR)
MUSOS JAM (RETURNS) POLAR KNIGHTS + THE TROBES + DAN CRESTANI
TOXIC HOLOCAUST + KROMOSOM + HELLBRINGER
JMC BACKTRACK + IRON MIND
MONSTERS OF ROCK, KERSER(A/A), SYBREED ‘GOBOOKEM.COM’
SATURDAY 14TH JANUARY
EMPIRE RISING + BLUE CANDY SATURDAY 21ST JANUARY
ROCK DOGS SATURDAY 21ST JANUARY
+ BAYSIDE WRECKERS + THOUGHT THEORY + HOMETEAM
WEDNESDAY 25TH JANUARY
GUTTERMOUTH www.bizzos.com.au or check out our Facebook page Photo I.D required – information for members and their guests Band bookings: Jova Productions - email@example.com 14 • THE DRUM MEDIA
VISIT A TELSTRA STORE OR PARTNER | telstra.com/prepaiddeals
FREE TALK + TEXT ALL NIGHT EVERY NIGHT 6PM-6AM ON TELSTRA PRE-PAID CAP ENCORE™
TELSTRA PRE-PAID CAP ENCORE™. GET IT ON AUSTRALIA’S MOST RELIABLE MOBILE NETWORK WITH A NEXT G® MOBILE
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DATA (400MB + 100MB BONUS)
BONUS FREE TALK + TEXT 6PM TO 6AM TO STANDARD AUSTRALIAN NUMBERS
All to use in Australia within 30 days
THINGS YOU NEED TO KNOW: Cap Credit, Data and Free Talk & Text are available while on Telstra Pre-Paid Cap Encore™ and exclude some use, such as: calls/text to satellite numbers and premium numbers (eg 19xx numbers); operator assisted calls (eg most 12xx numbers); content charges and all use while overseas. $30 Recharge Credit can be used on anything you like and expires after 30 days. Free Talk & Text and Bonus Data end 23/01/12 unless extended by Telstra. ™ and ® are trade marks and registered trade marks of Telstra Corporation Limited, ABN 33 051 775 556. TEL4227_FTT_FP_DRUM
FRIDAY 13TH JANUARY
IAN MOSS FRIDAY 20TH JANUARY
THE LAST WALTZ REVIVAL
SUNDAY 29TH JANUARY
THURSDAY 19TH JANUARY
+ TOMMY MOELLER (UNIT 4 + 2) SUNDAY 22ND JANUARY
PETE CORNELIUS FRIDAY 17TH FEBRUARY
FOR BAND BOOKINGS, PLEASE CONTACT INFO@CODEONE.NET.AU
16 • THE DRUM MEDIA
Sydney Comedy Store 2–19 February 2012 Thu - Sun 7pm
ST! BOOK NOW – SELLING FA
comedystore.com.au ticketek.com.au 9357 1419
THE DRUM MEDIA • 17
THE SANDRINGHAM HOTEL 387 KING STREET NEWTOWN / 9557 1254 S YEAR WWW.SANDO.COM.AU BOOKINGSCONTACT SANDO@ATOMICDROP.COM.AU WWW.MYSPACE.COM/THESANDRINGHAMHOTEL
WED 11 JAN
"KATE HOLE PRESENTS"
DELOREAN TIDE + DIVIDERS + CORPUS
WELL IT’S COMBICHRIST
LITE FEED FRENZY + CAM NACSON BAND + BABYROLL!
WELCOME SONS & DAUGHTERS
Glasgow’s Sons & Daughters (pictured) are in town this week to showcase their latest album, Mirror
HEAD TO THE DRUM MEDIA FACEBOOK PAGE TO ENTER
JONATHAN DEVOY + SPECIAL GUESTS
STREET LEVEL BAR:
Masters of metal laden, industrial aggression, Combichrist are currently on their Making Monsters 2012 Australian Tour, and will be delivering their uncompromising blend of vocal aggression, metal guitar filth and brutal synth manipulation in the Manning Bar Friday. Supported by our very own Horrorwood Mannequins, we have two double passes to the show.
CAPTAIN OBVIOUS (ACOUSTIC) + $3 SCHOONERS OF SANDO LAGER
STREET LEVEL BAR:
THU 12 JAN
Rorrim. Inspired by the melancholy storytellers Lee Hazlewood, Bill Callahan and Leonard Cohen, Thursday night they play the Sydney Festival Keystone Festival Bar. We have two double passes to the show and as a bonus, we have a copy of the CD to go with each, collectable from the Drum office.
T H E D R U M M E D I A I S S U E 1 0 9 2 T U E S D AY 1 0 T H D E C E M B E R 2 0 1 2
FRI 13 JAN
ABSU (USA) + PORTAL (BRIS) + RUINS (TAS)
+ EREBUS ENTHRONED + NORSE $38.99 PRE-SALE / $50 DOOR SALE ***DOORS OPEN 7:30PM*** ***TICKETS ON SALE NOW WWW.MOSHTIX.COM.AU***
VIDEO JUKE BOX
STREET LEVEL BAR:
SAT 14 JAN
(EX-MASSAPPEAL / OPEN WOUND) + EPICS + SPOONFED FREE DAVE TICE AND MARK EVANS 4PM - 7PM DJ KAKI 8PM-LATE
STREET LEVEL BAR:
SUN 15 JAN
“1-94 BAR PRESENTS” "DETROIT ROCK REVUE"
(WITH SPECIAL GUEST DENIZ TEK) + THE FOUR STOOGES + 69BC THE SLOWDOWNS
STREET LEVEL BAR:
“SANDO SKETCH CLUB”
ROCKIN’ WITH RAH
STREET LEVEL BAR:
EVERY TUESDAY STREET LEVEL BAR:
“THE SONGWRITER SESSIONS”
ADAM PRINGLE AND FRIENDS - FUNKY AS F#CK + TOOHEYS $6 NEW JUGS (7-8PM)
COMING SOON WED 18 JAN --- PAPER CHAMPIONS + 400KW MONSTERS + CAST IRON PINATA (MELB) + WITCH FIGHT THU 19 JAN --- BRIDIE
O’BRIEN (“HIGHWAY HEART” ALBUM LAUNCH) FRI 20 JAN --- “AND OUT CAME THE COVERS - A TRIBUTE TO RANCID” SYDNEY CITY TRASH + TOPNOVIL + MORE THU 26 JAN --- PETULANT FRENZY PLAYS FRANK ZAPPA SAT 28 JAN --- “COMA FEST” *** WW.ZOMBIEDOGENTERTAINMENT.COM *** FRI 3 FEB --- THE LAZYS (“TEMPTATION NEVER LIKED YOU” EP LAUNCH) *** WWW.ZOMBIEDOGENTERTAINMENT.COM ***
FRI 10 FEB --- JAMES FRI 17 FEB --- HELM
LEGG (BLACK DIAMOND HEAVIES) (USA) *** WWW.MOSHTIX.COM.AU AND WWW.OZTIX.COM.AU ***
FRI 9 MAR --- ENDLESS
BOOGIE (USA) *** WWW.MOSHTIX.COM.AU *** SAT 10 MAR --- STEVE GRIMMETT (GRIM REAPER / LIONSHEART) (UK) *** WWW.HELLDOWNUNDER.COM ***
OPEN 7 DAYS SERVING GREAT PUB FOOD ALL NIGHT 18 • THE DRUM MEDIA
Giveaways – Check it out for free stuff and head to Facebook for more! The Front Line hits hard with industry fact and conjecture, plus Backlash and Frontlash. Foreword Line – the latest news on tours, releases and more. TUnE-yArDs aims to make her music an expression of lives bigger than her own. Beth Orton finds juggling a baby and music more fruitful than first thought. She’s been hailed the new Enya, but Juliana Barwick doesn’t make cookie-cutter New Age music. One time Last Shadow Puppets and friend of Arctic Monkeys Miles Kane prepares to wow local audiences. Dan Deacon has figured out how to make any audience dance. Genius guitarist J Mascis is no stranger to our shores, as he returns to play Sydney Festival. Hip hop’s latest discovery Shabazz Palaces are in town and ready to entertain. The Vaccines are terrified of their Big Day Out appearances, and the partying that’ll follow backstage. CANT main man Chris Taylor takes time out from grocery shopping to talk multi-tasking. From dungeons to Rammstein supports in stadiums, Combichrist have seen it all. Bathory thrashing noisemakers Toxic Holocaust are once again bringing their sound to our shores. On The Record reviews new release albums and singles from Turbo Wolf, Patrick Stump, The Big Pink and more. Chris Maric gets local with hard rock and metal in The Heavy Shit. Sarah Petchell brings us local and international punk news in Wake The Dead. Adam Curley muses on all things pop culture The Breakdown.
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PUBLISHER Street Press Australia Pty Ltd GROUP MANAGING EDITOR Andrew Mast EDITOR Mark Neilsen ASSOCIATE EDITORS Michael Smith, Scott Fitzsimons FRONT ROW EDITOR Daniel Crichton-Rouse firstname.lastname@example.org CONTRIBUTING EDITOR Adam Curley CONTRIBUTORS Aarom Wilson, Adam Wilding, Alex Hardy, Amber McCormick, Anita Connors, Anthony Carew, Ben Preece, Bethany Small, Brad Barrett, Brendan Crabb, Brent Balinski, Bryget Chrisfield, Bob Baker Fish, Celline Narinli, Chris Familton, Chris Maric, Christine Caruana, Craig Pearce, Cyclone, Dan Condon, Danielle O’Donohue, Dave Drayton, Fiona Cameron, Giselle Nguyen, Gloria Lewis, Guy Davis, Huwston, Ian Barr, Jake Millar, Jamelle Wells, James d’Apice, James Dawson, James McGalliard, Justin Grey, Katie Benson, Kris Swales, Liz Galinovic, Liz Giuffre, Lucia Osborne-Crowley, Mark Hebblewhite, Matt O’Neill, Paul Smith, Paz, Pedro Manoy, Rip Nicholson, Rob Townsend, Robbie Lowe, Ross Clelland, Rod Hunt, Sarah Petchell, Sasha Perera, Sebastian Skeet, Sevana Ohandjanian, Shane O’Donohue, Steve Bell, Stuart Evans, Tim Finney, Tom Hawking, Troy Mutton PHOTOGRAPHERS Angela Padovan, Carine Thevenau, Chaz Webb, Cybele Malinowski, Josh Groom, Justin Malinowski, Kane Hibberd, Linda Heller-Salvador, Luke Eaton, Rod Hunt, Tony Mott ADVERTISING DEPT email@example.com
Viktor Krum asks you to Get It Together with the latest in hip hop. Dave Drayton gets Young & Restless with all ages goings on. Cyclone gives you urban and R&B news in OG Flavas. Dan Condon features the world of blues and roots with Roots Down. Michael Smith delivers some Blow with jazz and world music news. Go south as you enter Pedro Manoy’s Swamp Shack. Tom Hawking sends us a snapshot of life in the Big Apple with New York Conversation. Robbie Lowe gives you a dose of music that makes him tick with Lowerider’s house, progressive and techno vibes.
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This Week In Arts gives you a comprehensive listing of what’s on at Sydney Festival; so-hotright-now theatre director Simon Stone runs us through his smash-hit play Thyestes; Sydney Festival’s Adam McGowan talks PhDs and stand-up comedy for their Bright Club. 46 Jazz musician and filmmaker Emma Franz discusses her documentary Intangible Asset No. 82; Cultural Cringe wraps up the week’s arts news and whispers; Fez Faanana brings the popular boylesque cabaret show Briefs to Parramatta; we review the musical Annie. 47 Made You Look explores the wonderment of the current AGNSW and MCA exhibitions; Czech performer Rostislav Novak brings theatre to the pub. 48
It’s all here: gig reviews, tour guide, what’s happening this week, charts, gig guide, random shit and more. 50 Backstage and BTL – your guide to studios, recording, gear, courses and more. 62 The Classies – need a singer/bassist/drummer/ any other service/product you can think of? Your answer is here. And on iflog.com.au. 65 Brett Dayman, James Seeney, Andrew Lilley iflog.com.au
ART DEPT firstname.lastname@example.org Dave Harvey COVER DESIGN Dave Harvey ACCOUNTS DEPT email@example.com GIVEAWAYS/GIG GUIDE Justine Lynch THE DRIVERS Grant, David, Julian, Ray, Paul, Al, Mark PRINTING Rural Press (02) 4570 4444 DISTRIBUTION firstname.lastname@example.org SUBSCRIPTIONS Subscriptions are $2.20 per week (Minimum of 12 weeks) – Send your details with payment to Subscriptions Dept, The Drum Media, PO Box 2440 Strawberry Hills NSW 2012 (cheques/money orders to be made payable to Dharma Media Pty Ltd) ADDRESS Postal: PO Box 2440 Strawberry Hills NSW 2012 Street: Level 1/142 Chalmers St Surry Hills NSW 2010 Phone (02) 9331 7077 Fax (02) 9331 2633 Email email@example.com www.themusic.com.au The Drum Media is also available on iPad via the iTunes App Store
AND MUSIC GREAT FOOD LIZOTTE’S SYDNEY O OF MARRYING TW
02 9984 9933
Kim Cannan & Earthen Melodies CD Launch
Lazy Sunday Lunch with Bruce Mathiske
LEVEL 1, 354 BOURKE ST. SURRY HILLS DOORS OPEN 6PM. FREE ENTRY ALL NIGHT. MILLIONS
JAM PRESENTS FRI 13 JAN
SURES, STEVE SMYTH, DJ: BAD WIVES BUTCHER BLADES
SAT 14 JAN
OXBLVD, DIE FOR YOU, DJ: F.R.I.E.N.D/S DJS
W O N N PE O
LIZOTTE’S CENTRAL COAST
02 4368 2017
John Swan with Rick & John Brewster
Bob Loundar Benefit Lunch featuring Liam Burrows
ELIZABETH ROSE, POLOGRAPHIA, DJ: BAMBALAM SIETTA
A Tribute to The Rolling Stones – Exile On Main St
SAT 21 JAN
OXBLVD, DIE FOR YOU, DJ: LANCELOT GREY GHOST
LIZOTTE’S NEWCASTLE 12 JAN
FRI 20 JAN
FRI 27 JAN
02 4956 2066
DREAM DELAY, LYALL MOLONEY, DJ: SPENDA C WE GO BANDBANG
SAT 28 JAN
WE GO BANG BANG
OXBLVD, BELL WEATHER DEPARTMENT, DJ: F.R.I.E.N.D/S
COMING UP YOUNG ROMANTICS, SCREAMING BIKINI, THE SLIPS, THE CRACKS, THE KILLGIRLS RED INK, TIGER TOWN, SIETTA, MEOW KAPOW, UNDERLIGHTS, KANE SARICH
Calling all artists for Live and Locals! Contact firstname.lastname@example.org Lizotte’s Sydney 629 Pittwater Rd Dee Why
Lizotte’s Central Coast Lot 3 Avoca Dr Kincumber
Lizotte’s Newcastle 31 Moorehead St Lambton
w w w . l i z o t t e s . c o m . a u
UPSTAIRSBERESFORD.COM.AU OR 8313 5050 FOR GIG INFO HAPPY HOUR BEFORE 8PM FRI & SAT. DINNER & SNACKS AVAILABLE
PRIVATE BOOTH & VENUE BOOKINGS 8313 5000 THE DRUM MEDIA • 19
BOY & BEAR IN MANAGEMENT CHANGE Your Daily SPA exclusively revealed last week that Boy & Bear, one of Australia’s biggest most popular at the moment, changed their management to join Wonderlick Entertainment. Previously managed by Guy Morrow and Rowan Brand in partnership, a source close to the band told Your Daily SPA that the band officially became part of Wonderlick’s roster last week. They’ll join bands Grinspoon, Josh Pyke,
INDUSTRY NEWS WITH SCOTT FITZSIMONS email@example.com
Airbourne, Jackson McLaren, Marvin Priest, Max & Bianca and The Paper Kites, who are currently managed by Wonderlick. Boy & Bear released their debut album,, Moonfire last year, with the album and band cleaning up at the 2011 ARIA Awards. They won Album Of The Year, Best Group, Breakthrough Artist (Album and Single) and Best Adult Alternative. Their track, Feeding Line, is currently third favourite to win the triple j Hottest 100 according to SportsBet.
As has been the trend, vinyl continues its comeback as consumers still keen on physical product opt for the retro format over CDs. Vinyl album sales accounted for 3.9 million copies, up from 2.8 million in 2010.
CEE-LO BUTCHERS LENNON CLASSIC US soul singer CeeLo Green’s rendition of John Lennon’s Imagine was expected to be a highlight of NBC’s New Year’s Eve broadcast but instead turned into one of 2011’s biggest TV upsets. While the NBC broadcast was thrashed in the NYE ratings contest, it was estimated that three million viewers were tuned in for Green’s appearance. Green seemed to struggle with the song from the moment it began but it wasn’t his poor rendition that upset, it was his change to the lyrics. Instead of singing “Imagine there’s no countries/ It isn’t hard to do/Nothing to kill or die for/And no religion too.”, Green sang “And all religion is true”. The reaction was swift and furious with the ‘pitchfork and torch’ brigade out in full force on Twitter. Others criticised Green for his hypocrisy, Jay Smith writing for Pollstar commented: “It’s also probably not a good idea to sing the line ‘Imagine no possessions’ while decked out in a fur coat and shades.”
THE BLACK KEYS VS NICKELBACK BIG DAY OUT RESTRUCTURE CONTINUES The re-structuring of the Big Day Out continues, with a new CEO, CFO and a new partnership with the Lollapalooza promoters. C3 Presents, who promote Lollapalooza and Austin City Limits Music Festival, will work with the Big Day Out in the “continued growth and expansion” of the festival in Australia, according to a press release issued this week. Asked whether there was a solid contract between the two parties, Big Day Out founder Ken West only told Your Daily SPA that, “This is very much a business partnership not just a cooperative relationship.” He continued, “C3 Presents are big but they are fundamentally independent operators who still very much feel like outsiders to the largesse of the Live Nation and AEG businesses. They talk our language and think like us and are about the artists and audiences always.” Big Day Out appear to be looking at the deal with a long-term view, indicating that the impact of this may not be felt immediately. “We will walk before we can run but as the relationship developments new initiatives for artists locally and internationally will be announced. But simply put, this is about recognising a global music marketplace for talent and audiences and ensuring our territories locally benefit from the artist relations, marketing power and audience insights that the two business have in having lead the market for twenty years.” Personnel-wise, Peer Group Media’s Adam Zammit is the company’s new CEO (he remains Peer Groups’ CEO also) while Natasha Collier has been the CFO since November. Both of these are newly-created positions and have come since Ken West and long-time associate Vivian Lees split last year. As for the upcoming dates, West is confident of sellouts in Sydney and Melbourne while the New Zealand leg could use a push. “It is on target or should I say new targets we created based on the changes made post first announcement. Sydney and Melbourne look like selling out in advance and Gold Coast is coming home strong. New Zealand is soft as expected. Hopefully that will come home as New Zealand always sells late.”
KISS’ MANAGER: COLD CHISEL BLEW US CHANCE Doc McGhee, manager of KISS, Skid Row and Vintage Trouble and former manager of Guns ‘N Roses, Mötley Crüe and more, has said that Cold Chisel blew their chance to crack the American market. Speaking to Your Daily SPA ahead of Vintage Trouble’s Australian tour McGhee said, “It’s hard for the Australians coming over here and grasping how you have to work. You know what I mean, sleeping in the van and touring around. That isn’t what they [Australian bands] do over here, so [there is] a mentality of not coming over here. There’s been a lot of really, really good bands and a lot of great singers. Cold Chisel, with Jimmy Barnes and
all that, in the early days they never came over here to work it. They put a single out but they never came over here. Or they come over here every two years and play a club and say that’s enough I’ll go back and play arenas in Australia. You have to make a dedication that you’re going to come over here and work.” Asked if he thought Chisel had an American career ahead of them if they slogged it out for a year or so he replied, “Absolutely. But that’s [Delta] Goodrem [as well] and I could name a hundred of them that had it going over there but didn’t come over here and work it. You have to do it at the start, indulge your career… You go, ‘Well I get $100,000 a night to play Sydney.’ And they go, ‘Well you get $200 to play [small venue] The Whiskey.’ And they go, ‘Well I’m not going to go over and do that,’ so they don’t do it… Like Bon Jovi, we had four years before Slippery When Wet and they had 500 shows around the world. All my bands have done the same thing, and that’s important.”
ALTIYAN CHILDS “DROPPED” BY MANAGER?
American rock duo The Black Keys and Canada’s love-them-or-hate-them Nickelback were engaged in some back-and-forth banter last week, after the Keys’ Patrick Carney had a stab at them in an upcoming cover story for Rolling Stone America. He said, “Rock’n‘roll is dying because people became OK with Nickelback being the biggest band in the world. So they became OK with the idea that the biggest rock band in the world is always going to be shit – therefore you should never try to be the biggest rock band in the world. Fuck that! Rock’n‘roll is the music I feel the most passionately about, and I don’t like to see it fucking ruined and spoon-fed down our throats in this watered-down, post-grunge crap, horrendous shit. When people start lumping us into that kind of shit, it’s like, ‘Fuck you,’ honestly.” In response the Canadian outfit, who in recent months have started to retort their critics, Tweeted, “Thanks to the drummer in the Black Keys calling us the Biggest Band in the World in Rolling Stone.” The tweet ended with “Hehe”.
BIG DAY OUT LAUNCH APP
Headline-fodder Altiyan Childs has reportedly been dropped by another manager, as the eccentric singer attempts to find stability. John Martinovich, a longtime friend of the X-Factor winner and current manager, has dropped him according to a report in The Daily Telegraph. Although not confirmed Martinovich said, “I need some time to figure stuff out. I’m not in a position to say anything or make a comment just yet.” If true, it would be a blow to Childs who is desperately trying to find some stability within his career which has been tumultuous since he won X-Factor in 2010.
ADELE SALES SAVING THE INDUSTRY Last year’s album sales in America were up for the first time since 2004 and the result is almost singlehandedly due to Adele. According to figures published by Billboard, English contemporary soul star Adele’s album 21 sold 5.82 million copies, the most in a year since Usher’s Confessions sold 7.98 million copies in 2004. The second-best selling album was Michael Buble’s Christmas with 2.45 million copies, while Lady Gaga’s Born This Way, Lil Wayne’s Tha Carter IV and Jason Aldean’s My Kinda Party completed the top five. As a whole, album sales grew 1.4 per cent to 330.6 million units last year, up from 326.2 million in 2010.
Big Day Out have launched their free festival app for iPhone and Android. The app is fully integrated with Facebook and Twitter to make posting pictures easy. You can read about the lineup, browse a BDO 2012 video playlist and there will be event maps and timetables on hand to help you navigate the festival on the day. A new feature is the schedule synch, allowing you to create a custom schedule and share it with your friends to see where you’ll all be on the day.
MURDER OF A FRIEND CALLS JIM WARD HOME Jim Ward cut short his Australian tour last week after a friend of his and collaborator Gabe Gonzalez was murdered at her home in Austin. The Austin, Texas, native and ex-At The Drive-In/Sparta member, Ward
FRONTLASH HAWKE FOR PM
Bob Hawke wanders around the cricket and then necks a beer handed to him by a fan. Comments on YouTube call for him to run for Prime Minister again, naturally.
Billboard’s associate director of charts Keith Caulfield told Reuters that the good news “Can partially be due to aggressive pricing of albums in the marketplace, which are being priced a lot more economical for consumers, addressing their concerns that $10 for an album may be too expensive.”
STATUS UPDATIN JOE
Physical sales fell six percent, but that was offset by a 20 per cent increase in digital sales. Digital single song sales were up 8.5 per cent to a record 1.27 billion downloads, compared with 1.17 billion the year before.
Christmas presents that you can drink (or eat) may be gone by now, but man it was good while it lasted. (1954 reserve whisky anyone?)
FALLS’ TASSIE LEG IN DOUBT The Falls Music & Arts Festival may not return to Tasmania this year if the cash-strapped government can’t reorganise their event spend. The Falls Music & Arts Festival takes place in Victoria (Lorne) and Tasmania (Marion Bay) each year over New Years’. Headlined this year by Arctic Monkeys and Fleet Foxes, the festival was one of the few to sell out this season and showed remarkable resilience against a tightening market across both its venues. However the future is in doubt if the Tasmanian Government doesn’t provide a bigger investment, according to organisers. They say that over the festival’s nine-year stint on the island state the government has provided just $900,000 to the event. Speaking to Your Daily SPA today, organiser Simon Daly – who spent equal time at either leg this year – confirmed that it will be difficult to run the festival’s Tasmania leg in 2012 if they don’t receive a greater slice of the funding pie. It is believed they have asked the government for $350,000 a year, when previously they have been injecting an average of $80-90,000 a year. “It is the most rural festival in the country and it’s very costly to put on,” said Daly. He said he understood that it would be hard to convince 7,000 people to fly in from the mainland, so the $230 ticket price caters for that and attracts locals. He believes it’s the “best value” festival in the country, as it stands. “Tasmania as an economy is really struggling, and our premise is to keep it affordable… If our request meant the loss of a hospital bed or teaching job, then we’ll withdraw it. What we want to do is sit down with the Government and see what’s possible with how their current event spend is allocated.” Daly told us that above Falls in the event funding pecking order is an annual Australian Rules football game between Hawthorn and Fremantle ($900,000 annually) and a North Melbourne game ($250,000). The 10 Days On The Island Festival receives $1.5million in public money and MONA FOMA about $350,000, this despite, according to Daly, the environmental and social principles of the Falls Music & Arts Festival and the $150 million they’ve contributed to the economy, directly or indirectly, over the past nine years. “We’d be in the top one or two in the state for bringing in people from the mainland.” Speaking to the AAP, Tasmanian Tourism Minister Scott Bacon said the government were keen to keep the Tasmania leg of the festival alive. “We’ve committed with the Falls organisers to working through Events Tasmania to see if there’s any efficiencies or cost-savings that can be found to keep the Falls Festival in Tasmania,” he said.
BACKLASH JIM WARD
To complain that Jim Ward cancelled is a bit selfish, but our respects to Austin music identity and Ward’s friend Esme Barrera who was murdered recently.
Ever since he broke the World Record for longest DJ set, Smokin Joe Mekhael’s Facebook feed has been a joy to watch.
BEYONCÉ’S BABY NAME
THE OLD GUYS
music 20 • THE DRUM MEDIA
officially cancelled his show at Sydney’s Sandringham Hotel due to take place Friday 6 January. Having played the Peats Ridge festival and a Melbourne sideshow, he issued the following statement: “We just found out a dear friend of Gabe [Gonzalez] and I has been murdered – we need to get home to be with family, friends and have the support of our gang.” That friend was Austin identity Esme Barrera, who was found murdered inside her home on New Years’ Day.
Blue Ivy Carter. She didn’t listen to our suggestions: Kanye, S’Opra, Banana… ABC – why have you stopped running one of the best British comedies to screen in 2011?!
THE DRUM MEDIA • 21
FOREWORD LINE TOUR NEWS EVERY TIME I DIE
NEWS FROM THE FRONT
Floyd bass player and The Wallâ€™s composer Roger Waters brings the concert, The Wall Live, to the Allphones Arena Tuesday 14 and Wednesday 15. Sydney thrash metallers Lord are the special guests of Americans Iced Earth when they tour here in April, playing The Hifi Thursday 5. Two bands, Brisbane-born Brooklyn-based Eleanor Logan AKA Happy New Year and Brisbaneâ€™s Nite Fields, celebrate the release of their split 7â€? release with a visit, playing the Croatian Club in Newcastle Wednesday, Yours & Owls in Wollongong Thursday and Dirty Shirlows Friday.
Due to unforeseen circumstances, Californiaâ€™s Death Grips have unfortunately chosen to cancel their debut Australian tour scheduled for late January. Ticket refunds can be collected from their point of purchase. At this stage there are no plans to re-schedule tour. Also obliged to cancel his forthcoming Australia is Jason Derulo, who unfortunately suffered an injury to his neck a couple of weeks ago, an acute fracture to his vertebra while training for his upcoming world tour. Again, tickets can be refunded from point of purchase. Veteran American folk artist and activist Peggy Seeger is back in Australia this month with shows the Merry Muse Folk Club Canberra Thursday, the Illawarra Folk Festival Friday through Sunday, and Notes in Enmore Tuesday 17 January, where sheâ€™ll be supported by Bob & Margaret Fagan.
CALLING DR. JONES Thatâ€™s right, everyoneâ€™s favourite bubblegum pop/ dance band from the â€˜90s are back. AQUA return to Australia in March, with the original lineup of Lene NystrĂ¸m (vocals), RenĂŠ Dif (keyboardist) and Claus Norreen (guitar). AQUA will preform at The HI-FI in Sydney Friday March 16. They released their new album, Megalomania in September last year, four years on from the release of their Greatest Hits album in 2007, which featured their three hit singles, Dr. Jones, Barbie Girl and Lollypop (Candyman).
Catherine Traicos & The Starry Night launch the video for new single, Let You Go, Saturday night at Low 302 in Surry Hills. Previewing tracks from their forthcoming EP, Melbourne five-piece Loon Lake come to the Beach Road Hotel Bondi Wednesday and The Great Northern in Newcastle Friday.
AND ON THE SEVENTH DAY
Showcasing their new EP, Temptation Never Liked You, The Lazys kick off their east coast tour Friday at The Entrance Leagues Friday night, then hit the Sandringham Friday 3 February and the Fitzroy Hotel in Windsor Saturday 4.
God didnâ€™t rest - he rocked out to Creation, who are back in town later this month to support their new album, Gospel, (Mediaskare Records). Originally from Sydney, but currently based in El Centro, USA, Creation, supported by Brisbane-based, five-piece metal-core band Ashes Of December, tshowcasing their debut album, Dying Is For Fools, play Hot Damn Thursday, January 19, followed by Manly Youth Centre Fridayy 20, Cambridge Hotel, Newcastle Saturday 21 and Liverpool PCYC Sunday 22.
Irish multi-instrumentalist Tim Edey and UK-based expat New Zealander, harmonica player Brendan Power play Notes Friday 20, supported by Jim Conwayâ€™s Little Wheel.
Still buzzing over their recent US/European record deal thatâ€™ll see their 2010 album, II: The Broken Passage, released in both territories in February, Canberraâ€™s I Exist are taking to the road on their Keepinâ€™ It Denim Tour, playing The Basement in their hometown Friday 3 February before joining the next Blood Sweat & Beers shebang at the Annandale Saturday 4.
Brisbaneâ€™s Dune Rats and Sydneysiders Sures are the supporting guests for Americaâ€™s Best Coast when they rock into the Manning Bar Wednesday 25 January.
The Choirboys continue their 30th anniversary tour with a night at Terrey Hills Tavern Friday 17 February and the Lone Pine Tavern in Rooty Hill Saturday 18.
The â€œImmersionâ€? and â€œExperienceâ€? editions of the classic Pink Floyd album, The Wall, including original demos and work-in-progress versions of the album tracks are released Friday 24 February, ten days after
His Friday 24 February show at The Standard having sold out, 360 has announced a second show there Saturday 25, supported once again by Seven and Skyâ€™High.
CROSSING TIMEZONES Having recently showcased her new songs at the Americana Music festival in the USA and gained three top ten radio hits in the Australian Country scene in 2010, South Australian Kristy Cox is launching her second Nashville-recorded bluegrass record, Miles & Timezones, back on home turf in atour with international hit songwriter Jerry Salley. Cox will launch her new album in Tamworth on Sunday 22 January at The Pub.
WORMWOODSTOCK IS GO
The first release tickets to Wormwoodstock have already sold out, with final release tickets being very limited and available until Friday 27 January. The DIY festival has now finalised its lineup which includes Scattered Order, Zeahorse, Brackets, Domeyko/Gonzalez, Nakagin, Feathers, Justice Yeldham, No Art, Proximity Butterfly, Svelt and Kris Keogh, along with acts from Melbourne label Fallopian Tunes â€“ Document Swell, Trjaeu, Wild Dog Creek, Red Hymns and Yolke. For those whoâ€™ll want to cherish their gig memories afterwards, FBi radio program New Weird Australia is supporting the festival and will be putting out a live Wormwoodstock compilation after the event. The festival takes place from Friday 27 to Sunday 29 January, in an unnamed location an hour and a half from Sydney.
W NE ION IT D E
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THE DRUM MEDIA â€˘ 23
FOREWORD LINE M A R L E Y
NEWS FROM THE FRONT
GET IN EARLY FOR PEATS RIDGE Peats Ridge organisers have announced that music lovers will be able to buy early bird tickets for the 2012 Peats Ridge Music Festival at the same price they did in 2010. There will be a limited round of tickets for the three-day festival, priced at $195 for an adults, $75 for youth and $20 for kids – plus booking fee - which works out at a 40 per cent saving on the price of a ticket in 2011. To purchase your tickets, go to peatsridgefestival. oztix.com.au at 10am Monday 16 January, but be quick to ensure you don’t miss out.
JAGERMEISTER LODGE Not quite in Germany, but it will feel close enough when Jägermeister sets up the Jägermeister Hunting Lodge as part of the Sydney Festival this year to feature one-off performances from Australian and New Zealand musicians. The first announcement includes Tim Finn, Josh Pyke, Emma Louise, Brous, Salvation Street Shout, Gramaphone Man and various FBi DJs, with more to be announced soon. These performances will be free (but subject to capacity), with the lodge to be running from January 10 – 29, kicking off at 5pm daily.
ACTIVE CHILD’S SUPPORT ACTS ANNOUNCED LA’s Active Child (aka. Pat Grossi) has announced who will be supporting him during his sideshows in Melbourne and Sydney, as part of his tour with this year’s Laneway Festival. Joining him for both sideshows will be Sydney-based folk artists Caitlin Park and Oliver Tank. Park’s debut album, Milk Annual, was released in August last year and described as neo-folk with “abstract composition and electro-acoustic stylings”, while Tank won FBi Radio’s Northern Lights competition last October, following with the release of his debut EP, Dreams. 24 • THE DRUM MEDIA
Koori Radio 93.7fm have announced their headlining acts for Yabun Festival, in Sydney’s Victoria Park this year. The one-day event, held Thursday 26 January, will feature Jessica Mauboy, Dan Sultan and Christine Anu, as well as host an array of cultural and informative events for the Indigenous community in the annual celebration of Aboriginal and Torres Strait Islander culture. Yabun Festival is free and celebrates its tenth year running, attracting 10,000 people annually.
NEON INDIAN SUPPORTS ANNOUNCED
Texas’ Neon Indian have announced who will be supporting them on their Australian sideshows, as part of Playground Weekender. The opening act in Sydney when they preform at The Standard on Friday 2 March will be innovative electro acts Collarbones and Boatfriends. Collarbones, composed of band members from Adelaide and Sydney, have been praised for their seamless combination of dreamy melodies and hip hop beats, while Boatfriends have earned themselves comparisons to electro heavyweights Seekae and The Avalanches.
LEE BURRIDGE RETURNS
Booked to play this year’s Playground Weekender, DJ Lee Burridge has just announced that he will also play his intuitive dance floor anthems and show off his skill at the last AGWA Yacht Club of the summer Saturday 25 February. Renowned for his skill and ability on the decks, the first release tickets have already sold out through Moshtix, so get that mouse clicking if you don’t want to miss him. He plays alongside the UK’s Greg Wilson, BROHN, Co Op and Mike Buhl.
Hardcore legends who’ve been gathering a
loyal fanbase around the world for over 17 years, Hatebreed are architects of positive and uplifting anthems. Already heading our way for Soundwave, they’re headlining an epic night of festival bands. Heavy metal and hardcore combiners Cro-Mags will be joining them along with highly influential and newly-reformed New Yorkers Biohazard and metal supergroup Hellyeah. The bands will play Panthers Newcastle Tuesday 28 February in an all ages show.
FEEL THE HEAT Inaugural hip hop festival Heatwave has announced local acts for the two Sydney shows taking place at The Enmore Theatre. Local performers Mastacraft, Kerser, DJ Victor Lopez, DJ Libre, Losty and Jozef & Blaze will be keeping the vibe alive before and between sets from the main acts. The two-night festival concerts boast some of the biggest names in hip hop with some that haven’t been heard from in many years, with Tech N9ne, Obie Trice and D12 playing Wednesday 18 and Kid Cudi, Chamillionaire and they of Butterfly fame, CrazyTown, Thursday 19 January. Tickets are still available to both nights.
LOCALS JOIN SLOW CLUB Slow Club have announced support acts for their local show, with Al Grigg’s (Red Riders, Straight Arrows) and Tom Wallace’s (Red Riders) new garage-pop outfit Palms opening proceedings. Along for the ride will be DIY girl/boy folk duo Achoo! Bless You, who’ve supported the likes of Passenger and Matthew Barber in recent times. The bands will come together Thursday 1 March at Goodgod Small Club. Slow Club’s latest record, Paradise, is out now via Popfrenzy.
are hinting that fans best get their tickets soon as there are only a limited number left before his show at Sydney Entertainment Centre Friday 27 January sells out. A 14-time Grammy nominee, Kanye is again nominated this year and is running against himself for Best Rap Record thanks to The Throne and My Beautiful Dark Twisted Fantasy. The legendary rapper, who recently went on a Twitter rant announcing his plans to set up a company called DONDA, is headlining Big Day Outs in Sydney, Melbourne and Queensland.
THREE JAZZY DAYS
The Jazzgroove Summer Festival takes place this weekend with 27 bands playing over three days and plenty to do in between. The festival has been continually expanding since its humble beginnings in 2010, now offering free workshops and kids programs alongside the usual nightly programming. For the first time, an opening night Q&A to take place at the Old 505 Theatre with some of the most respected members of the jazz community debating ‘The Sydney Sound’. The festival also features a Saturday afternoon of free outdoor gigs in the newly renovated Prince Alfred Park. To top it all off, the festival is offering the JARA Award, a $10,000 prize enabling the recipient to record, produce and distribute a record of new works. Check out our Blow column or the festival website for all the set times and full band lineup.
KANYE CLOSE TO SELLING OUT Big Day Out headliner Kanye West has already sold out his Melbourne sideshow and promoters
THE DRUM MEDIA • 25
NEWS FROM THE FRONT
IN BRIEF Note to Diary – Friday 2 March sees the release of the new album, Ex Lives, from US hardcore heroes Every Time I Die. Then Friday 9 March, Grinderman release Grinderman 2 RMX, featuring remixes, reinterpretations and collaborations based on the band’s second album. The Little Willies, featuring Norah Jones, will release their second album, For The Good Times, this Friday, as is the new one from Common, The Dreamer, The Believer, and the debut album, Rapprocher, from Brooklyn-based synth-pop outfit Class Actress. Also out is a double-album, Tales Of Love & Loss + Rise Up!, from SA band The Borderers. A reminder that the new album, Area 52, from Rodrigo Y Gabriela, recorded with a 16-piece Cuban orchestra, is out Friday 20 January, as is Lights Out, the debut album for the UK’s Big Deal.
MURDER BY DEATH TO TOUR
Indiana-based band Murder By Death have announced their long-awaited Australian tour. Known for their whiskey-soaked combination of punk and country music, Murder By Death released their most recent album, Good Morning, Magpie in April 2010 on Vagrant Record. They’re set to play Sydney’s Hermann Bar Friday 24 February, supported by Perth’s post-hardcore band Eleventh He Reaches London, whose own latest album, Hollow Be My Name, was released in March 2009 – making this show one that has obviously been a long time coming.
TRI-STATE TRIPLE THREAT
Three triple j Unearthed acts are joining forces and heading out on a combined tour next month in what is sure to be a fun-filled series of evenings for fans of one and all. The Triple Treat Tour will see Sydney’s Nantes, Brisbane’s Millions and Melbourne’s Northeast Party House squeeze into a tour van together and drive up and down the east coast playing their tunes and showing off their newly-developed songs. Each band will take their turn headlining the tour in their home state, so we Sydneysiders will have the pleasure of Nantes up top. The bands will hit O Party in Wollongong on Thursday 23 February, followed by Friday 24 at Oxford Art Factory and Saturday 25 at Transit Bar in Canberra.
TURN BACK TIME On Australia Day eve, Sydney’s best musicians will be coming together in a show overflowing with hits and memories as they perform in a tribute show entitled Songs Of The 60s. Musicians involved include Damien Lovelock, Amanda Easton, Floyd Vincent, Nick Meredith, Chris Alford, Lloyd H and Rob Ewan. They’ll be taking on classics from The Kinks, The Shadows, The Beatles, Rolling Stones, Elvis and the best of the British invasion. Dinner and a show are on offer for the night, which happens on Wednesday 25 January at The Basement, Circular Quay.
LIVE 16 CROSS ST BAR DOUBLE BAY
GRILL TAPAS T APA
A AND ND COCKTAILS
Heading to Australia to play CNC Rocks The Hunter Saturday 17 March, American country artist Dierks Bentley releases his sixth album, Home, Friday 3 February, and the same day sees local contemporary country singer songwriter Amber Lawrence release her new album, 3. The much-loved and much-missed Alex Chilton who, back in 1968 fronted The Box Tops but more famously went on to form Big Star, and who passed away in 2010, recorded a bunch of stuff that was eventually released in the ‘90s as the album, 1970. An expanded remastered version of that album, The ‘1970’ Sessions, will be released Saturday 21 January.
GROOVING BOOTY AT BLUE BEAT
Professor Groove & The Booty Affair will return to Blue Beat in Double Bay and take up residency this month, playing every Friday and Saturday night. Supporting their “synth funk frenzy” is soul singer Berni Love and hip hop/soul artist Don Dolla, who will be preforming acoustic sets Friday and Saturday, 12 and 13 January. Friday night will also feature DJ Tony Vass, with DJ Stephen Ferris performing on Saturdays.
WEDNESDAYS IN JANUARY
26 • THE DRUM MEDIA
Gold Coast surf punks Bleeding Knees Club release their debut album, Nothing To Do, Friday 2 March, as does Brooklyn-based artist Tim Fite his new album, Ain’t Ain’t Ain’t, while School Of Seven Bells, now also a duo, release their third album, Ghostory, Saturday 3. The 2009 American Idol winner, Adam Lambert, releases his second album, Trespassing, Friday 16 March. Expect a new album from Radiohead’s Jonny Greenwood in the next couple of months, a collaboration this time with Polish composer Krysztof Pendercki, based on the work they created for last year’s Sacrum Profanum Festival in Krakow.
Vince Jones was amazing at Blue Beat in December. Blessed with an unnaturally subtle gift for nuance in even a single note, his interpretations of other songwriters’ material never re-visit previous versions. His own songs - words and music - are inspired by his love of 60s soul music and politically aware folk and rock as much as jazz. The environmental and social concerns in his lyrics - as politically engaged as the work of any songwriter in the world today - ride on a deeply swinging or grooving rhythm, and the effect is astonishing. And what a band, Matt McMahon (piano), James Muller (guitar), Simon Barker (drums) and Ben Waples (bass) are so in sync they can tear it up and lay right back within the same breath.
Funk, soul, boogie and dance grooves every weekend in January - a guaranteed 48 Hours of Raw Funk Power starting 10pm Friday nights and ﬁnishing late and sweat drenched in the small hours of Sunday morning. With a stellar selection of guest singers and musicians every week. Can you handle it? Three long sets from 10pm til 2am. This Fri 13 and Sat 14 featured guests are the sensational Berni Love (think Duffy, Alicia Keys, Amy Winehouse) and Don Dolla doing an acoustic soul set and guesting with the Booty crew alongside the Professor, Josh Beagley, Michael di Francesco, Terepai Richmond, Rich Sanford and more. On Fri 20 THE HANDS will guest, book now.
THURS 12 JAN
WITH SPECIAL GUEST FOR THIS SHOW
Tease, Torch and Noir set in a lost twilight Los Angeles Sin Alley of 1947, a live Noir Movie Cabaret Revue featuring Liliana Scarlatta and a selection of guests, including Sally Street, Frank Bennett and Koop Kooper.
Out Tuesday 17 February sees the release of fourth album, Plumb, from the UK’s Field Music, the Epitaph debut, On The Impossible Past, from Soundwave 2012 visitors The Menzingers, and also the second album, La Bala, from Latin America’s leading MC, Ana Tijoux. Then, Friday 20 February, New York City combo, Sleigh Bells, release their second album, Reign Of Terror.
PROFESSOR GROOVE & THE BOOTY AFFAIR
SUBTERRANEANS & THE BLACK DAHLIAS
Technical death metal four-piece, Psycroptic, release their fifth album, The Inherited Repression, Friday 10 February, as will Ben Kweller his latest album, Go Fly A Kite, on his own label, The Noise Company, distributed locally by Shock, and the new album from Silverstein, Short Songs, while also releasing that day is a DVD, Owl City – Live From Los Angeles, from Owl City AKA Adam Young.
Pet Shop Boys are releasing a new compilation of B-sides titled Format Friday 3 February, with a few bonus tracks included. The same day sees Goldfrapp release The Singles, which will include two new songs, and, as well, the new one from Ruthie Foster, Let It Burn, with special guests the Blind Boys Of Alabama.
THURSDAY 19 JAN
James Muller, James Ryan, Steve Hunter and Gordon Rytmeister with special guest Rai Thistlethwayte “One of Sydney’s strongest live acts”, “Wicked funk, pile-driving rock or loping reggae underpin their lucid or sinuous melodies” (John Shand, SMH)
FRIDAYS AND SATURDAYS
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Keystone Festival Bar Hyde Park Barracks Museum. January 8-28. 14 nights | The hottest live bands and DJs January 11
DAN DEACON ENSEMBLE & JOHN MAUS January 12
SONS AND DAUGHTERS, SONGS & THE LAURELS January 13
FBi NIGHT: SHABAZZ PALACES, TAYLOR MCFERRIN & SHANGAAN ELECTRO January 14
PICNIC: ANDREW WEATHERALL & NEVILLE WATSON January 18
SO FRENCHY SO CHIC: ASA & FEFE January 19
SO FRENCHY SO CHIC: NOUVELLE VAGUE & MORIARTY January 20
FBi NIGHT: TUNE-YARDS & JONTI January 21
THE WHITEST BOY ALIVE & NEW NAVY January 25
MAD RACKET: PEVEN EVERETT January 26
THE PEDRITO MARTINEZ GROUP & WATUSSI January 27
THE STEPKIDS & ELECTRIC WIRE HUSTLE January 28
FUTURE CLASSIC: DJ KOZE & PRINS THOMAS Sydney Festival: 1300 668 812 sydneyfestival.org.au/keystone
THE DRUM MEDIA • 27
CIRCLE OF LIFE
MERRILL GARBUS HAS COME A LONG WAY FROM HER SISTER SUVI DAYS. SHE EXPLAINS TO BRENDAN TELFORD HOW PERFORMING UNDER THE MONIKER OF TUNE-YARDS HAS DEFIED EXPECTATIONS IN CONNECTING WITH A WIDER AUDIENCE WITH ITS POSITIVE EXPRESSION OF LIFE.
hen loops constitute a major contributing factor in an artist’s musical oeuvre, one becomes increasingly wary about the value of that artist’s output. It is incredibly difficult to use loops in a continually meaningful manner without the process overshadowing the music being created. Furthermore, when these loops are being created live on stage, rather than being pre-processed, the possibility of creative implosions rises exponentially. Not so with Merrill Garbus. The diminutive musician started out carving a musical name for herself as part of avant-garde act Sister Suvi, whose swansong, Now I Am Champion, provided the perfect launch pad for heading out on her own. Going under the guise of tUnE-yArDs, Garbus utilises the auxiliary percussion and intertwining vocal harmonies of her former band and morphs them with her own boisterous, largerthan-life aesthetics. Debut album, BiRd-BrAiNs, whilst harbouring lo-fi inflections, introduced the ukuleleplaying, vocal-looping Garbus in her own right. W h o k i l l, the critically acclaimed second effort, heightened all of these elements, cleaned up the production and added more of that playful, adventurous exuberance, showcasing an artist comfortably inhabiting her own world whilst excitedly inviting the world to join in. The way that tUnE-yArDs burst onto the scene with such a unique way of constructing songs, accentuated by the way in which Garbus, along with her partner in crime Nate Brenner on bass, performed the songs on stage, is something that blindsided many musical pundits. Yet rather than become a colourful anomaly on the music scene, the introduction of w h o k i l l in 2011 highlighted the longevity and myriad wonders that such an approach to creating music can perpetrate. Garbus accepts that clearing out the clutter and upping the production values has had a massive influence on such conceptions. “I have always tended to make music that sounds like my life at that very moment,” Garbus admits. “So with [w h o k i l l], everything that came before it and because of it, my life was a bit chaotic, so I wanted that aural chaos.” The continuous chaos that surrounds constant touring added the colour to the album, as Garbus became more comfortable with the nature of her music in a live environment. “There are songs that we performed so often on the road – like Bizness and Powa, Es-So – and these songs made all the difference in the sounds between the two albums. I had been living with those early songs for years, so when we went in to record the first album it was very quick. I had played and rehearsed those songs so many times I knew where everything fit. So after that everything got crazy and it came time for the second album – and it wasn’t that easy. Second albums, man… the second album kind of defines who you are. Whatever everyone gets out of the first album, 28 • THE DRUM MEDIA
you spend the next one either saying, ‘No, no, no that’s not me, this is me’ or saying, ‘Yes, yes, yes, this is me, no matter what’ – and deciding that can be stressful. So w h o k i l l became this notion of trying to be honest about what it was that I wanted to hear; what was most comfortable for me when playing on tour, after so many shows what was the natural progression of things.” The sudden hubbub surrounding Garbus after the leftfield success of BiRd-BrAiNs forced certain changes as, rather than being an unknown quantity, there was a heightened level of expectation hovering over her next release. Changes included the move to California from New England, another contributing factor to the more overt tones on display in the new songs. “All of these factors affected me. When I moved, I left this community that had nurtured me as tUnE-yArDs up until that point, so it was a somewhat traumatic time and there’s no way that that kind of turmoil doesn’t turn up in your music. And there is that inherent notion of having a rebellion against expectation, a rebellion against the fear of rejection also: ‘So what if you don’t like my music? So what if you don’t like my second album?’ So I think there is an element of that attitude there. In the end of the day this is my music, this is what I’m trying to do with it, and too bad if you don’t accept it.” Whilst such a stance could appear belligerent, it becomes evident that Garbus has never considered popularity and acumen as part of her tUnE-yArDs journey. Thus the accolades still sit awkwardly with her. “I didn’t
that I thought that these songs were worthy of many people’s ears – not just the chosen few – and there is a lot about my personality that made that very hard.” TUnE-yArDs then is a performance, an artistic styling that acts as an extension of the mores that drive Garbus’ life. In the live arena, Garbus often adorns herself with face paint; her strong, boisterous voices echoing out over the crowd like a war cry, an outpouring of expressive emotion that encapsulates the person on display as opposed to a woman playing music. “Hey, if you want to buy that, then I am,” Garbus laughs. “To be truthful, I think that is a hard thing to allow, for musicians to just be. I think that pop culture in general wants it to be about the musician, asking what do you think and what happened to you in your life. It’s almost gossipy in that fashion. I’d much prefer it for people to say, ‘Thank you for celebrating life’ or ‘I’m enjoying this music along with you, I enjoy consuming your music.’ It’s a subtle difference in some respects, but I would love if my music could be seen as an expression of life and all the complexities of life and go beyond just my own personal experiences.” Therefore, the performance itself is the focus, not Garbus, who often disappears inside the music only to watch how the audience interacts with it. “That’s a very Brechtian notion, the idea that the performer is not consumed or caught up in what is going on onstage, but is there for a purpose and that is an interesting notion. I’m just as much a tool that opens things up for
I WOULD LOVE IF MY MUSIC COULD BE SEEN AS AN EXPRESSION OF LIFE AND ALL THE COMPLEXITIES OF LIFE AND GO BEYOND JUST MY OWN PERSONAL EXPERIENCES.”
expect this. This isn’t exactly what I wanted. However, through that I think my expectations have changed too. This is an interesting thing, because when I started I had no expectations of making money out of this and I held the expectation that only a handful of people would like what I do. I think that as you grow as I have been growing as a musician and in finding my own voice, I’ve had to expand my definition of what a handful of people is. There’s a lot more people out there than I thought. So I had a choice of saying, ‘I wanna be the kind of musician that is referenced in music by music snobs, only the trend makers are aware of it and even they are afraid to put it anywhere in the mainstream.’ I have a choice of action now, I think. I wanted to stretch myself beyond those kinds of thoughts and I wanted to be clear
everybody – a lot of the energy goes into watching things just happen. That said, there are days when all I want to give is a straight up rock’n’roll show too.” Garbus’ performances are neither arbitrary nor completely intuitive and spontaneous however. To ensure that every night produces a powerful set, there needs to be a great deal of confidence in every facet of the routine, regardless of whether the music is an extension of the self or not. “There is a lot going on, for sure. When it all started I wanted to see how far I could push things. Onstage I’ll be playing instruments, looping sounds, looping my voice, interacting with the crowd – I have to practice like crazy to make sure that everything is just so, you know? Rehearsal rules most of my life. The amazing fact about art for
DECIPHERING THE CIPHER Much has been made about Merrill Garbus’ musical moniker tUnE-yArDs. And whilst the meaning behind the name is relatively straightforward (“I wanted to stand out of the crowd”), it is the stylisation that has confused most people. Or more specifically, the use of capitals, with many staunchly vouching for tUnE-yArDs as being the true aesthetic spelling. Regardless of the individual’s preferences when spelling her name, Garbus knows that the oddlycapitalised type will leave an indelible mark. “It was something that started so long ago and I still get a kick out of how people abide by it in a way. In the beginning I was using it as an attentiongrabbing device for my MySpace page – how time flies! – and when there are all of these people getting excited about this girl who capitalises her name in the way that she wants to, there is some sort of weird satisfaction from that. And whilst I don’t mind whether people spell it my way or the ‘normal’ way, but it actually means something to me. It isn’t arbitrary; there is something in it. It’s weird when people take offence to it – and believe me, there are a few – either by saying that it’s an attention-grabbing device with no worth to it or that it is some kind of cutesy ploy to garner attention… I don’t know. I think that the fact that it irritates as much as connects with someone is therefore getting the desired effect. Whilst it means something to me – and I used it as both an aesthetic feature and as something that defines me and what I do – the fact that it irks people means that it is still garnering attention. People aren’t likely to forget that first impression when they read the name. Plus I think it looks nice! Someone actually told me recently that they are trying to establish a typeface which chooses lower case or higher case letters depending on what looks most aesthetically pleasing, so I’m not the only one apparently.” me is when people attempt to create something that has never existed before, everyone looks on and thinks that what they have then achieved is the impossible. Nothing is ad-libbed, my music as a performance is fairly rigid. I’ve created it in a certain way, so to play it every night it has to become automatic. When it is automatic, it is comfortable and I can slide into the music and inhabit it. So that Brechtian idea flows throughout. I choreograph to within an inch of my life.” WHO: tUnE-yArDs WHAT: w h o k i l l (4AD/Remote Control) WHEN & WHERE: Wednesday 18 January, The Famous Spiegeltent; Friday 20, Keystone Festival Bar
SECRET AND COSY AT A POINT IN HER LIFE WHEN RAISING TWO CHILDREN HAS MADE HER BUSIER THAN EVER, SINGER BETH ORTON TELLS TYLER MCLOUGHLAN THAT STEALING SMALL POCKETS OF TIME HAS FINALLY LED TO HER FIRST ALBUM IN FIVE YEARS.
ritish songstress Beth Orton has largely kept away from the spotlight since last visiting Australia in 2006. From Portland, Oregon she reveals that the time has been spent productively. “I’m actually here recording my record,” Orton admits cheerily before shying away from any direct lines of questioning about the forthcoming release. “I feel a bit superstitious about talking about the record – it sort of feels a bit toxic,” she suggests before saying that the male voice yelling out in the background is actually her boyfriend making it known that it’s “top secret”, this business of her new record. She won’t even dish up the name of the producer, though a quick internet search highlights Tucker Martine (The Decemberists, Laura Veirs, Sufjan Stevens) as the likely candidate. Due for release some time this year, the new record will be Orton’s first since Comfort In Strangers in 2006. In the midst of putting her four month old son to bed as she speaks, it becomes clear why this release hasn’t appeared earlier. “He’s all cryin’ and snotty and got a cold,” she winces, though, surprisingly, the daily trials of family life have afforded her a newfound creative space. “It’s a paradox – I actually feel in some ways that I’ve done more… I feel like I’ve done a lot more writing than when I was always on the road and I was always doing interviews or this, that and the other. I’ve just written more and worked harder on my guitar playing.” Orton has no idea how she’s accomplished this, considering there’s more on her plate now than ever before. “Well I don’t know,” she exclaims with genuine wonder. “With my daughter it was literally like I’d put her to bed and I’d write songs and I found it so magical to put her down for a nap and then go upstairs in the quiet of the night and just know she was sleeping and know that I couldn’t make too much noise. It was just something quite sort of intimate. I don’t know – it just felt a bit magic for me in doing that. It just felt quite special and sort of secret and cosy. It would be like strange hours as well because she would be awake at ridiculous o’clock and you’d think,
‘Oh fuck it, I can’t go back to sleep now,’ and then I’d just do a little and it’s accumulated over the years.” Orton also used the time to really get inside her songwriting process, to assess, deconstruct and rebuild. “It felt like a good time to reassess and just stop. I suppose it happened all at once really and finding myself with a baby – I always just have to sit there quite often for a long time feeding or whatever and I just started to think about what it was that mattered to me and what I did. It was at the same time as meeting [late Scottish folk legend] Bert Jansch and starting to play with him and it all sort of happened at once. I knew that what I wanted to do was for it to be about the songs I write, I suppose and about… I don’t know. I just reassessed it and this is what happened I think, in a funny way. It made me more excited about what I do.” Orton is clear though that it was not a process of wanting to change her style. “I feel in a way that I just wanted to distil what I do and it’s not like I wanted to change what I did – I just wanted to get deeper. So it wasn’t like reinventing the wheel or anything, it was just like, ‘Hmm, here’s what I do, where do I go with it next?’ “I feel really excited actually,” she giggles. “I feel excited, but I feel a bit sad because we’ve just left the studio and we’re not going back until after Christmas. But yeah, I do – I feel like it’s interesting. I said to someone the other day I feel like it’s taken me, you know, fifteen years to make this record in a way ‘cause I feel like it’s the record I’ve been working towards since I started making music in a way… It’s really, really amazing!” she gushes before quickly realising she’s loathe to jinx the record. “I don’t wanna talk about it!” Collaborating with Jansch for tracks on his 2006 release, The Black Swan, Orton then began returning for weekly lessons with the guitarist she had originally wanted but couldn’t arrange for her first record, Trailer Park. “I would sit and we’d play guitar together. And I felt nothing was happening, other than this extraordinary experience of being with him, but I didn’t know if anything had changed in me, if you know what I mean?
That sounds like a really strange way of looking at it, but I felt like I made an incredible friend; I learnt about tunings, I learnt about others singers, I learnt about his way and I felt very challenged by playing with him; it really, really stretched me. But when I’ve come into recording this record, I’ve gone, ‘Oh my goodness it really did change me and it really did change how I write.’ It affects how I play, it’s affected so much and it happened I think very slowly and subtly.” She admits feeling blessed to have spent so much time with her recently passed mentor. Having recently turned 42 with an accomplished career that has seen her collaborate often with artists from William Orbit and Chemical Brothers to Beck, it’s refreshing to hear Orton is not beneath seeking lessons. “God knows I need all the help I can get – [I’m] always eager to learn more,” she says seriously. Visiting theatre-styled venues across Australia this month, Orton could have set her sights higher in terms of capacity but has found the personable format works better for her. “The gigs I have done in the last five or six years have been very intimate; small.
I think for me what’s become quite essential with what I’m doing is this feeling of connecting with people and really having the songs heard, the voice heard – stripping it down to the bare bones, without sounding like a cliché. For me I suppose it’s become about the essentials and I just find that to be the most interesting and exciting way of performing.” Learning of her first pregnancy on her last Australian tour and subsequently cancelling the rest of her UK dates for that year and stepping away from any major touring until now, Orton is feeling slightly sentimental about the trip. “I love it there. I can’t wait – I really can’t wait. It’s such a treat and just to be starting this new era there feels quite poignant and, I dunno, it just feels really good.” WHO: Beth Orton WHEN & WHERE: Tuesday 17 & Wednesday 18 January, City Recital Hall
SUPER LONELY STYLE SNUFF OUT THE NAG CHAMPA. JULIANNA BARWICK IS MAKING ‘NEW AGE’ EDGY, RELEVANT AND UNFORGETTABLE AS KATIE BENSON DISCOVERS.
e’ve all come to accept ‘folk’ music as being a part of mainstream music nowadays, but the term ‘new age’ still has most people either diving for the off button or scrounging for their yoga mat. American Julianna Barwick is, essentially, new age. Her music does not focus on lyrics but rather a haunting shimmer of feelings created by vocals and instrumental loops. Listening to Barwick’s latest album, The Magic Place, is almost a spiritual experience and, rather than being background filler, her contribution to new age is completely captivating. Barwick’s experimental soundscapes have brought comparisons with ‘90s siren Enya, but her music is far less earthy than that of her genre predecessor. Ethereal and warm, listening to The Magic Place is like attending church, as Barwick layers vocal tracks one on top of the other until it sounds as if you’re listening to a choir singing wordless hymns. This choral sound is something that sprang from Barwick’s upbringing in the American South, where she and her family attended church three times a week. “I just love the sound of a bunch of people singing together, especially when there’s great acoustics and reverb, so I think that’s why I’ve ended up making the kind of music that I make. Even though I’m making that sound artificially, with the pedal and the loop stations, there’s just something about it that’s so warm and moving,” Barwick explains. “I grew up singing at church three times a week, probably with 200 or 300 people singing songs with no instrumentation and it’s always been instilled in me, singing in choirs; it’s something that has a really unique sound and feeling for me. I remember being in church and some of the hymns we were singing would be so heavy emotionally and I always really felt that. I fiddled around with electric guitar and all those kind of things, but once I started messing around with the looping – once I could create that feeling so easily just singing into a microphone and using a pedal – I was totally hooked.” Growing up, Barwick had turned her hand to various instruments, such as the clarinet in primary school and the guitar in high school, but her attempts at writing music with these instruments left her cold. It wasn’t until 2003 when she borrowed a friend’s guitar pedal and started looping vocals that she felt she was onto something. In 2007, she released her first album, Sanguine, a small release that focused heavily on this vocal technique and found critical
success on both sides of the Atlantic. She has since gone on to expand instrumentally, complementing her haunting vocals with piano, guitar and percussion loops. “I usually start writing by making a loop spontaneously. Nine times out of ten it’s just me plugging in all my stuff and messing around with different vocal effects that I haven’t tried before. So last year when I started working on The Magic Place, I had all these recordings laying around... and I just got to work on finishing all of them. I record with the same thing I perform on, I make the loop and then I add them on my computer and, you know, I add a vocal line or piano line, or drums here.” One element of Barwick’s music that hasn’t changed over the years has been her minimal use of lyrics, which is a fact unlikely to change. “I have a real appreciation for anyone who can write great lyrics. I’m not one of them. I’ve never been able to commit lyrics to a whole song; it just makes me cringe. In 2003/2004, I was performing with friends and I would play solo... but I never really committed or got too psyched about that. Things changed when my friend let me borrow a guitar pedal and if you held it down you could create a loop. I started playing around with it and fell in love with it. It agrees with me creatively. With the guitar stuff, especially trying to write guitar songs, I just couldn’t do it, I was really bad. This was just something I really enjoyed.” Barwick says that the creative process for her is usually a lonely one. “I don’t like being looked at when I make music. All three records I’ve made now have been essentially bedroom recordings. I mean, yes I used a space for this last one, but it wasn’t like a studio. Up until now everything I’ve made has been super lonely style – just me being in control of everything. I recorded it, I sang all the parts, I played all the parts and then the guy mixed it.” Despite her discomfort at being surrounded by others when she’s creating, Barwick sees performing live as an entirely different beast. She toured through the European summer and found billing on several festival lineups including Pitchfork, Hopscotch and Gorilla vs. Bear. Critical reviews of these shows list Barwick as being “completely enthralling” and “rich, complex and lovely”. “Performing is completely different. I feel the two things [recording and performing] are hardly related; they’re
from a completely different headspace. When I’m recording it’s so free and it’s just whatever wants to come out comes out. But performing is obviously completely different, there are lots of variables like the room, the equipment, the sound guy. I’m depending on a lot of things to have a decent show. But I used to perform in talent shows all the time... so I don’t ever really get nervous, it’s just kind of an easy thing.” After each tour, Barwick returns excitedly to her Brooklyn home, a place so different to the homes of her childhood, but the place that ultimately provides her with the most inspiration. “I lived in a small, small, small town in Louisiana ‘til I was about five. Then we moved to a different state and then to a different one before I came to New York. I moved to New York to do something interesting and living here makes me want to keep on trying to do something. When there are so many people around you doing their art or doing their design, it’s super inspirational. I definitely think where I come from, being from a small place, has definitely made New York seem all the more magical and
has really motivated me in the last decade of living here.” Beyond promoting this album, Barwick is looking forward to expanding her rather intimate writing and recording process. With each album, she becomes more confident with her instrumental ability and lately her love of the piano, which she can only play ‘by ear’, has taken a firm hold. She hopes to one day take her rich musical landscapes to the big screen, diving into the world of film scores. But perhaps before this dream comes to fruition, Barwick is looking to expand into the world of collaboration. “It’s hard [collaboration]. I’ve never done it, but I’m definitely open to it. I think that it’s definitely going to happen sooner than later and it will be a really interesting thing because I’ve been so solitary so far.” Julianna Barwick WHEN & WHERE: Sunday 15 & Tuesday 17 January, The Famous Spiegeltent THE DRUM MEDIA • 29
REARRANGING MINDS MILES KANE MAY NOT BE A HOUSEHOLD NAME HERE YET, BUT HIS CONFIDENCE WOULD SUGGEST OTHERWISE. HE TALKS OF SHADOW PUPPETS, HIS MATE ‘AL’ AND THE GIG ITCH WITH SEVANA OHANDJANIAN.
ou would be forgiven for not knowing Miles Kane’s musical background, considering his successes have pertained mostly to the far off lands of Europe and the UK so far. Despite having been a guitarist in The Little Flames and frontman of The Rascals, he’s still best known as Arctic Monkey Alex Turner’s other half in The Last Shadow Puppets. No surprise then that his inaugural visit to Australia (he’s a self-proclaimed ‘virgin’ to our shores) is as special guest on the national Arctic Monkeys tour. He’s the first to admit the fringe benefits of touring with your buddy. “Well, you know, Al’s [Turner] me brother and we enjoy hanging out,” he says. “The tour is a good way for us to hang out because we’ve both been busy. And it’s a great night of great music; it’s a rock ‘n’ roll night. [This tour] has just come from that, us just having it.” Kane’s debut solo record Colour Of The Trap has helped him step out of the, erm, shadow of his pal Turner in the UK, where it charted at number 11 upon release. “It’s been a great year,” admits Kane. “In England and Europe it’s grown a lot this year and it feels fucking great where it’s at now, so we’re really excited to spread the love really and build that army bigger and get to come over to Australia. I’m excited because I don’t really know what to expect and I hope the people dig it there.”
may be. Wherever it is, it’s always the same each night and we’re just excited to be spreading it really.” There’s not a hint of weariness in sight from a man who’s spent the better part of the last year touring constantly in the Northern Hemisphere. He speaks of performing live as if it were ritualistic release. “I lose me mind on stage now. It’s the best feeling ever, I fucking love it,” he admits. “If I don’t do a gig for a couple of nights, I’m itching. That hour or half hour before, you get those sort of butterflies, but I just want to get on there and fucking rock it.” With this kind of braggadocio it’s unsurprising to note that the Liverpool lad has opened for both Beady Eye and Kasabian, no small feat after spending a couple of years hidden away after the success of The Last Shadow Puppets’ The Age Of The Understatement. “I didn’t do a gig for nearly two years, from finishing touring Puppets and Rascals and then I had a blank canvas,” he recalls. “So it took me a while to get back into it, because I didn’t want to do a gig until I’d recorded the record, ‘til it was all done and dusted, so you weren’t doing songs live that weren’t making it onto the record. It takes time. “I wanted to find what my sound would be because then you can go out there and you can enjoy it. It did kill me not doing gigs for that long, or even not doing an interview or a photo. I love all that goes with it.”
Though don’t fear, Kane is taking it all in his stride when it comes to winning over the local crowds when he hits town. Speaking about transitioning from playing to adoring fans to a crowd who may never have heard of him before, he’s animatedly confident.
The resulting sound is a melding of catchy choruses, melodic guitar riffs and a penchant for poetic pop songs. Though the songs often give off an air of simplicity, Kane explains that it’s not always as easy as grabbing a guitar and writing a tune.
“It’s a whole new challenge; it’s exciting,” he says. “It gives you another lease of life as well. The thing about it all is that you know you’ve made a great record and you know that you love all those songs on that record and all the b-sides and whatever we play live. I love them so much and I’m not bored at all. It’s a pleasure to play those tunes every night, whether it’s in England or Australia or Europe or wherever it
“With the song Rearrange, that came from three demos. Halfway through recording there were so many songs and so many ideas knocking about and that tune stemmed from… I had that guitar riff – the main riff – on this one song and I had a song called Let It All Out, which is the pre-chorus and then the [sings] ‘Rearrange my mind’ in another tune, which wasn’t even the chorus,” he says.
“And then we were just sifting through those bits, that riff – the [sings] ‘Let it out, let it out’ – is really strong and then ‘Rearrange my mind’ is boss, so I just put them together over three chords really simply and wrote some lyrics for the verse and that’s how that song came about. I’d never really worked like that before. It opens you up to a whole new way of working. I think now you can probably tell from that song, it’s so strong but so simple.” Kane’s had to take on a new role besides rock star since his record took flight: that of pop heartthrob. It’s easy to see why teens are obsessively writing on the official Miles Kane forums or spending hours Tumblr-ing pictures of him. Just check out his chic and tidy video for Rearrange and it becomes clear. “It’s a very sharp and simple video, isn’t that?” says Kane. There’s not much to it, but it proves that Kane’s ‘60s inspired music is reflected in his pristine
grooming. Turns out he’s well-versed in fashion too. “I’ve always loved clothes since I was a kid, whether it’s a leather jacket or just a top or a suit, so for this record a couple of years ago I just wanted to sharpen up even more,” he says. “I really got into this French singer called Jacques Dutronc and also Serge Gainsbourg and the way they always looked so fucking cool, it had a big effect on me. I think that combined with the mod scene of The Jam and the sixties stuff and putting your own stamp on it, it just sort of felt right for me.” WHO: Miles Kane WHAT: Colour Of The Trap (Columbia/Sony) WHEN & WHERE: Thursday 12 January, Hordern Pavilion; Friday 13, Enmore Theatre
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THE BASEMENT INTRODUCES… RIGHTEOUS VOODOO + FEMME DE FUNK Join us for The Basement debuts of these two extraordinary and deeply funky young Sydney bands. Both bands feature strong female vocalists belting out beauty above solid, groove-ridden rhythm sections. Wonderful!
ARABESK + GLENN CARDIER Australia's leading gypsy soul band lights up The Basement with an extraordinary musical brew made from the sounds of Eastern Europe, Turkey, and Italy -- all with echoes of Django Reinhardt, Stanley Clarke and Astor Piazzola. Plus: Glenn Cardier laconic, absorbing, wonderful troubadour!
TUBA SKINNY (USA) Hailing from New Orleans, and harking back to the days of Dixieland and the vibrant blues music of the twenties and thirties, Tuba Skinny is an amazing seven-piece brass band. Comprising tuba, trombone, cornet, guitar, tenor banjo, vocals and washboard, the band evokes the rich musical history of the city. A must for swing dancers!
INDUSTRY: HOUSE MUSIC TO THE MAX Join red hot spinners DJ Openmix and DJ Luken for a journey through the history of house music. Electro funk soul fusion blends into a chronological journey through house, from elemental to jazz to progressive to minimal. A big night for electro-fans and dancers.
ALPHAMAMA AND FRIENDS in EVERY WOMAN: a celebration of Chaka Khan and the contemporary soul sisters From the team that brought you the stunning Amy Winehouse show in November comes this next offering - a night of soulful sounds from some of the greatest divas of the 80s - Chaka Khan, Whitney Houston, Anita Baker and Rachelle Ferrell. Alphamama heads another line up of spectacular singers including Billie McCarthy, Iny, Milan and Mekleit. With Danny G Felix on the keys and leading the band, expect hit after glorious hit.
SINGER SONGWRITER CONTEST GRAND FINAL Kl\j[Xp#AXelXip(.
WORLD IN THE BASEMENT Join us for our ever-popular monthly showcase of Australian world music artists. A marvelous night, curated by iHearMusic.com.
VELVET AND GRAVEL: PUGSLEY BUZZARD (AUS) + LISA OTEY (USA) Velvet and Gravel is a dynamite night of boogie and blues piano, featuring the sultry voiced boogie piano sensation from Tuscon, Arizona, Lisa Otey, who is teaming up with local gravel-voiced luminary Pugsley Buzzard.
:fd`e^Jffe9ffbEfn0),().0. K_lij#AXe(0 – THE CAMBODIAN SPACE PROJECT (CAMBODIA) =i`#AXe)' – JAMES MORRISON, JXk#AXe)( – BACK TO THE EIGHTIES!, Dfe#AXe)) – CASS GREAVES ALBUM LAUNCH Kl\#AXe)* – ANIKIKO, N\[#AXe)+ – SONGS OF THE SIXTIES, =i`#AXe). – FELIX REIBL
THE DRUM MEDIA • 31
SAILING THROUGH THE STATIC BALTIMORE HAS NURTURED A PENCHANT FOR SKEWED, ECLECTIC YET ELECTRIC MUSICAL STYLINGS OVER THE PAST DECADE AND THE CARTOONISH ALCHEMY OF DAN DEACON IS FIRMLY ON TOP OF THE HEAP. HE WIELDS HIS MAGIC WITH BRENDAN TELFORD, BATTLING ELECTROSHOCK, SPONTANEITY, DENNIS HOPPER AND CHIN SCRATCHERS.
an Deacon is a true original. Hovering over his plethora of pedals and samplers like a maniacal human embodiment of Dr Marvin Monroe, Deacon has crafted his surreal party dance trips around the euphoria that accompanies a flight of fancy and distilled this notion into song form. His previous two albums, 2007’s Spiderman Of The Rings and 2009’s Bromst, valiantly attempted to capture the magic that Deacon creates, yet it is in the live format that he truly shines, crafting an awe-inspiring immersive performance that incorporates every member of a sweaty, captivated audience into a Pied Piper of Hamelin-type sense of mass hysteria. Yet the man behind these boisterous and kaleidoscopic sonic vistas is far from being an overt misanthrope – if anything, he truly aspires to be like the scientist, slaving away in his laboratory looking for that one drop of elixir that could save the musical world from itself. However, Deacon is quick to distance himself from almost every label that people may give him – including his own bio. “Electro-shock artist – really?” Deacon laughs. “That’s terrible! I can’t imagine anyone calling themselves that, can you?” Busy recording the next album, the new material is Deacon’s attempt to marry the pop music cohesion of Spiderman Of The Rings with the lusher production of Bromst, a process that has required some deep reflection. “I was eager to take on both records, rather than just building on Bromst, because I feel like there are elements in both that are equally important and should be together. Bromst really lacks a pop sensibility, although that wasn’t really the purpose, yet Spiderman… had those singular tracks that really appeal to me, but was less refined. But some of the songs had the same meat as Bromst, you know what I mean? So for this record I went back and worked out what was lacking in both records and what their strengths were to me. As a composer I had to actually decide what I was trying to do with this record, what I wanted to say. I finally realised that there was no reason to shy away from pop music, that I should dive
headlong into it. It came down to the first half using pop as a base then trimming the fat, then the second half is a purer extension of Bromst – a twenty-minute piece split into five movements, all very lush and lacking that pop structure that is set up in the beginning. Having both on the one record seems like a true reflection to me.” It’s clear that the music Deacon constructs is carefully thought-out, with nothing left to chance. Yet the electric live shows suggest much spontaneity in the hectic nature of the music. This idea isn’t entirely true, however, especially when he has a backing band in tow. “I would say that a large majority of the music played on stage is pre-composed; there is not much room on stage for anything spontaneous to happen. That’s the music side of things – it is the performance where a lot of the improvisation can come in. I used to think about it a lot more when I played solo, like how I would bring something into the mix and where in the set, how would it all translate live, so the whole thing, performance and all, was kinda set in my head like a setlist. I don’t do that anymore. It’s not a great way to write music, to wonder how people will interpret it, or how I can help them interpret it. That in itself becomes staid; unreal. I’m not a practical person, so I don’t see why my music should be practical.” That said, it can be incredibly difficult to traverse barriers that are set up by an audience unwilling to become active participants in a musical performance, with many people much more concerned about image and how they may be perceived as opposed as losing themselves in the moment. Deacon upholds that the magic potion can be gleaned from one simple fact. “Years and years of practice,” he laughs. “It takes a lot of experience and experimentation to get the chin scratchers to take their hands off their chins and get them up in the air. Factor in hitting the road a lot, playing to different crowds with different types of people... Especially in the early years when the shows were empty, it was difficult to get people just to come. I remember one time when I opened for Gang
Gang Dance in London and it was probably the most I’ve ever had to work to get an audience to dance. They were just not having it. They didn’t get it even. And whilst I’m so fucking glad I’m not in that situation anymore, it was fun for me, to challenge me, to make me twist around and see in what ways I could knock down these walls. And that show was also the last time I felt that performing was a battle. Since then I have worked most audiences out and that is a great feeling – it feels like I’ve won, you know?” The Ensemble that will be tagging along with Deacon on this tour features some heavy hitters from the Baltimore scene, such as Denny Bowen from the now defunct Double Dagger and Zomes’ Jordan Casey. With other bands such as Future Islands and Ponytail also garnering acclaim for their eclectic takes on pop, the atmosphere instilled is the perfect one for Deacon to work in. “I definitely believe that Baltimore has really helped to foster what I do,” he agrees. “Such an environment is always going to be helpful as an artist and exciting as a lover of music for sure. And having these guys along for the ride really changes things a lot. I have to focus in a different way; I need to think about missing a cue. The drummers are playing parts that I wrote for a computer, so hearing it live I feel the energy is more acute and I can feed off that. There’s more vitality to the sounds, the songs are allowed to breathe more. It adds a more human nature to something
that is synthetic – I really enjoy playing in this way.” Deacon makes unlikely connections, as has been witnessed recently by his collaboration with Francis Ford Coppola on the maestro’s latest film, Twixt. Although due to the incredibly bad static that has echoed constantly down the line during our conversation, he jovially embarks down another path. “How did Dennis Hopper come about? Well, he was born some time ago, he rose up as an actor and he directed once in a while... Oh, Coppola? He heard me on NPR [National Public Radio] over here and he wanted to meet me. We really saw something in that everything over here is so mass-produced and large and chemical – and we needed to reject that. So I was building the score for Twixt as a composer or conductor might, in that he would be re-editing the film live every night and I would be re-scoring the new edit, so that every time you saw the movie it was totally different. Such an organic way of working... I’m going to be touring with the movie next year, scoring it live, so that will be another way WHO: Dan Deacon Ensemble WHEN & WHERE: Wednesday 11 January, Keystone Festival Bar
MR MYSTERIOUS OVER THE PAST FIVE YEARS, DINOSAUR JR’S J MASCIS HAS GONE INTO CREATIVE OVERDRIVE – RELEASING MORE THAN FIVE ALBUMS IN AS MANY YEARS. MATT O’NEILL CATCHES UP WITH THE ALTROCK VETERAN TO SEE IF HE’S BECOME SIMILARLY PROLIFIC AS A CONVERSATIONALIST IN THE INTERVENING YEARS. HE HAS NOT.
mainstay within alternative rock for the better part of 30 years, Dinosaur Jr’s J Mascis has nevertheless managed to maintain a considerable sense of mystique over the course of his lengthy career. Each and every article written on the man since Dinosaur Jr’s mainstream breakthrough in the early-‘90s has contained some form of psychoanalysis – whether an investigation into his conduct as a musician, an interviewee or both. Most discussion tends to oscillate around the guitarist and vocalist’s conduct as an interviewee – Mascis long known as one of the most reticent conversationalists of his genre. Regardless of question or topic, Mascis is unlikely to deliver anything more elaborate than a sentence or two in response and, either out of desperation or genuine conviction, journalists have consistently used this reticence as a platform for a myriad of diverse theories regarding his personality. “Yeah, I don’t like interviews,” the guitarist reflects. “But, I suppose I can understand why people want them. I really just think of it as part of my whole life as a musician, really. It’s something that needs to be done. I don’t really read anything that comes of it, though. I don’t read reviews. Good or bad, I know there’s going to be something about them I don’t like. So, you know, I just kind of stay away from it all.” Often, such analysis is bolstered by myths and theories drawn from Dinosaur Jr’s colourful history as a band. It’s easy, for example, to point to Mascis’ almost exclusively dictatorial position within the band – the guitarist known for often not just writing songs but each and every part of those songs, (such habits having led to the departure of both founding bassist Lou Barlow and drummer Murph) – and use it to support whatever argument one would like to make regarding his personality. Even the recent reformation of the band’s classic lineup has done little to quash such myth-mongering. If anything, it appears to have shrouded Mascis in an even greater haze of mystique. Since the Barlow and Murph rejoined the band in 2005, press around the 32 • THE DRUM MEDIA
group and their subsequent reunion albums (2007’s Beyond and 2009’s Farm) has continually revolved around the changes in Mascis’ behaviour and their origins (the birth of his son in 2007 a popular topic). “Eh, it all just kind of happened because we were having an alright time,” Mascis says of the band’s reunion and subsequent albums. “We felt we wanted to play more shows but we didn’t really want to play any more shows without any more new songs. So, we wrote some new songs. I’m actually working on a new Dino LP right now. We’re hoping to have it out next year sometime but it’ll happen when it happens.” Still, for all the theorising, Mascis remains very much an enigma. Even the scant information he does allow to slip out into the public realm only ends up contradicted further down the line. His disdain for interviews, for example, is legendary – but he has recently consented to be the subject of a documentary directed by his brother-in-law. He once described Dinosaur Jr songs as merely excuses for guitar solos – but his career as a solo artist has been almost exclusively acoustic. The scope of Mascis’ mystique doesn’t become fully apparent until one converses with the enigma. Quiet and inarticulate, he is nevertheless – in his own way – genial and forthcoming. Funny, too. Upon discovering this, it becomes blindingly obvious that no-one is ever going to really get to the core of who or why or what J Mascis is as either an artist or an individual and, even if someone eventually does, it won’t matter. Ultimately, the truth of proceedings exists somewhere between two extremities. Either J Mascis is some reclusive musical auteur living solely within a creative world of his own devising or he’s simply a man who likes making music who couldn’t be bothered indulging in the extraneous niceties of the music industry. Regardless of which scenario is actually applicable, analysis and interrogation will never yield any substantial insight into his work as an artist. “I just like doing stuff,” Mascis says matter-of-factly. “I think, when it comes to music, it’s really just something
you listen to and experience. I don’t feel like there’s much to talk about besides ‘I like this record’, ‘I don’t like this record’ – you know, the experience it gives you. I have a certain standard which I’ve always had. I just want to make good music – music I enjoy listening to. That’s all it’s ever really been about for me.” It’s the kind of realisation that – somewhat ironically – actually brings the significance of Mascis’ work as a musician into sharp relief. Once one stops grappling with the intangibilities of the man who composed such music, one is reminded of why such things seemed so important in the first place. J Mascis’ most recent album, for example, Several Shades Of Why is the kind of record that can’t help but provoke interest in its composer. Mascis’ debut album proper as a solo artist (the frontman having released a number of acousticrelated albums before in years past), Several Shade Of Why finds the guitarist expanding his stylistic repertoire considerably both in terms of songwriting and instrumentation. The majority of songs coast gracefully along finger-picked acoustic melodies and several are augmented by expanded arrangements including strings, piano and musical saws. “I suppose it is different from my other solo albums. It’s the first I’ve really had new music for when I’ve gone into the studio,” Mascis reflects. “I don’t really know if I’d have ever done it if my label hadn’t asked me to, though. I don’t know. It’s always been a bit
more nerve-wracking playing solo than with the band but I think I’ve done it enough now that I’ve grown used to it. I’m comfortable with it now.” Ironically, it’s the kind of record that actually seems to compound the mystique surrounding Mascis and his work. The past five years has seen the songwriter grow seemingly increasingly aggressive as a musician. In addition to his two albums with Dinosaur Jr, he’s also delivered two albums with heavy metal side-project Witch (2006’s Witch and 2008’s Paralyzed) and another with rockers Sweet Apple (last year’s Sweet Apple). Now, however, he’s delivered an acoustic album. “Exactly,” the guitarist says with a chuckle. “Really, it’s just a facet of what I do. It’s not my favourite thing to do, I’ll admit, but I do write those songs. Right now, I’m working on new songs for the next Dino album, I’m working on some soundtracks and I’m singing on some kind of electronic Dino covers album… Yeah, it’s weird. I don’t know. I think all I do is really just a combination of a nervous manager who likes to keep me busy and just wanting to hang out with friends.” WHO: J Mascis WHAT: Several Shades Of Why (Sub Pop/Inertia) WHEN & WHERE: Tuesday 10 – Friday 13 January The Famous Spiegeltent
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BACK IN BLACK AFTER DISAPPEARING OFF THE HIP HOP SCENE FOR OVER A DECADE, SEATTLE’S ISHMAEL BUTLER HAS RETURNED WITH A VENGEANCE AS PART OF CRYPTIC SHABAZZ PALACES. BRENDAN TELFORD TAKES A LOOK BEHIND THE MASK.
nce upon a time (circa 1994) there was a man called Butterfly. He dabbled in sunny jazz rap, forming a band of likeminded souls – calling themselves Digable Planets – and they went on to win a Grammy for their debut record. Yet it wasn’t long before Digable Planets disbanded and filtered away into the collective subconscious. Butterfly – aka Ishmael Butler – hasn’t sat idle, however, and the Seattle native recently re-emerged under a new name in Palaceer Lazaro and a new collective, Shabazz Palaces. Much like West Coast collective Odd Future Wolf Gang Kill Them All, Shabazz Palaces have been blowing punters away with their variant on how hip hop music should be positioned. But instead of using media-grabbing antics, these guys carved out their niche by holding up entrancing, leftfield hip hop alongside pastiches of glitches, dark digital soundscapes and dubstep hangovers, all culminating in the excellent debut LP Black Up. It isn’t just time that has passed Butler by.
“There’s been so much time between that and now,” he ponders. “My music influences have changed for sure, but music in general is influenced by different things too. I really wanted – needed actually – to shed that older persona because I am different in my mindset. It’s not necessarily new; it’s just a different facet. It’s about providing entertainment and getting opportunities, about being creative and striving to find something instinctive to breathe life into. [The new moniker] has helped to open a space for us to find out where one is at.” This idea extends to the added element of donning masks helped to heighten the mysteriousness of the group. Yet rather than used as a barrier to hide Butler from the outside world, it is another augmentation of their creative spirit. “The mask represents me, myself; something that is much deeper within us, or me specifically, or in the music,” he continues. “The use of the mask is me trying to connect, not to separate. With inspirations and ideas, many people maintain that it’s their idea; they say, ‘I invented this’. No they didn’t! Nothing is new, or invented and never has been. We don’t think that, we know that these ideas and patterns come to us from somewhere
else. We channel these ideas. The mask is a homage to our gift, to the opportunity to present these ideas to a wider audience. It wipes my identity from them, so that people can receive them and take them on as their own, not as something that I made. This is no celebrity-based endeavour – we play to see what happens and for people to see that too and experience it for themselves. It’s another way of experiencing music and it’s for everyone.” Making connections within the hip hop and rap musical genres has always been a hotly-debated idea, insofar as who can connect, who deserves to connect and who pretends to connect. These ideas are ridiculous to Butler and the hypocrisy of such notions came home to him on his recent tour of Europe. “[The tour’s] been going really well, every show is better than the last, which almost never happens. Maybe we are getting hotter, but it’s gone from a good London show, to a great Brighton show and Manchester was even better. Good people are coming out from everywhere to really dig it. I think in America perceptions are different. I mean, there are obviously pros and cons for a hip hop band in America and in Europe, but in America, because of the semantics in music, people catch onto any undertones or symbolism that presents itself due to American poverty and overt references. Yet in Europe there is this evident reverence of culture and not in an oppressive nature. I don’t know, neither is overly preferable. I guess we’re lucky just to be playing, having two separate audiences latching onto us and what we make from totally different social and spiritual places.” The ideas that Shabazz Palaces have presented to the world come in the form of Black Up, an album that’s made waves ever since indie uberlabel Sub Pop signed the band on as their first hip hop act – and not always in a positive vein. “I’ll tell ya man, when a lot of people heard that we signed to Sub Pop, it was made out like it was this conscious, entrepreneurial decision, like we wanted to conquer the world. No way,” Butler vents. “The truth is that there haven’t been many opportunities at all for us to get our music out there outside of Seattle. No one listened; no one wanted to take chances. So when Sub
CREEN! S A M E IN C IG ON THE B
pop came along they meant it – they had no ideas other than to listen to our own. They hold an artist-friendly approach and it was very clear from the beginning that they were only interested in the music. Sub Pop was the last train and the best train coming through and we aren’t fools – it was what you would call a no-brainer!” The lyrics and song titles echo Butler’s sentiment that there’s a much more subconscious design to the music being created and that the only predictable factor is its innate unpredictability. “There isn’t much control – the thing is, the form writes itself because it is so instinctual. Whenever the music moves away from our instinct, that’s it, it’s over. If you can get from the first instinct to the finished product without ever altering that initial seed, you can claim to be original. The fact that any of this happens is a gift alone. Instinct takes us and leads us where we need to be.” The cryptic nature of Shabazz Palaces has in itself caused controversy, mainly due to the oblique and at times seemingly impenetrable nature of the band’s aesthetic, but this is something that Butler feels is misinterpreted by critics and listeners alike.
“It stems from everywhere man. Like, here is one way to look at it. The whole Sub Pop thing? With Sub Pop, you are going to have music where you have arrangements and sound and artwork that people all know and expect. Or at least they think they do. All those things happened to us. People expect things of us now. What we are doing is we are presenting an occurrence – it’s a natural thing, nothing preconceived. We are trying to suspend traditional concepts of what an artist is supposed to do or represent. We’re trying to represent not representing something... the realities of reality, the instinct of inspiration. Shabazz Palaces isn’t a novel with its narrative and structure. It’s feeling and being in a certain time, with us open to let stuff come into us. Our music is more like sharing a secret...” WHO: Shabazz Palaces WHAT: Black Up (Sub Pop/Inertia) WHEN & WHERE: Friday 13 January, Keystone Festival Bar
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www.bruceguitar.com THE DRUM MEDIA • 37
THE VACCINES DRUMMER PETE ROBERTSON IS A LITTLE APPREHENSIVE ABOUT THE BIG DAY OUT TOUR, AS ROB TOWNSEND FINDS OUT.
FROM SUBTERRANEAN DUNGEONS TO FAN-FILLED STADIUMS, COMBICHRIST HAVE JUST ABOUT SEEN IT ALL. NOW WITH A NEW ALBUM FORGING A NEW DIRECTION, SIMON HOLLAND CATCHES UP WITH FRONTMAN ANDY LAPLEGUA FOR SOME HEARTFELT REFLECTION.
’m terrified. I think it’s going to be carnage,” The Vaccines drummer Pete Robertson says somewhat impishly. His band is heading over to Australia for the Big Day Out tour in the knowledge that the festival has quite the reputation for bands getting together and letting loose. “I have heard that there is a lot of partying at Big Day Out,” he nods. “Everyone stays in the same hotel and everyone gets on and has a good time. Considering it’s straight after Christmas as well, I don’t think we’re going to get much rest. It’s going to be good.” While they are still a relatively new band, their non-stop schedule means that The Vaccines are already well versed in combining travelling with partying. Their first time collectively in this country was for Splendour in the middle of last year and that proved to be a crazy experience. “I’ve got memories of not remembering a lot,” the drummer laughs. “It was pretty hectic and we had a little too much fun. Our summer was generally pretty insane and that was the most insane leg of it. We flew from England to Japan on the Wednesday and on the Friday we touched down in Brisbane, then went to Sydney for two days, then to Melbourne for two days. Then we flew to Chicago and then we did coast-to-coast in the States, all within about two weeks. It was fun.” The reception they received on their first visit to Sydney – not least at their sideshow at a packed Metro Theatre – is something that has long since stayed with the band. “It was amazing. It was one of those moments. As individuals we’d been working hard in other bands and then collectively when we first got together a couple of years ago to make music that we thought could connect with people. When your music travels further than you ever have before, it’s a rewarding experience.” There will be sideshows again this time round, with the quartet set to support labelmates Kasabian. With The Vaccines having played countless live gigs in 2011, you can expect their turn in this country to be something really special. Robertson is especially looking forward to playing to some big festival crowds.
“We had an amazing festival season in our summer. We played just short of fifty of them, all over the world. So I think we’re reasonably well schooled in it and I’m looking forward to getting back into it.” Playing in front of audiences is what The Vaccines are all about and their sound lends itself to being played live, as that was how it was originally put together. “We wrote the record [debut album, What Did You Expect From The Vaccines?] as a live band. We didn’t have any recording facilities, so we used our resources the best we could, which was basically two guitars, a bass and a drumkit. We designed the music to be played live. Well, actually we recorded a live album, essentially.” When The Vaccines first started out, they did so with no master plan. Rather they simply enjoyed being in a band and all that entailed. One wonders whether a plan has since developed as they’ve continued to gain success. “The master plan is very vague,” Robertson suggests. “We’re all good players and Justin [Young, lead singer] is a great songwriter. We just felt that, between us, we could make some meaningful music. I think we’re doing that and I think we can make more meaningful music. There’s room to develop. That’s ultimately it – to be the best we can.” WHO: The Vaccines WHEN & WHERE: Tuesday 24 January, Hordern Pavilion; Thursday 26, Big Day Out, Sydney Showground
A POLYMORPHOUS MAN
“It’s what I feel like doing now. I would never hold myself to doing it for the rest of my life. I’m just enjoying it for the moment and I enjoy other things like cooking. I try and move things around between the touring/performance and the writing and recording side of things. I like satisfying different channels of creativity so that I don’t feel bored or repetitive, so I like to switch it up a lot.” Making the move from the relative comfort of creating music as a collective in Grizzly Bear, CANT is the first time Taylor has attempted to put together a collection of his own music. “Yeah it is a new experience. I’d tried to write my own stuff but without success and I’d never really been able to finish stuff, so this was the first time I’ve been able to complete an album worth of songs. I just kind of went at it and didn’t have any exact plans. I worked on each song individually, which is why there is a lot of variety on the album and I didn’t wonder how the songs would work with each other. I just kept working on things until one day I just sat down and thought about which songs I liked for the album and it was a really exciting feeling, like, ‘Wow, I have a record.’” 38 • THE DRUM MEDIA
Their latest album, Making Monsters, deviated from the typical Combichrist sound, adjusting song structures and tempering some of the rage that has fuelled previous releases, potentially alienating listeners demanding more of the angry stuff. Characteristically, Olsen only needs to satisfy himself. “If people expect the same from us the next album at this point then they can blame themselves. They should know by now that it won’t be the same. I think that is one of the reasons that we’ve done well too, because when we go on stage it’s not a four/four beat, played straight through and everything sounds the same. It’s different songs from different periods, different feelings.” A self-confessed control freak, Olsen channels that character during the recording, but is quick to revert to his relaxed and friendly self post-release. His reflections on it all are remarkably vulnerable. “I honestly do care what people think when I’ve done it. I just don’t care what they think when I’m doing it,” he laughs. “That is a big difference. If you do something that you don’t like and people like it, then I feel like at that point it’s just mass production; it’s just a job. I don’t want it to be a job. It still needs to be an artform for me; it still needs to be a self-expression and it can’t just be something that I did on commission. That’s the key. I don’t want to feel like I go to work every day. Who does?” WHO: Combichrist WHEN & WHERE: Friday 13 January, Manning Bar
BATHORY-WORSHIPPING THRASHERS TOXIC HOLOCAUST ARE ONCE AGAIN BRINGING THEIR NOISE TO OUR SHORES. MARK HEBBLEWHITE SOUGHT OUT MAIN MAN JOEL GRIND AND FOUND OUT THAT THREE-PIECES REALLY DO HAVE THE MOST FUN.
With so many projects to keep him busy, it would appear on the surface that Taylor is one of those people that wholly immerses themselves in their field of expertise, yet his restless nature dictates that he isn’t prepared to commit to a life in music at the expense of other interests.
The transference of live energy is something Olsen prides himself on in the studio. As the driving force behind Combichrist, he feeds off the energy gathered on the road and uses it to reinforce the dominating sequences that have brought the band such acclaim. “I think just because we are touring so much you kind of bring it back into the studio and just subconsciously it turns out that way. I just like to write music with lots of energy regardless of what type it is, even if it’s simple; just something that has a passion to it. Every album is a little bit different. It is a little different when I write as a character instead of writing as me. When I write as the character it is really angry and it’s about violence and it’s about all those kind of things because it’s a character, it’s not real. As soon as I started writing more personally, it would feel wrong if it’s too aversive because I’m not that angry as a person. I’m not bitter. I’ve never been a bitter person; that’s why whenever we wrote angry lyrics it was always through a character because they can always get away with things that I wouldn’t do as a person. You can hide
behind them and say, ‘Well it’s not my opinion, it’s the character.’ It’s kind of like if you do a movie and your character in that movie gets up and rapes and kills. It doesn’t mean that the writer of that movie condones that kind of behaviour. It’s just a story, y’know?”
GRIZZLY BEAR CHRIS TAYLOR TAKES TIME OUT FROM HIS GROCERY SHOPPING TO CHAT WITH CHRIS FAMILTON ABOUT HIS NEW SOLO PROJECT CANT. hris Taylor is a man with many strings to his bow. As well as being producer, bassist and multi-instrumentalist for Grizzly Bear, he also runs his own label, Terrible Records, produces bands like The Morning Benders and Twin Shadow and can now add solo artist to his CV. Dreams Come True is the debut release from CANT, a fascinating exercise in art pop that manages to bring the disparate strands of organic and synthetic music together in one concise form.
rguably the titans of the dark industrial scene, Combichrist are renowned for their intense live shows conjured straight from the shadows within the head of enigmatic frontman Andy LaPlegua, born Ole Anders Olsen. “We’ve played some really weird places,” Olsen reflects, “including some that look like some somebody’s dungeon. To go from places like that back Europe and play with somebody like Rammstein – who fill up arenas with of 30,000 people – it’s a bizarre difference. But you know, everything is good for what it is and we all have a damn good time doing it. Half the show is the connection with the audience and the more energy the audience puts out, the more energy we create. It’s kind of like a cycle. It’s really hard to be powerful on stage if the audience is not powerful.”
“I’ve often thought about adding a fourth member to the band to thicken out our live sound. But then I always get back to the fact that if it was good enough for Motörhead and Venom, then it’s good enough for us.” One challenge of going solo is whether to release music in the same style as the band you’re in or forge a new direction. Taylor is quick to point out he didn’t set out with that question in mind, but rather he let his muse dictate the form of the songs. “It wasn’t an intentional desire to do something different. Everyone in Grizzly Bear has such different tastes and so this is my taste. I would never make music like what Grizzly Bear makes – only we can do that together and I couldn’t accomplish that on my own. It’s just not the kind of music I would make.” With Taylor producing and recording Dreams Come True in his own studio, the next natural step was to complete the circle and release it on his own label. “I first came to the idea thinking that working on my own music I would want to release it on my own label and not have pressure from an outside label to require me to do things I couldn’t do. Grizzly Bear is a full-time job and so to do a solo record I had to do it on my own time. It was half that and thinking that as I was producing and recording other bands, I should just put them out on a label seeing as I have a studio. It was an opportunity to make a really artist-friendly situation, so it’s been good fun and I’m really excited about upcoming releases.” WHO: CANT WHAT: Dreams Come True (Terrible/Warp/Inertia) WHEN & WHERE: Saturday 14 & Sunday 15 January, The Famous Spiegeltent
Joel Grind is in a pretty good place these days. For years he was the sole maestro behind Toxic Holocaust, playing every instrument in the studio and relying on hired hands for live duties. All that changed a couple of years ago when Grind finally found musicians who understood the Toxic Holocaust ideal. With the help of bassist Phil Zeller (aka Phil Gnaast) and drummer Nikki Bellmore he’s not only been able to deliver the band’s finest LP to date with Conjure And Command, but also refashion Toxic Holocaust into the perfect live juggernaut he’s always wanted. “Having them around really lifted the weight off my shoulders in the studio,” Grind confirms. “It let me step back and have a better perspective on my work, whereas before I had the pressure of playing every instrument and doing all the quality control myself. Even better though is the impact it’s had on our live show. Playing with these guys is fantastic. There are plenty of people out there that want all the success of being in a band but aren’t willing to do the hard work. Phil and Nick understand how seriously I take this band and my artistic integrity.” Although universally considered a thrash metal band, Toxic Holocaust’s roots lie as much in the second wave of UK punk as they do in the metal scene, both in sound and ethos. “I know that we get lumped in with all the new thrash bands, but I think there are a lot of differences between us and all these bands that sound like Exodus or Kreator. We’re much rawer and closer in spirit to Bathory and Motörhead. Like us, these bands had a real punk edge to them – Bathory was far more influenced by Discharge and GBH than metal when he
was recording his first album. I grew up listening to lots of punk rock as well as lots of metal and the influence of the former is definitely there in my songwriting. I think that’s part of the reason that I moved to Portland, which has a far larger punk than metal scene.” Leave aside the angry punk edge of the Toxic Holocaust sound and you’ll find a group of guys committed to punk’s DIY ideals. “I’m really hands on with this band,” admits Grind. “Everything from the merch, releasing the records, touring – you name it. We’ve always tried to play in as many places as possible and keep ticket prices low. There’s no substitute for getting in the van and playing your ass off; that’s how you know what you’re doing is worthwhile. In the end it’s all about keeping control of what you do. We’ve fought really hard to keep as much control as possible. We don’t want to ever be in a position where we have to answer to someone else for what we do. Or even worse than that, where there’s someone telling us what to do even if it goes against everything we set out to achieve. I’ve seen a lot of bands fall into that trap, where they lose control and have to make some pretty big compromises.” With one Australian tour already under his belt, Grind is psyched to be finally coming back. “We came down in 2005 and ever since then I’ve wanted to come back,” he says. “Now with this band and the new material we’ve done together I think the shows are going to be incredible. We’re touring with a great punk rock band – Kromosom – so hopefully both the metallers and the punk rock kids come to check the shows out. There’s something for everyone.” WHO: Toxic Holocaust WHEN & WHERE: Friday 13 January, ANU Refectory, Canberra; Saturday 14, The Wall
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FURTHER MORE SINGLES ROUND UP WITH ROSS CLELLAND
As we consign 2011 to the stormwater drain of history - and careful as you step over that pile of Kim Jong Il over there in the corner – the question of knowing a history of the pop music comes to mind. So, Nine Sons Of Dan – should you perhaps not have called your song She’s So Fine (Independent), as the Easybeats got there first? Even if your one is a quite tidy pop song, suitable for commercial use. Even moreso, the electro-hop of The Slips. Downtown (EMI) is a title that’s already been given more than a few runs. Although none previously have had Phrase guesting on them. Probably. Sway was another song from long ago, and the artist of that name doesn’t really. It’s more choppy, but still in the hip hop line as Akon’s approval show, and Still Speedin’ (Liberator) proves it across various remixes. Gallows are having a major rewrite of their own history with Frank Carter out and former Alexisonfire singer Wade MacNeil in. But enthusiasts will recognise the same old-school punk gallop and ability to yell ‘fuck’ to Mondo Chaos, lead track off their return EP, Death Is Birth (Thirty Days Of Night/Shock). Tin Sparrow’s Hector Myola (Independent) sounds a bit historic. Perhaps as house band at the Glenrowan Inn just as the Kellys bowled up. Produced by Mark Myers, formerly of the truncated history that was The Middle East. The Big Pink are big hopes, particularly in the UK. The echoey anthem that is Hit The Ground (4AD/ Remote Control) sounds very much like something that will be heard through early 2012. From the same stable, St Vincent’s Year Of The Tiger (4AD/Remote Control) will have similar appeal to the mainstream of the alternative with Annie Clark’s confessional languor pushing it along. Slightly less ethereal, but with a folkie heading toward ethereal honesty, Perth’s Emily Barker & The Red Clay Halo have a lovely cello hum beneath their Billowing Sea (Walking Horse/ MGM). Someone say Laura Marling? Yeah, ok. Tara Simmons’ Be Gone (Mucho Bravado) has a little more stomp and rattle to it. Someone say Washington? Specifically Holy Moses? Yeah, ok. Fifi Mondello has already had It’s True from this EP/mini-album lengthed thingy of the same name (Independent) get a good run on FBi. Brassy, retro, quite bright. Someone say Amy? Probably not, but you get the idea. Nikki Thorburn works under the guise of Iluka, which caused some confusion with a large mining company when Googled. But her music doesn’t have mechanical digging attached. Her Eyes Closed (Independent) has some twangy swing to it. Someone say Lanie? A little, but certainly no hat.
ON THE RECORD NIGHTWISH
Nightwish don’t do anything by half-measures. While countless female-fronted hard rock acts play it safe, the ludicrously over-the-top Finns at least have the balls to be ludicrous. But they’ve taken their grandiose symphonic approach to new heights via Imaginaerum, the basis for a forthcoming fantasy movie epic accompanied by a 53-piece orchestra.
The ‘punk’ in Soul Punk for the most part seems to exist only to bridge the gap between fans of Fall Out Boy and their lead singer Stump’s new work; there is little of that sound or aesthetic here. It’s Jamiroquai by way of Michael Jackson. The late King Of Pop seems to have left an indelible mark on Stump, his influence first rearing its head on Fall Out Boy’s cover of Beat It. Stump – in solo mode – is now in a position to wholeheartedly embrace MJ’s dramatic ‘tee-hee’ vocal style, gulping for breath and striving for sensuality in dramatic delivery. On Run Dry (X Heart X Fingers) and Allie he strikes the same balance between disco soul/ funk style and rock guitars as Jackson did in his heyday.
Quick note: if you are a male cannabis enthusiast between the ages of 13 and 19 there’s no need to read this review. Just know that At Your Inconvenience is your new favourite album. Go buy it, memorise all the words, and then get some of them tattooed on you. You won’t regret it. I promise.
As a realisation of sweeping, cinematic ambition, this album largely achieves its lofty goals. Littered with actors reciting extended slabs of poetry (multi-part, Danny Elfman-esque Song Of Myself), choral backing vocals and ominous piano chords this is tailor-made to be performed as part of a mammoth production in front of packed European arenas. As a standalone record though, it can be somewhat laboured, even dull during an overblown 75 minutes. Not that it’s without merit, being arguably their most wide-reaching record; from the unashamedly hooky pop/metal Storytime, jazz indulgence of Slow, Love, Slow, Middle Eastern-inflected Taikatalvi and Turn Loose The Mermaids’ soft strings and melancholy acoustic guitar balladry. I Want My Tears Back is perhaps the most “conventionally” arranged and immediate song, those familiarly crunchy guitars and Celtic melodies meshing with Anette Olzon and Marco Hietala’s vocal chemistry. Some may suggest their grand plans would have better suited original vocalist Tarja Turunen, but Olzon has greater warmth and charisma, and the band are restrained enough to realise she doesn’t need to be constantly present, giving the compositions breathing space for the big screen. Perhaps we should reserve final judgment until after seeing the film to gauge how Imaginaerum fits within that context, but this is Nightwish in all their bombastic glory - for better and worse.
Not the only influence on the album, sadly it seems years of singing lyrics penned by FOB bandmate Pete Wentz has bled into Stump’s own writing, revealed in some absolute doozies like ‘Every word’s a new regret if you say it right’. The ‘I’ In Lie could easily have sat on Folie à Deux, everything from the jilted lover pun title to the half-time drums in the chorus hinting at the final few days of Fall Out Boy. The deluxe edition treats you to an extra five tracks, and far from being a marketing ploy there are absolute gems in the form of the self-deprecating Bad Side Of 25 and the tribal rhythm-driven Mad At Nothing. Soul Punk is admirable – Stump has sung and played every note on every instrument – enjoyable even, but influences weigh heavily on it and Stump’s unshakeable geeky demeanour sits at odds with the soul-inspired environment of pillow-talk seduction. Still fun and bewilderingly cheesy.
THE BON SCOTTS
At Your Inconvenience
The rest of you: this is some seriously pedestrian stuff! We’re gonna to need a bigger yawn! You see the thing is if you have no style then you at least need substance. Professor Green has little of either. At his best he sounds like a Relapse-era Eminem, silly accent included. At his worst he sounds like an up and coming battle rapper who has just discovered what multi-syllable rhyming is. It’s disappointing that in a world filled with exciting musicians straining for an opportunity someone, somewhere has made room for this inoffensive, middleof-road, stoner-baiting dross. DPMO (“don’t piss me off”) is competent mid-noughties South-aping with a neat hook. Then we get the album’s first single, Read All About It, a reflection on Pro Green’s absentee father with an execrable, saccharine sweet hook from Emeli Sande. The song is B.O.B’s Airplanes, but worse. Try processing that. And there’s little else that stands out here amid the penis analogies and empty braggadocio. If you’ve ever thought you needed an English Drapht with less charisma and worse taste in beats, then Pro Green is for you. But, aside from our young friends who now have one of Green’s numerous phallus references tattooed on their neck, there probably aren’t many of us who feel that way. James d’Apice
Care for an international outlook? The Lost Souls Club made #1 in Vietnam. With an obvious affection for the work of Jack White, right down to their artwork, High Noon (C-Sounds) will give some idea of what made this fairly generic combo hot in Hanoi. Sand Pebbles, with their multi-decade lineup – one member born in each of the ‘50s, ‘60s, ‘70s, ‘80s and ‘90s, have managed to avoid generation gap problems over five albums now, and Dark Magic (Dot Dash), as title track of said fifth shows their slightly dreamy, slightly muscly songcraft to good effect. Anton Franc is actually two West Australian chaps, neither of whom is named Anton or Franc, who make delicate noise into something that can be rather beguiling, even to Scandinavian Airlines, who’ve already claimed the very lovely Letting Go (Independent) for an ad campaign. Cue soft focus shots of planes taking off and longing looks into wintry skies. Howler are from Husker Du country in Minneapolis, but wish they were from New York. And wish they were The Strokes. Which is not a bad thing entirely. Back Of Your Neck (Rough Trade) is ragged and loud enough. David Galgiardi used to be in Laura. Quickly following his intriguing Shatterproof, the equally moody and quite enrapturing Way To Keep Warm (MGM) under his Shade Of March moniker. Adam George took the old-style approach of writing poetry in his bedroom and then picking up the acoustic guitar. Well in an A&J Stone wispy vocal zone, his Smoke And Mirrors (Independent) strolls along in gentle manner. Strolling across from Tasmania, Johnny Gibson fell in with some of the right Melbourne people, such as Van Walker and the splendid Liz Stringer, who guest on bits of his neatly crafty and annoyingly catchy single, Without Mine (Tripper’s Advocate). Album follows, and I’d like one please. The Lammas Tide are from Perth, Western Australia, but have a touch of Perth, Scotland in their somewhat folkie fiddle and harmonies as shown on High Tide (Independent). Stray Birds make quietly thoughtful pop which seems destined to end up on the radio – in a good way. Before We Go Down (Independent) has some Australian space in it, and some passion in the words. Waverley also do sharpish pop-rock from those who are after an Eskimo Joe support spot, and probably should get it. Paper Walls (Independent) has a bit of a brain to the words, in a world in need of the same. 40 • THE DRUM MEDIA
We Will All Die At The Hands Of CGI
Shock Formed from members of Gallows, Haunts, Cry For Silence and The New 1920, Spycatcher offer the bearded Gainesville punk sound with a British indie tinge. Having honed their take on the formula with an early demo and debut EP, Rock Is Cursed, their first full-length offering, Honesty, gives the UK band room to explore it and they do so comfortably across these 12 tracks. Sure, there are the obvious and catchy punk-by-numbers tunes – Livewire, Good Times and Nobody Listens – and they are deployed to great effect, rousing and with immediate impact, but the band use the longer format to branch out. More impressive still, it’s been done and captured all on account of the band’s own onus. Written, recorded, mixed and mastered entirely by the quintet the resulting album reveals a band that has revelled in the complete creative control and rather than stagnated, taken the opportunity to push themselves. Don’t Like People utilises crowd soundscapes to great effect, heightening the impact of the pleas from vocalist Steve Sears Jr, ‘If you feel we’re slipping away, it’s not personal – I don’t like people, I don’t like meeting them.’ The additional programming and keys from Sears and guitarist/live keys player Mitch Mitchener also aids the band’s exploration, adding a soaring indie charm to opener Tabs, an endearingly melancholy intro to Honesty’s lead single, Remember Where You Were When Michael Jackson Died, and a hint of Jimmy Eat World’s more ‘stadium’ moments in production of the new recording of EP track, Rock Is Cursed. A well-balanced and confident debut from a band with what should be an even stronger future.
Popboomerang The first thing that needs to be made clear is that there is nothing at all related to Bon Scott on this album or in the way this band should be perceived, but it is a good rouse in bringing attention to the members. Not all is as it seems on this second release by the young folkies who bring a good yarn to their ramblings. Instead of thumping rock‘n’roll, The Bon Scott’s are a folk collective of mixed genres and sounds using whatever instruments they can lay their hands on. With the current fashion for folk music taking over the charts, it’s no surprise these Melbournians make something fresh out of it. Remember is a gentle reminder of what it’s like to look back and create nostalgia in one’s life. The band enjoys getting all rootsy on Here Comes Summer, where the chorus stands out with a choir-styled chant. It’s a standout track. What really brings the album together though is the brilliant mixing, where each strange instrument is brought to the fore. The Bon Scotts do have a sense of humour running through these tracks. Let’s Do What The Catholics Do is as hilarious as you would expect it to be and the awkward rhythm is a clever distraction. Where the band really fire is when the balladry reaches more serious depths. The Bomb, The Ballot & The Boycott is a touching affair that points towards a great future for this band. This record is a rewarding experience. Sebastian Skeet
THE NECKS Mindset Fuse It remains an odd business to try and review a Necks album. Even if the hour-long unfurling instrumental marathons of the first decade of their existence have given way to comparative CityTo-Surf fun runs of their last couple of albums. Sure, it’s still not the stuff of three-minute pop songs, but these now twenty-odd minute excursions still breathe with a heartbeat that gets more intense as they wind over, play off, and find tangents away from and somehow back to the rhythmic motif which centres their works. It’s maybe not the ‘slow jazz’ which was once the only pigeonhole they could even come close to being slotted into any more, particularly in the swirling tides of Rum Jungle, the piece that makes up the first half of this latest souvenir. But have no fear, while there’s a more direct energy - even an electricity - to it, The Necks haven’t gone techno. The parts are still pretty much in place. Although Chris Abrahams’ keyboards are now a bit more than the sometimes minimal rippling piano that could be enough. Occasional organ lines now wave through Tony Buck’s brushes-to-clatter drums. While it all rests on the oil-and-water of Lloyd Swanton’s bass pulse. The other piece, Daylights, has a heat haze and space to it. And it’s with sounds and feelings conjured like that which means they could only be Australian in origin and outlook, even if this music is rightly recognised around the world as something special. It’s an old journalistic rule that the word ‘unique’ pretty much has to be avoided, but with The Necks it’s one that is absolutely justifiable. Ross Clelland
If their self-titled debut was an enema to heavy metal, Iowa was akin to being force-fed the pungent evacuation. Listening with benefit of hindsight, Slipknotâ€™s melodic sensibilities are less refined than later (My Plague an exception), but this is focused on venting pure hostility, still reeking of vitality. More unreleased tracks would have offered greater value though. The DVD in this three-disc reissue features music videos and an insightful documentary directed by Shawn â€œClownâ€? Crahan, incorporating interviews and footage from Iowaâ€™s tumultuous tour cycle. Drummer Joey Jordisonâ€™s claim that itâ€™s the heaviest, best metal record ever is preposterous, but maggots, you need this, because thereâ€™s plenty to feast hereupon.
The Smile Sessions EMI
There is much mythology surrounding The Beach Boysâ€™ album Smile and so there should be. This release of the original work along with a second CD of outtakes, extended songs and recordings of studio banter reveal the pure genius behind the legend. Many well known songs feature on Smile including a full length version of the seminal Heroes And Villains, with strange tribal vocals, but there are also many moments of psychedelia on songs like My Only Sunshine and the bizarre Vega-Tables. The Beach Boys are probably one of the only bands in the world who could get away with using the sound of power tools and featuring lyrics about grocery items. Monique Cowper
Thereâ€™s a whole generation who would only know Billy Corgan as that weird guru guy who makes 44-track records and dates a string of bizarrely mismatched women. So in some ways, itâ€™s timely Smashing Pumpkins have reissued their breakthrough record, Siamese Dream. The most frustrating part of listening back to it though is realising how wonderfully unique they were in the â€˜90s grunge assault. Corgan was the sensitive soul in a scene of aural assault and plaid, combining lyrical intimacies with sweeping melodies that owe a great deal to James Ihaâ€™s guitar skills. For the fans thereâ€™s a deluxe edition with unreleased live cuts and demos, verging on overkill. Sevana Ohandjanian
Liberation They came from Dubbo. They started off as The Brucelanders. They played synthesisers. Their lead singerâ€™s dad was the NSW state opposition leader. Their best known song remains a melancholy ode to a hunchback. The Reels released this in 1981 to an Australia listening to The Angels and those up-and-comers, Cold Chisel. In hindsight, The Reels were miles ahead of the game. There are pop songs on here like the anthemic Shout & Deliver, or the staccato Colourful Clothes, which stand up well even now. And in Kitchen Man, another thing of towering sadness. They could have been â€“ should have been â€“ so much more. Underappreciated at the time, and bedevilled by some personal frailties, this is a butterfly in aspic. Ross Clelland
Turbowolfâ€™s self-titled debut ignites impulsiveness - it spurs a certain euphoric ferocity, making the listener want to stomp their feet and participate in the grimy anthemic breakdowns. The record manages to flirt with a plethora of musical styles, layering and experimenting with these styles to create something which effectively surpasses the typical confines of genre. Motivated by â€˜70s and â€˜80s punk and psychedelia, the debut is a revival of dirty, nasty old-school synthesised rockâ€˜nâ€™roll, channeling sounds produced by Black Sabbath, Suicidal Tendencies, Kyuss and At The Drive In. The record opens with the explosive Ancient Snake, which introduces Turbowolfâ€™s edgy-yet-accessible audial ethic through a frantic shambles of distorted guitars and aggressive, full-throttle vocals by raspy frontman Chris Georgiadis. Seven Severed Heads follows - a vitriolic track which delivers just under two minutes of pure thrash through sporadic bursts of melodic hardcore driven by primitive rhythms, face-melting riffs and grizzly vocals. Georgiadisâ€™ high-powered, intense growls are inspired by vintage hardcoreâ€™s relentless vocal stylings and add to the sublime, psychedelic noisiness of the track. Such
FACT FILE Length: 13 tracks, 40 minutes. Moods: Ferocious, dirty and cool.
DID YOU KNOW
Ultimately, the record is nothing short of contagious. It is simultaneously violent and irresistible, providing a modern Henry Rollins, anarchist punk re-imagination. Turbowolf mash the weird, furious and fragile to produce just under 40 minutes of powerful melodic rock which will make you want to party, slam-dance and riot.
SMASHING PUMPKINS EMI
jagged rhythms carry through with Read + Write and The Big Cut which both introduce electronica to Turbowolfâ€™s diverse aesthetic. Infectious synthesised melodies intermittently break up the intensity of the guitars, making the tracks more listenable and glossy in finish. Inaugural single, A Rose For Crows, showcases Turbowolfâ€™s doom and metal instrumentation, splashed with a catchy hook and raw, dense harmonic vocals.
THE BEACH BOYS
â€˘ While much of the recordng for the album was engineered by Mat Sampson, a few tracks have some more humble origins. TW1 was recorded in the bedroom of vocalist Chris Georgiadis and KJ was captured by a dictaphone in the bandâ€™s old rehearsal room.
â€˘ The psychedelics donâ€™t end on the record; the members of Turbowolf are equally out there sansinstruments, and if you want proof, head to www. artrocker.tv, where you can see the band wax lyrical on everything from government conspiracies and media cover-ups to secret alien societies with conspiracy theorist and fellow UK native David Icke. â€˘ While the band are yet to make it to Australia they have been a hit on the festival circuit in Europe and have hinted at the possiblity of an Australian tour, frontman Chris saying, â€œWe would love to (tour Australia). As soon as someone gives us a plane ticket weâ€™ll be there.â€?
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THE DRUM MEDIA â€˘ 41
THE HEAVY SHIT
METAL AND HARD ROCK WITH CHRIS MARIC
like I’ve seen people do at countless instores!
Happy New Year to all my Heavy Shit Brothers and Sisters! I trust you enjoyed a couple of weeks of quiet time away from my ranting and if you missed me, well, fear not for this column will continue kicking and screaming until time runs out – which is apparently in about 51 weeks’ time. NIGHTWISH
WISH AND IMAGINE Finnish symphonic metal band Nightwish have been pedalling their powerful and expansive gothicleanings brand of metal since their inception in 1996. Never a band to shy away from creative concepts as epic in proportion as the music they create, Imaginaerum, is their latest beast to be unleashed. While the album, Imaginaerum – a 75-minute opus – has recently received a local release through Roadrunner Records, it is the full-scale project that is truly worthy of attention. Due for release this year is a feature-length film, based on the themes of Imaginaerum, which tells the story of an aging composer trapped in the memories of his youth. Directing the film is Stobe Harju, the man behind the steam-punk-influenced music video the band used for The Islander, taken from their 2007 Dark Passion Play album. Founding member, songwriter and keyboardist Tuomas Holopainen recently took to the band’s website to spill the beans on the progress of the film as the band prepare to tour the album saying “I saw the first edits of Imaginaerum The Movie a week ago. Stobe and Mathieu have been working with the edits a few weeks now and the parts I saw were very convincing. The demo scores (by the tech wizard Petri Alanko) are working out wonderfully, even though we still need to toy around with them quite a bit. The special effects guys have also begun their work, so once we get all these layers together some truly mindblowing movie magic will be born. Basically now we just have to wait patiently and try not to breathe too much into their backs, and let them do their magic.”
Another well-suited Black Friday gig is happening down at the Manning Bar tonight. Combichrist have returned and due to overwhelming demand, have added international guests, Angelspit and Lab4 featuring A+D+A+M, who were last here over four years ago. Featuring the members Zoog and Destroyx, Angelspit produce a sinisterly glorious pounding brutality. Zoog has put together a special DJ set for the night. Rounding out the night of dark, gothic mayhem are Shiv-r and Horrorwood Mannequins.
So last Sunday was the deadline for you to have submitted your application to Triple J to take over the reigns for The Racket. The thought did cross my mind more than once and I was encouraged by some pretty influential people to put in my own application but honestly there are not enough hours in my day. Mr Haug is ready to pass the torch and we will find out soon who the new Keeper of the Flame will be.
The Miss & Mr Alternative Semi Final NSW heat will be on at Venom tonight. It’s being sponsored by Deadman Industries, The EDGE - Alternative Modelling Agency and the awesome Avelina De Moray, whose art you should check out immediately!
Karma To Burn have had to postpone their Australian tour till May. I don’t have the reasons but will have revised dates shortly. The Australia Day show at The Basement in Canberra will still go ahead as planned with Live Evil, Looking Glass, Futility and Chud playing. After crushing and creating turmoil for the writhing mass in attendance at East West Deathfest III, Mother Eel is moving to Svalbard during the polar night to record their next EP, titled Total Fucking Svalbard. Svalbard is located approximately halfway between Norway and the North Pole. There are no roads connecting settlements and they appreciate people trying to be invisible. While in the depths of the constant fog that Svalbard boasts, they will be adding glacial guitars, frosty vocals, icy ambience and genuinely cold dissonant noise to the elements that have already been recorded years ago. Sounds pretty grim and awesome to me! LOG represent one of the great lost relics of Australia’s now-defunct Metal for the Brain festival. At their height, LOG were one of the heaviest and catchiest party bands on the face of the earth, an unholy marriage of Blood Duster, Eyehategod, Weedeater and highly-sexualised high-energy rock and roll. Nowadays the band’s members are scattered across the Australian stoner scene in Looking Glass and Pod People, Boonhorse, Veebees, Disavow and Shifter. For the first time in nine years their second album, creatively titled LOG’s Second Album, is once again available and for free via Art As Catharsis! Look out for releases from Hydromedusa, Anklepants, Battle Pope and Adrift For Days as the year progresses.
The new year is off to a quiet start which is how it should be. There will be more than enough action coming our way in the coming months as the behemoth known as Soundwave makes its presence known so without further ado/crapping on, here we go.
The legendary, mythological black metal occultists known as Absu will be performing in the country for the first time this week. They will be joined by Brisbane’s purveyors of spectral damnation, Portal, and the Tasmanian dark legion, Ruins. Prior to their show at The Sando this evening, they’ll be at Le Cabinet des Curiosities, opposite the Enmore Theatre, from 6pm for a bit of a meet and greet. Their brand new album, Abzu, will be available so buy the fucking thing and get them to sign it, don’t offer your shoe or a scrap bit of paper
WAKE THE DEAD
Sydney sludge band Lomera have impressed me and several others with their debut self-titled EP and kick off the year by launching it at one of the newest venues in town, The Square, which is located downstairs beneath The Yardhouse at 730-742 George Street. Joining in on the fun are Canberra’s favourite sons, Looking Glass, who are headlining the evening. It’s also rumoured to be their only Sydney show of the year. Be there early to catch local fuzz balls Mother Mars, whose album, Fossil Fuel Blues, scores album title of the year for me so far. Rounding out the bill are the supernova stoners from Daredevil, Entry is ten bucks and doors open 8pm. There isn’t a whole lot that can be said about Gay Paris that frontman WH Monks hasn’t already yelled or slurred or scrawled on the wall of an outhouse somewhere in the Australian wilderness, but to be fair on the raucous foursome, it all bears repeating. Having fulfilled their mission statement of bringing the rock back to rock‘n’roll (albeit a very dirty, sludge-dripping rock), these wild men have set their sights on soul – namely yours. With their debut record, The Skeleton’s Problematic Granddaughter, being critically acclaimed and their live show often being referred to as ‘the wildest thing you’ve ever seen,’ Gay Paris are back in 2012 and going for the hips, getting things started at their favourite venue, The Vanguard. Joining them are Reckless Vagina, Surprise Wasp, Guthrie and Glitter Canyon.
PUNK AND HARDCORE WITH SARAH PETCHALL
I EXIST Welcome to another year of Wake The Dead. I hope everyone had a safe and happy Christmas and New Year. In the meantime, there have been quite a few little announcements in the break, so this week’s column is going to be jam packed! To start off with, a whole bunch of Soundwave Sidewaves were announced in the week before Christmas so I thought I would give a little rundown of what has been announced so far and where and when they all are. KILLSWITCH ENGAGE
THE CARRIER SPLIT
Deathwish Inc.’s The Carrier are the latest hardcore band to fall to the two-album curse. The band have announced that they’re splitting up in March, saying that there are many reasons behind the difficult decision, the main one being that the band have moved on in their lives both personally and musically. In a statement they said, “The overall mood of the band has changed profoundly since we first started, and frankly, we can’t continue to put forth the passion that we once had. With that being said, we’re getting older, it doesn’t feel right to continue playing songs that we wrote in our mid-teens. And sadly, we’re finding it increasingly difficult to write new material. Thus, it only feels right that we come to an end.” The Carrier’s last release, Blind To What Is Right, came out last year.
HOWARD JONES LEAVES KILLSWITCH
Not to bring the mood down so early into the new year, but Killswitch Engage have officially announced the departure of their frontman Howard Jones, who has been with the band for the last nine years. The reason for his leaving has not been explained by the band in a statement that said, “Howard is a part of our family and always will be, and we wish him well. He has left big shoes to fill, so we certainly have our work cut out for us to find the next singer of Killswitch.” The band also hinted that their next record is in the not too distant future, so we’re betting they’re making finding a new singer their top priority. 42 • THE DRUM MEDIA
To start with A Day To Remember have announced that they will be playing a killer show at the UNSW Roundhouse on Tuesday 28 February with none other than The Used (some more news regarding them later in this column) and You Me At Six. This will definitely be one of the bigger punk and hardcore Sidewaves, and will undoubtedly come close to selling out so get in quick! Also taking out the massive stakes is the epic Sidewave where a lot of the more punk acts on the Soundwave bill will join forces for a huge show at the Big Top at Luna Park on Wednesday 29 February. I am of course talking about Bad Religion, who will be joined by the prolific Strung Out, Street Dogs (who feature former members of Dropkick Murphys) and one of the most talked about bands on the lineup, The Mezingers. On Monday 27 February, Dashboard Confessional, Jack’s Mannequin and Relient K will be playing a relatively intimate show at the Manning Bar, while Thursday will be playing their final Sydney show (probably ever) at the Metro Theatre with Saves The Day and Circa Survive. This isn’t just a show for fans of Thursday’s newer material. If you’re a fan of the older stuff, make sure you grab a ticket as the New Jersey six-piece will be playing their debut album, Full Collapse, in full on that night. Finally, also on Wednesday 29 February, is one of the Sidewaves that I am most looking forward to seeing, and mostly for the supports actually. Enter Shikari will be headlining at the Metro Theatre in Sydney, and they will be joined by two up and coming acts that have been making waves across the hardcore world in the past year – Your Demise and Letlive. If you saw Your Demise when they toured with House Vs Hurricane earlier in 2011, you know that you’re in for a treat, and while Letlive have never toured Australia they’re riding
high on the back of their incredible album, Fake History, and have built a reputation as a must-see live band. Now that that little round up is done, onto other news! If you haven’t heard of Murder By Death, now is your time to check them out. I guess, technically, they’re not a punk or hardcore band, but they’re downright dirty, sometimes fast, and definitely brutal. The band, who feature an electric cellist, will be hitting Australia for the very first time this February and joining them will be Perth’s Eleventh He Reaches London. Murder By Death are touring on the back of their 2010 release, Good Morning, Magpie. You can catch them when they hit up the Manning Bar in Sydney on Friday 24 February for an 18+ show. As most already know, Backtrack are hitting Australia in a couple of weeks for a tour with Melbourne’s Iron Mind. As a part of that tour, they will be playing a oneoff mini-festival called Strike Hard Fest, being organised by the crew at Strike Hard Bookings. The lineup is huge, featuring some of the best local hardcore talent including Confession, Thy Art Is Murder, 50 Lions, the aforementioned Backtrack, Dream On Dreamer, Shinto Katana, Phantoms, Iron Mind, Feed Her To The Sharks and Aftermath, who were selected as part of a competition to open the festival. The Fest takes place on Sunday 22 January with doors opening at 3pm at Bowman Hall in Blacktown (it’s right next to Westpoint, attached to the Council Chambers). Tickets for this, as well as Backtrack’s own 18+ show on Saturday 21 January at the Bald Faced Stag, are on sale now.
UNFD have been kept very busy lately, announcing a few new distribution deals with a couple of big names. First up, I mentioned a few months ago that The Used had parted ways with their major label to form their own label, Anger Music Group, which will be releasing the band’s fifth studio album, Vulnerable. UNFD announced just before Christmas that Hopeless Records will be partnering with the label to release the band’s album, which will see a local release in March. In addition, UNFD also announced that they will be releasing new albums from Canada’s Silverstein (titled Short Songs, to be released February 10) and Say Anything, who will be releasing their fourth, album Anarchy, My Dear, this March. Lead vocalist, Max Bemis, has also promised that 2012 will see the band return to Australia for the first time since 2009. Massive congratulations have to go out to Canberra sludge/doom/hardcore act I Exist, who have just announced that their second album, II: The Broken Passage, will see an international release via Lost Shepherd/Prosthetic in late January (for the U.S.) and early February for Europe. This coincides nicely with the band’s return to touring with the Keepin’ It Denim tour, which kicked off last weekend in Tasmania. The Canberrans will be heading back to Sydney as a part of Blood, Sweat & Beers #6 at the Annandale Hotel on Saturday 4 February. Make sure you grab your tickets sooner rather than later, as I hear they’re well on the path to selling out! firstname.lastname@example.org
GET IT TOGETHER It’s gripe sharing time. New Year’s, turning over new leaves, tuning into new artists, fitting into new clothes and all those other things go with airing grievances. This one may be a bit peculiar to me, but it shouldn’t be: how has pop culture forgiven Chris Brown? I know that he only ever drifts on the periphery of (y)our radar at the best of times but, surely, others have been shunned into oblivion for less than the violent beating he dealt out to Rihanna. What happened to him? Five years of probation, one year of domestic violence counselling and six months of community service; plus a restraining order requiring him to remain 50 yards away from Rihanna and ten yards away at public events. That’s a long way to say “nothing”. And that “nothing” has come with a career resurgence featuring sweet, saccharine love songs. It’s been grinding my (g)ears for more than two years now. Perhaps now I can let go. Hm. Happy New Year. We all had a chuckle at the expense of the HeatWave festival last year. Why was there a hip hop festival being put on in Canberra? How on Earth had anyone been able to find contact details for Crazy Town? How had anyone come to the conclusion Crazy Town would help you fill a venue? How can you put on a show with a lineup that, even without Crazy Town, still reads like a drug-induced practical joke: TechN9ne, D12, Obie Trice, Kid Cudi, Chamillionare and more? Well, we laughed but it may be the promoters who have the last laugh. HeatWave is venturing outside our nation’s capital and coming to Sydney. The Enmore, to be precise, and will be on over two nights, 18 and 19 January. Selling out (even a significant number of tickets at that) over two nights at the Enmore would be some feat. (It probably won’t happen though, right? That lineup? So, so strange.) The Chef Raekwon has a new tape out to ring in the new year. Its title is pretty cute: Unexpected Victory. It includes Mobb Deep and Busta plus some 9th Wonder production. Good fun. T.I.’s got a new LP due out sometime soon. It’ll be called Trouble Man. It could be amazing like 2008’s Paper Trail, or pedestrian like 2011’s No Mercy. Before we get a chance to find out which end of the spectrum Trouble Man will fall your boy’s got a mixtape out called Fuck Da City Up and it features Dre, Jeezy, Pusha and a few others.
HIP HOP WITH VIKTOR KRUM
That moving house is a painful experience isn’t exactly a revelation. There’s some statistic, published somewhere at some time, which states that a house move is the most stressful thing a human being can undergo. I believe it, but the truth is that I expected the process to be a lot more stressful than it’s been so far. Save for the possibility of settling into my new house and discovering a neighbour with a love of blasting Meatloaf at 4am, the whole thing is more tedious than agonising. There’ve been hours spent removing, cleaning, wrapping and boxing with a less-thanengrossing movie playing in the background. (And I have finally discovered why Titanic was made – three hours of people running around on a boat is a plot easily followed from under the stairs.) If there is to be an agonising part of this process, I know it’s still to come. I’ve been putting it off, going to do it and then distracting myself with another task, leaving it for another day that hasn’t yet arrived. When I think about performing the act, I have a strange physical reaction that is different to the hives I’m getting from the dust or the carpet burns on my knees from blowing friends in payment for helping me move. It’s a dizzy, vomity feeling. There might even have been a couple of tears. My stereo is dead and I have to throw it out. It’s a big thing – one of those boxy black mammoths from the ‘90s made from stacked components, which gives it the look of a control panel from a spaceship captained by The Edge. It starts at the bottom with a five-disc CD player, moves onto a dual tape deck, then a display segment complete with various preset equaliser buttons – Dance, Pops, Rock and Classical – before the top radio
ALL AGES WITH DAVE DRAYTON
Some slim pickings this week for shows, but plenty for the diary in the near future. We may as well start the year with a friendly reminder to let me know (via the email below) if your mum’s sister’s best friend’s cousin’s uncle’s nephew’s mate’s band is playing an all ages show in Sydney or surrounds so I can help spread the word. Old mates Kasha (no, not Ke$ha) are an awesome Canberran quartet that plays tense, dissonant rock. They’ve been hard at work on a new recording and will be premiering the fruits of their collective labour from 7pm on Sunday at Blackwire Records with Making and No Art. What better way to start the year than by planning responsibly, eh? Eh? It doesn’t sound fun, but it will be. For you metal fans, metallic masters Iced Earth have changed their show in April from 18+ to all ages. The new HiFi Bar in Sydney (previously the Forum) is hosting the band on Thursday 5 April.
RAEKWON Speaking of contrasts between excellent 2008 and disappointing 2011 albums, let’s talk Roots Manuva. His Slime & Reason was an incredible, haunting epic while 4everevolution was about as good as its title. Rodney’s coming to our shores on 8 March to play The Hi Fi with Dizz1 (who provided some of the production on 4ever…), Tuka and Bentley in support. He’ll be playing with a live band – a red flag if ever there was one – but let’s hope we get vintage Smiff rather than one that celebrates his more recent work. Oh, Common. Common Common Common. Please stop rapping, Common. Also, acting. Stop acting too. We’re not saying Common’s a bad guy, the good work of the Common Ground Foundation would stand in the face of that. It’s that Common’s music is not enjoyable to listen to, nor is his acting enjoyable to watch. Our stance is an aesthetic one. By and large it’s good that there are as many people in the world making art as possible but, sometimes – maybe 20 years into a career, for example – it’s time to acknowledge your limitations and chuck in the towel. The awfully-named The Dreamer, The Believer will be out from 20 January. Plus Common can now be seen starring alongside Ashton Kutcher, Robert De Niro, Halle Berry, Jessica Biel and Hilary Swank in romcom, New Year’s Eve. Well of course he can. email@example.com
POP CULTURE THERAPY WITH ADAM CURLEY
As I write this, I am surrounded by taped-up boxes. My clothes rack is a skeleton with ribs made of empty hangers and in the corner of the floor is a small pile of clothes I’ve set out to wear over the coming days. I haven’t yet dealt with what’s under my bed, which will require yet another hike to the shops to buy dust masks and antihistamines and to beg one of the staff at IGA for more boxes that smell like meat. I am moving house. This may be my last column entry – that is if I’m found babbling nonsensically under an avalanche of unused bath towels given as birthday and Christmas gifts, which seem to spring out from every cupboard door and then multiply via mitosis; and committed.
YOUNG & RESTLESS
Another date to chuck in the diary is Saturday 25 February. I know I bang on and on about how awesome and accommodating Blackwire Records is, which is why I’m putting on an all ages, daytime festival there on that day called SoundDave. It’s running from 11am to 8pm and features all kinds of awesome bands like The Union Pacific and Palisades from Melbourne, Quiet Steps, Milestones and Make More from Queensland and locals like Epics, thedowngoing and Nick Van Breda. There are more bands and details to come, so keep your eye on this column, or check out the SoundDave event on Facebook to stay in the loop. The last date for the diary is Saturday February 11, which is when the awesome La Dispute step into the Annandale for an all ages show. Their most recent effort, Wildlife, was my top album from 2011 and their live show is a force to be reckoned with. A couple of shows on the tour have already sold out so get in quick. We lined up La Dispute frontman Jordan Dreyer to give us a little insight into why the band feels it’s important to play all ages shows, even halfway round the world from their hometown of Grand Rapids, Michigan. “It’s different for every band, and at times it’s difficult to be so picky, especially when you’re so far away from home. Above all things you want to go somewhere and you want to play shows and you want to be able to
LA DISPUTE go and sometimes you’re a bit limited in the way that you can do that and we’re very fortunate because of the two previous tours to have certain resources at our disposal. That applies to everywhere, not just Australia, but it’s always been very important to us to be as inclusive as possible when it comes to playing shows and that applies to all things. If you want to play an all ages show I think it’s because it’s absurd to restrict the amount of people who are able to come see your band in a situation, I think that’s detrimental and contradictory to the spirit of punk rock, you know? It’s supposed to be about everybody coming together and about having this really unique environment that includes all people regardless of anything – age, race, gender – regardless. “Pricing, again, as I was saying, you’re taking a big risk, there’s a great deal of expenses that go into travelling across the world and touring but it’s just as important to set reasonable prices so that everybody can attend as it is to make a lot of money. We’d love to cover our expenses and if that’s all we do that’s perfect as long as everyone’s able to come out and have a good time.” You can get tickets to the show now through the Annandale Hotel. firstname.lastname@example.org
URBAN AND R&B NEWS BY CYCLONE
Music tastemakers – especially British ones – love this time of year, as they feverishly predict the next big thing. 2011 brought us Jessie J, Odd Future and, outta nowhere, The Weeknd and Ed Sheeran. So who will be 2012’s breakthrough urban acts?
component, which boasts in white print on one side that it can hold up to 30 preset stations. I remember being particularly impressed by that last feature as a young teen, despite the fact that, at the time, there wouldn’t have been even ten stations in the entire country worth presetting. In fact, there still aren’t. It wasn’t always mine. It first belonged to my older brother, bought with his own money made working at Coles, and when he left home for a post-school working holiday in the UK and left it behind, I took it and his bedroom and was really rather pleased with my acquisitions. Over time, and all the musical milestones teenhood brings, the stereo attached itself to me. It saw me kiss Roxy Hansen at my 16th and a troubled friend almost kill himself at my 18th. It moved from my parents’ house into my first sharehouse, where it got to do battle with a whole lot of drum’n’bass and sometimes even won. It has lasted two long-term relationships, about a million part-time jobs and more musical obsessions than I care to admit to. It’s been sitting on a set of drawers in my soon-to-be-former house for nearly four years, and for two of those it hasn’t worked. Its demise started with the radio packing it in, then it ate up CDs and eventually it just stopped switching on at all. Maybe it longed too much for the music of our youth, or for a time when music could be labelled as Dance, Pops, Rock or Classical – the last of those being everything that was not the first three. God knows I sometimes do. But those were different times, and it’s just a thing, and you have to move on, right? You have to. Fuck it – I’m going to do it right now. email@example.com
Scottish soulstress Emeli Sandé won the BRIT Awards’ 2012 Critics’ Choice category, Adele and Jessie J past winners. Sandé, a former medical student, has provided hooks on successive urban tracks, including Professor Green’s Read All About It, the redeeming cut on his messy At Your Inconvenience. She’s also written for everyone from Tinie Tempah to, er, Susan Boyle, impressing Simon Cowell. Sandé lately debuted with Heaven – a UK hit – but it’s the unrepresentative ‘Pacha’ remix that’s turning up on Aussie compilations. The singer, on Virgin, will unleash Our Version Of Events next month. Expect soulful dance pop somewhere between Jessie J and Katy B – and let’s pray that Sandé isn’t 2012’s Clare Maguire, all voice and hype, but no X factor. Then there’s Azealia Banks, who topped NME’s Cool List 2011. The New York femcee blew up last year with the salacious 212 – but she first excited bloggers with the Diploproduced (and Ladytron-sampling) Seventeen yonks ago. Banks signed to XL Records but split, clashing with label boss Richard Russell. Like Nicki Minaj, she can sing (Google her Interpol cover). Currently a free agent, Banks has come third in the BBC’s Sound Of 2012 poll. Among the other urban acts nominated? Hot NY MC (and Drake pal) A$AP Rocky, London grime rapper Dot Rotten, Communion Records’ soulster Michael Kiwanuka and, belatedly, Frank Ocean. Now based in London, Banks is recording with Adele producer Paul Epworth. Oh, and she guests on Scissor Sisters’ newie, Shady Love. Banks knows that the lot of femcees isn’t great. Even a hipster fave like Kid Sister floundered. Missy Elliott, too, has long fallen off the radar, her much-stalled Block Party now touted for 2012. The one femcee to defy the odds is Minaj. She’ll drop her second record, Pink Friday: Roman Reloaded, in February. Hopefully, its impact is greater than the so-so ‘taster’, Roman In Moscow. Meanwhile, Minaj cameos on Madonna’s try-hard Gimme All Your Luvin alongside MIA (reputedly teaming with Chris Brown on her next LP, WTF?). Conscious Brit femcee Speech Debelle claimed 2009’s Mercury Prize with Speech Therapy, to considerable surprise. Few Mercury winners have done so little to capitalise on
NICKI MINAJ such a coup. The Londoner will finally rematerialise next month with Freedom Of Speech, produced by the lesser known beatmaker Kwes. Check out her very alt Studio Backpack Rap. Could it be another year for girl power, streetstyle? Will Smith’s daughter Willow is to unveil her RocNation debut, You Think You Know Me. Whip My Hair was massive in 2010, but the tween’s follow-ups – the last, Fireball, featuring Minaj – flopped. Willow may yet be a one hit wonder like her sunny labelmate Alexis Jordan. Hip hop’s big guns also have new albums, with Common’s The Dreamer/The Believer out locally on January 20. The MC worked with old cohort No ID, the LP adhering to a vintage ‘90s hip hop ethos. Common’s mainstream profile grew with 2004’s Be, overseen by Kanye West – yet he’s now boldly parted with GOOD Music for Warner. Common’s Ghetto Dreams buddy Nas is similarly tapping into ‘90s nostalgia on his tenth outing (and Def Jam finale), tentatively titled Life Is Good. Forget Salaam Remi’s Nasty – Nas has been in the studio with Odd Future! And that OG illwaver Kid Cudi, touring Oz shortly, has a weirdo rock project, WZRD, with Empire Of The Sun onboard. The underrated Solange Knowles presaged The Weeknd’s avant R&B – we desperately want her third album! Aussies can perhaps anticipate a Daniel Merriweather LP in 2012, if not D’Angelo’s James River. But Dr Dre, his Detox ridiculously overdue, is bizarrely taking a hiatus. Lastly, it’s not a Bond theme, but Mark Ronson is to handle the official Summer Olympic Games tune with Katy B, sampling athletes in training. 2012 should be interesting. THE DRUM MEDIA • 43
MORE BLUESFEST SURPRISES
Bluesfest keeps delivering the goods, with word that a fourth announcement is on the horizon. An already stellar lineup headlined by Aussies Cold Chisel, festival director Peter Noble has hinted at what’s to come in the next lineup release saying, ”The next artist announcement includes some truly amazing artists. Here’s a clue to one of them: They were our Festival headliner only a few years ago! Is this enough of a hint? Yes, we still have some headliners up our sleeve to announce.” The festival boasts a lineup that already includes The Who’s Roger Daltrey, The Pogues and My Morning Jacket, so we’ll be keen to see who else they’ve got lined up to join the festivities. There are still tickets available for the festival, running from Thursday 5 to Monday 9 April.
Keeping with our Bluesfest theme, a couple of sideshows were announced just before Christmas and are now on sale, so snap up your tickets quickly if you’re a fan. Sublime with Rome are more ska than blues, but if you feel like branching out, they’ll be playing with support from Mat McHugh of The Beautiful Girls Saturday 7 April at UNSW Roundhouse. Zappa fans will have the opportunity to revisit his finest work with Dweezil Zappa at the helm of the wildly successful Zappa Plays Zappa show, happening Friday 6 April at The Metro.
Oh, and don’t forget - Thredbo Bluesfest is on this weekend, Friday through Sunday - BE THERE!
SYD FEST CORNUCOPIA
Sydney Festival are taking over the town this month with shows in both the city and out west that’ll be bringing the best in world music to our collective doorstep. The Barefoot Divas will be bringing their soulful songs that speak of deep connections with the land in their show this Saturday at the Old King’s School site in Parramatta. Meanwhile NigerianFrench artists Asa and Fefe are in Sydney for the first time and play Tuesday 17 at Riverside Theatres in a co-headline show. The spellbinding Fatoumata Diawara blends jazz and blues with the traditional Wassoulou music of her Malian parents to create a contemporary folk sound. She’ll be sharing her songsTuesday 17 and Wednesday 18 at the Idolize Spiegeltent in Parramatta. Faith No More frontman and perpetual chameleon Mike Patton will take on ‘60s Italian pop songs with a twist in his Mondo Cane shows, featuring a massive orchestra. You can see it for free Saturday 14 in The Domain, or at The State Theatre Monday 16 and Tuesday 17. The legendary Taraf de Haidouks and Kocani Orkestar have joined forces to create Band Of Gypsies. Expect a raucous night of music as the two bands draw on traditional Romanian music, urban Balkan pop, medieval ballads, oriental brass and even Turkish and Bollywood influences. They’ll be playing the Enmore on Thursday night and The Concourse on Friday.
Also here for Sydney Festival, saxophonist Joshua Redman and pianist Brad Mehdau, plaing the Concert Hall at The Concourse, Chatswood Thursday 19 and City Recital Hall Friday 20.
DANCING SHOES ON
Sydney Festival is in full swing and they’ve got some brilliant acts, both new and old, taking over the Spiegeltent. Nine-piece rhythm and blues band from Melbourne Clairy Browne & The Bangin’ Rackettes will be bringing their soulful mix of blues, rockabilly and swing to the Spiegeltent out in Parramatta on Friday 13. Alt-country/folk singer and songwriter AA Bondy will be out west too, on Thursday 19 and Friday 20 at the Idolize Spiegeltent. His latest record, Believers, was on many a critic’s best of 2011 lists, so he’s one not to be missed. If you’re feeling the pinch of so many great gigs in January, Sydney Festival has you covered with a free gig under the stars in Parramatta. The night features Busby Marou opening, who’ve been rocketing up the charts with their single, Biding My Time. Australian country music star Kasey Chambers, now known as one of Australia’s elite artists and a national treasure will surely belt out a few of her classics. Not to mention Dan Sultan and his seven-piece band rounding out the night, in a dynamic set that’ll combine Elvis charisma with Johnny Cash grunt. The fun takes place on Saturday 21 at the Old King’s School site. CLAIRY BROWNE & THE BANGIN’ RACKETTES
indie rock scene, a heavily funded classical music community and a flourishing jazz scene, but a city that is turning its back on the blues. It’s all well and good for me to lament this as well – I’m a blues fan – but the importance of keeping the music alive and well in a city such as Chicago must not be understated. The historical significance of the music is immense. Reich refers to the soaring vocal of Honeyboy Edwards and the none short of jovial piano work of Pinetop Perkins – two recently deceased former Chicago residents – as powerful sonic souvenirs that tell the story of an American that was waking up to itself, an American become more equal. And in a time and place where equality still doesn’t exactly reign supreme, its power is still vital.
Hello everyone, nice to be back. I hope you had a wonderful festive season filled with great music, ham and sitting on the couch, as well as plenty of awesome Christmas music (the Internet has shown me over the past few years that a lot of it actually exists!). Now 2012 is upon us, the Mayans reckon we’re fucked (but where are the Mayans now?) so surely we’re in more need of blues music than ever before? Over the years I’ve mentioned numerous times that, while contemporary music may be embracing its blues roots just as much as it ever has, there’s still the constant fear – and it’s a genuine fear held by many – that blues music will die out. We could well be the final generation that gets to witness the music in its purest and most traditional form. Over the break the Chicago Tribune (whose breadth of coverage relating to music and arts is frequently excellent) published a piece written by Arts critic Howard Reich called Twilight Of The Blues. Without wanting to take away from the importance of our own blues scene in this part of the world, Chicagoans have every reason to be saddened and perhaps disturbed about pioneering blues musicians, many of whom I listed in my final column of 2011, giving up the ghost. Chicago was, after all, one of the major urban centres that Delta blues artists would flock to in search of work on street corners, in recording studios and, of course, in the bars throughout the city. This is the music that has pumped through the city’s bloodstream for close to a
DAVID HONEYBOY EDWARDS century and it’s dying out, both literally and figuratively speaking. In his piece Reich concedes that no musical style, “since notes could be etched on paper,” has or will ever completely die out, but he fears that blues may be one of the very many styles of music that “become so peripheral to American lives as to be reduced to historical footnotes. Studied by academics, performed by die-hards and applauded by connoisseurs, they’re forgotten by nearly everyone else.” It’s what he sees in his home city, a city that boasts a thriving alternative/
So what’s the point of all of this? After all, we’re about as far from Chicago as you can get. I’m writing this in hope that this year you’ll dedicate part of your time to going back and discovering some of the blues of the past and, perhaps just as importantly, the story behind it; where it comes from and its historical significance. The only reason I urge you to do this is because it’s something I’ve had a great amount of fun doing myself over the past decade or so, but I’ve never considered it to be particularly culturally important. After reading Reich’s appeal to Chicago to ramp up their support for blues, I feel that, even though we’re geographically removed doesn’t mean we don’t have any responsibility to keep the music alive. If you’re going to grieve blues, then don’t do so without at least making an effort to delve deeper into it yourself.
JAZZ/WORLD WITH MICHAEL SMITH
The big ticket item this weekend is of course the Jazzgroove Summer Festival, now in its third year, running over five venues and including a couple of free concerts. It all kicks off 6.30pm Friday night with an opening talk, The Sydney Sound: Past, Present And Future Of Australian Jazz And Improvised Music, at old 505 Theatre with Roger Dean, John Pochee, Jess Green, Peter Nelson and Matt McMahon, followed (at 505) by performances, from 7pm, by Gian Slater with Christopher Hale and Nathan Slater, the Coffin Brothers and the James Muller Trio, while over at the Gaelic from 8pm, it’s The Cooking Club, Adam’s Garden and The MFW. Saturday from 1pm, Prince Alfred Park hosts a free afternoon of jazz with The Glorious Sousaphones, The Sun Chasers Collective and The World According To James, while at the Clarendon Hotel Surry Hills, you can catch The Waples Brothers and Jackson Harrison, also free from 4.30pm and the Tom Mann Theatre hosts the Festival’s Gala night from 5pm, with a screening of Intangible Asset No. 82 followed by a Q&A with the doco’s director Emma Franz and drummer and composer Simon Narker, followed by performances by Ben Hauptmann’s BOB and Matt McMahon’s Paths And Streams, while over at 505, it’s Abel Cross’ Neo Bop, the Chuck Yates Trio and 20th Century Dog. At the Gaelic Sunday night it’s The Mango Balloon, the Mike Rivett Quintet and the Warwick Alder Quintet, while at 505 from 5.30pm it’s Song Fwaa, A.C.R.O.N.Y.M. Orchestra and the Alister Spence Trio, and at the Gaelic from 8pm it’s
at 7pm for Melbourne’s Golden Fur at the Stone Gallery in Paddington. The festival officially opens at Hardware Gallery in Enmore Monday 16 with performances by David Haines & Joyce Hinterding, Orsola & Charles, Rod Cooper and Vijay Thillamuthu, the latter two from Melbourne.
ALCOHOTLICKS the Tony Electro Heavy-Vibe Concert, the Zac Hurren Trio and the Jackson Harrison Trio, but before all that, you can catch The Cope St Parade, free from 4.30pm, at the Clarendon. Sunday also sees a free kids’ concert at Redfern Town Hall, which also hosts a couple of workshop gigs courtesy the James Muller Trio featuring Ben Vanderwal Saturday from 2pm and the Zac Hurren Trio Sunday from 2pm. The festival is also hosting, in association with Eastside Radio, the inaugural Jazzgroove Association Recording Artist Awards, The JARAs, the four finalists – The Alcohotlicks, 20th Century Dog, Paul Cutlan and The Cooking Club – showcasing in performance at 505 from 1pm, the winner announced on the day and winning a recording and promotions package worth $10,000. This Thursday also sees the first gig of the 11th annual NOW now festival of exploratory music, with Berliner Sabine Vogel and The Necks’ Chris Abrahams opening
THE SWAMP SHACK Rose Seidler House at Wahroonga is perhaps best known to Swamp Shackers as the home of the annual ‘50s Fair. This Saturday the Tiki Gods will descend on this iconic residence, transforming it into an Hawaiian paradise for a massive Tiki Party. On arrival punters will be greeted with a cocktail in a souvenir Tiki glass and be magically transported to the islands of the South Pacific in the torch lit and totem adorned grounds. DJs Swingin’ Kitten and Limpin’ Jimmy will be spininning all your Tiki bar favourites, there’ll be an Hawaiian style barbeque and as with all Rose Seidler events you are invited to dress in your most appropriate outfit. Burlesque might seem a strange bedfellow for rockabilly and alt country but always seems to get a mention in this column especially when it’s of the 34B variety. This Friday sees the last ever performance by Ladykillers Inc. with the infamous Bella Pistol and Kitty Danger assaulting the senses with their unique dark cocktail of tantalising tease, inspired choreography, crazed costumes and rock’n’roll attitude! As usual there’s a huge supporting cast including Holly J’aDoll, Ember Flame, Memphis Mae, Pepper Grinde, MC Lauren La Rouge and DJ Goldfoot. 34B is in the Exchange Hotel on Oxford Street, Darlinghurst. There’s no doubt that Sam Cooke was one of the greatest soul singers of all time and it’s a tragedy his life was cut so short. Luckily, we still have Eugene Hideaway Bridges, who will be doing a special Sam Cooke tribute on his next visit (would you believe his
44 • THE DRUM MEDIA
BLUES AND ROOTS WITH DAN CONDON
Drawing inspiration from Dixieland jazz and the blues of the ‘20s and ‘30s, New Orleans septet Tuba Skinny take over the Basement in Circular Quay Thursday night.
Pen Island + The Drip Hards – 505 John Harkins – Jazushi
WEDNESDAY 11 Inga Liljestrom – 505
Arabesk + Glenn Cardier – The Basement Jason Bruer/Steve Barry Duo – Moscafe
Eastside Radio presents Hobo Bordeaux – 505 Vince Jones – Blue Beat, Double Bay Jason Bruer Trio with Lily Dior – Middle Harbour Yacht Club firstname.lastname@example.org
ROCKABILLY/PSYCOBILLY/ALT.COUNTRY WITH PEDRO MANOY
Festival and play the Basement. The Continental Blues Trio hit the National Press Club in Canberra and Hat Fitz & Cara Robinson let loose at the Camelot Lounge.
EUGENE HIDEAWAY BRIDGES 28th trip to Australia?), playing the Basement Friday 17 February along with Jenny Marie Lang and a number of special guests.
Adam Pringle & Friends continue their long-running residency at the Sandringham Hotel.
The Musos Club Jam Night is back at the Bald Faced Stag Hotel with hosts Jim Finn and Al Britton.
New Orleans’ Tuba Skinny are here for the Sydney
The three-day Thredbo Blues Festival kicks off with an impressive lineup that features the Mighty Reapers with Dave Brewer, Jeff Lang, Blue Heat, Darren Jack Band, Jeff Duff, Jed Rowe, Nick Charles, Jim Finn, Hat Fitz & Cara Robinson, Continental Blues Trio, Pete Cornelius Band, Luke Dickens & Matt Ross, Harry Brus, Joe Robinson, Diane Van Deurzen & Lisa Otey and lots more. Steve Edmonds and his very bluesy band play Beaches in Thrroul and The Bellhops play at the Blacktown RSL.
SATURDAY Dave Tice & Mark Evans play their classic early evening gig at the Sandringham Hotel from 4pm while the Road Runners rip it up at the Matraville RSL. Terry Batu rocks the Mortdale Hotel.
SUNDAY Stormcellar travel to the Exchange Hotel in Hamilton with a 4pm start and Andrew Winton and Phil Edgeley play an evening show at Lizottes at Dee Why. email@example.com THE DRUM MEDIA • 17
HOUSE, PROGRESSIVE AND TECHNO VIBES WITH ROBBIE LOWE
Happy New Year! 2012 was welcomed with some great parties that spanned across the New Year’s period. I hope whatever mischief you got yourself up to was good! I certainly had a lot of fun, and I’m now going to give a detailed step by step insight into my New Year’s celebrations. Funnily enough on the actual eve I was asleep by 1.00 am. It’s kind of a rarity to not be playing so I made the most of it by sleeping and waking up fresh for onslaught of gigs the next day and night. My first set was New Year fs Day at the Space Ibiza Kehakuma party at Sydney’s Greenwood Hotel. When I arrived at around 5pm it was already wild with a big crowd going off in the courtyard to Jek K. All the side rooms were also full and going off - there was something musically for everyone as they had their own music styles and vibes going on. This now cemented any feelings that this was a real happening party! Those who like to escape it all could even opt out of reality for a while in the Silent Disco area. This is where you can listen to a choice of 2 live DJs battle it out by wearing a set of headphones and dancing in your own world. Also the Chapel area was transformed into a Bass Drop room featuring anything breaks, dub or d&b. This was a great inclusion to the festival. It was actually going off the whole day. Most of the action was of course under the stars and skyscrapers in the courtyard and this is what the Greenwood is famous for. I personally was really looking forward to Eddie Richards’ set. I missed him the last time I was at Fabric a few years ago which was a bummer - never the less I caught Terry Francis instead and that was awesome! No surprise I’ve been a fan of Eddie’s work for a long time. His Fabric mix cd is my favourite of the series and I have a lot of his records that have stood the test of time very well. On this day I thought he played perfectly for the Sydney crowd, maintaining a stylish and groovy sound. He built it towards the end of his set with plenty of wobbly and quirky basslines. From there it was time for me to lay down some tunes of my own in the cocktail room that was hosted by Golden Cage. It’s a small room but a lot of fun to play! I like these smaller intimate vibes because it is usually one-on-one with people in front of the decks and it’s easy to connect with the crowd. It was a quick departure after my Space set for the Metro to warm up the main room for Radio Slave &
NEW YORK CONVERSATION
TALES FROM THE BIG APPLE WITH TOM HAWKING
In an interview with Vogue, of all people, most excellent Canadian neo-synthpop up-and-comer Claire Boucher, aka Grimes, casually referred to her upcoming album Visions as “post-internet”. At face value, the claim seems absurd — this is an artist, after all, who owes the fact that she’s just signed to 4AD to, yes, the internet. She’s been championed by the likes of Gorilla Vs Bear, Pitchfork and About.com (via our very own Anthony Carew), and she also released her first two records for free download — even now, with stardom beckoning, you still can go and help yourself to them for nothing. So, wait, exactly how is it that she thinks she somehow transcends the internet?
EDDIE RICHARDS Sasha. This was one of Future’s ‘One Night Only’ events that featured Sasha playing for 5 hours. I played from 10-11.30 before Radio Slave. Towards the end of my set the sound guy was given the rather difficult task of swapping mixers whilst I was playing. Sasha is touring with an Allan & Heath DB4 mixer and it obviously needed setting up for him to start playing. It was tricky but it worked out after a few tech issues. After the changeover I had a bit of time to suss the mixer out and mix a few tracks. It was probably the equivalent of driving the newest Mercedes model car on the market. Very smooth and a joy to use! That led to my final gig a couple hours later at the Spice Cellar. This was now early Tuesday morning. When I arrived I walked into a room that Yokoo & Matt Wier were working beautifully. They had a full dance floor rocking. It was great to see and it was hard to believe it was a day and a half after New Year fs Eve! There was a special feeling in the room on this night. I think it was the post New Year vibe making everyone feel relaxed and in a very good mood. I jumped on the decks and felt it was definitely time to play a few classics. Black Science Orchestra’s Save Us and Gat Decor’s Passion both went down a treat lighting up the the room up. Those are the golden moments you remember as a DJ. Thanks for tuning in. Until next time.
But no, as it turns out, that’s not what she’s saying at all. The “post-internet” label is one she’s been pushing proudly for some time — she also discussed the idea with the New York Times, and she means “post-” in the most literal sense of the prefix: hers is music that came after the internet, and couldn’t exist without it. “I had access to everything, so the music I make is sort of schizophrenic,” she explained to the NYT in August. “I’m really impressionable and have no sense of consistency in anything I do.” In other words, Grimes’ music is a quintessentially 21st century creation, the product of a scattershot stream of inspirations brought to its creator via what used to quaintly be called the information superhighway. Having said all that, however, I can’t help but wondering whether Boucher’s label is more appropriate than she intends, because it strikes me that in 2011, culture became more transitory than ever. In October, Maura Johnston of The Village Voice coined the onlysomewhat-tongue-in-cheek term “trollgaze”, a term that applied not so much to a definable musical genre as it does to a general concept — it’s music built for the internet, designed to generate page views in the same way that pop songs were once designed to separate tweens from their pocket money. As Johnston wrote in October, it’s music where “the potential for laughing at/being annoyed by/saying ‘WTF’ at a piece of art trumps its aesthetics.” Picking up the idea a couple of months later, Pitchfork’s Tom Ewing noted that “a trollgaze track is utterly webnative: It’s not built to exist in a record shop, a TV channel, a collection, or even an MP3 playlist. Its natural habitat is the stream — that ceaseless flow of
GRIMES information we access every time we use social media.” The best example of this in 2011 was of course the dreaded Lana Del Rey, about whom I won’t write any more because, frankly, I’m as sick of writing about her as everyone else is of hearing about her. But it wasn’t just her, and at times it felt like the entire goddamn internet was full of what Johnston called “pageviewjunkie music”, a glut of culture that existed for the sake of being liked rather than having something to say. But perhaps at the start of 2012, it’s worth reminding ourselves that things don’t have to be this way. After all, there’s always been vapid shite out there, and for all that vapidity manifests itself in 2012 in terms of pageviews and Facebook likes and Buzzfeed submissions, the constant stream of information with which we’re bombarded can be as much an inspiration as it is a cultural challenge. “Post-internet” music, as Grimes might call it, doesn’t have to be transitory or worthless. And the internet doesn’t just have to be about trollgaze — as Boucher told Vogue, “I feel like we’re at a huge jumping-off point now. You don’t just have to be influenced by rock, or goth, any more… There are still so many combinations that haven’t been done yet. It’s a really beautiful period.” Grimes’ own work demonstrates this as well as anything — if the tracks that have preceded it are anything to go by, Visions is already shaping up to be one of the albums of the year, and for all that this is music constructed from a base of ephemerality, it’s built to last. Or, as Carew wrote about Grimes and her free albums at the end of 2010, “The fact that it’s being literally given to you certainly doesn’t mean it has no worth. Art this aweinspiring is, to the contrary, invaluable.” Bravo, Anthony. The world isn’t ending just yet. Roll on 2012.
THE DRUM MEDIA • 45
THIS WEEK IN
TUESDAY 10 Sydney Festival – events today include The List Operators for Kids Do Compooters (Seymour Centre, 10am); Narelle Jubelin: Vision In Motion (University Art Gallery, 10am-4pm); 181 Regent St: Addressing Black Theatre exhibition (Carriageworks, 10am-6pm); Brook Andrews’ Travelling Colony (Carriageworks, 10am-6pm); Buried City (Belvoir St Theatre, 6:30pm); L’Effet de Serge (Seymour Centre, 7pm); Walk A Mile In My Shoes (Carriageworks, 7pm); The Boys (SBW Stables Theatre, 7pm); Anatomy Of An Afternoon (Sydney Opera House, 8pm); Babel (words) (Sydney Theatre, 8pm); Never Did Me Any Harm (Wharf 1 and 2, 8pm); I Am Eora (Carriageworks); 8:30pm); Tubular Bells For Two (Seymour Centre, 8:30pm); Meow Meow’s Little Show Girl (Famous Spiegeltent, Hyde Park, 9:30pm). See sydneyfestival.org.au for more details and any time changes.
WEDNESDAY 11 Sydney Festival – events today as per Tuesday 10, with an additional List Operators show at 12:30pm; an additional performance of L’Effet de Serge at 10pm; Belvoir’s Buried City performs twice, at 2pm and 8pm; an additional performance of Walk A Mile In These Shoes will also be held at 3pm. New today: Reinventing Radio: An Evening With Ira Glass (Sydney Town Hall, 7pm/9:30pm); Chunky Move’s Assembly (City Recital Hall, 8pm); Bright Club (Famous Spiegeltent, Hyde Park, 11:30pm). See sydneyfestival.org.au for more details and any time changes.
THURSDAY 12 Sydney Festival – events today as per Tuesday 10 with the addition of Chunky Move’s Assembly (City Recital Hall, 8pm), and List Operators running to the same schedule as Wednesday 11. New today: I’m Your Man previewing (Belvoir St Theatre, 8:15pm); youtopia (Tin Sheds Theatre). See sydneyfestival.org.au for more details and any time changes.
FRIDAY 13 Sydney Festival – events today as per Tuesday 10 with the addition of Chunky Move’s Assembly (City Recital Hall, 8pm), and List
Operators running to the same schedule as Wednesday 11. New today: Edge of Elsewhere (4A Centre for Contemporary Asian Art, 11am-6pm); I Am A Camera (Riverside Theatres, 7pm); A History Of Everything previewing (Wharf 1 and 2, 8:15pm); La Putyka (Riverside Theatres, 8:30pm); Briefs (Idolize Spiegeltent, Parramatta, 9pm). See sydneyfestival.org.au for more details and any time changes.
SATURDAY 14 Sydney Festival – events today include Parramatta Opening Party (Parramatta CBD); 181 Regent St: Addressing Black Theatre exhibition (Carriageworks, 10am-6pm; Symposium today: 10am-4:30pm); Narelle Jubelin: Vision In Motion (University Art Gallery, 10am-4pm); Brook Andrews’ Travelling Colony (Carriageworks, 10am-6pm); Edge Of Elsewhere: Artists in Conversation (4A Centre for Contemporary Asian Art, 10am-4pm); youtopia (Tin Sheds Gallery); Microscope: Festival Artists in conversation with Caroline Baum (today: Brook Andrew) (Famous Spiegeltent, Hyde Park, 12:30pm); The Boys (SBW Stables Theatre, 2pm/7pm); Chunky Move’s Assembly (City Recital Hall, 2pm/8pm); Buried City (Belvoir St Theatre, 2pm/8pm); I Am A Camera (Riverside Theatres, 3pm/7pm); Anatomy Of An Afternoon (Sydney Opera House, 4pm/8pm); Tubular Bells For Two (Seymour Centre, 5pm/8:30pm); I Am Eora (Carriageworks, 5pm/8:30pm); La Putyka (Riverside Theatres, 6pm/8:30pm); Babel (words) (Sydney Theatre, 8pm); Never Did Me Any Harm (Wharf 1 and 2, 2pm/8pm); I’m Your Man (Belvoir St Theatre, 8:15pm); A History Of Everything (Wharf 1 and 2, 2:15pm/8:15pm); Meow Meow’s Little Match Girl (Famous Spiegeltent, 9:30pm). See sydneyfestival.org.au for more details and any time changes.
SUNDAY 15 Sydney Festival – events today include Edge Of Elsewhere (4A Centre for Contemporary Asian Art, 10am-4pm); Brook Andrew’s Tavelling Colony (Carriageworks, 10am-6pm), and more. See sydneyfestival.org.au for more details and any time changes.
HURLY BURLY COMES TO SYDNEY The stars of the West End erotic pop cabaret, The Hurly Burly Show, are in Sydney for the modern cabaret burlesque, An Evening With Miss Polly Rae, a sublime and sensuous cocktail of burlesque, cabaret, pop and comedy, full of cheeky, playful themes and incredible musical arrangements. Miss Polly Rae is a stand-out in the burlesque arena as she sings live during her performances, her breathy, sexually-charged delivery on revamped favourites by the likes of Madonna, Pet Shop Boys, Rihanna and Michael Jackson matched by sumptuous, delicately choreographed routines featuring her six beautiful Hurly Burly Girlys all singing live – an exceptional marriage of vocal talent and burlesque art. Spend An Evening With Miss Polly Rae at Factory Theatre Thursday 12 January to Saturday 14. More info at hurlyburly.com.au.
ART MONTH 2012 ANNOUNCES PROGRAMME Art Month Sydney returns for the third time, in March, to shine a spotlight on our city’s best artists and art galleries, and offering die-hard art fans and casual fans alike a plethora of events and exhibitions to sink their teeth into. Over 80 commercial-run and public galleries and artist-run initiatives will take place, with popular events such as the art bars and public talks making a comeback. Discussions will include the likes of “Yeah it’s good, but is it art?”, “My three-year-old could do that” and “Man, they’ve totally sold out. Do artists really have to suffer for their art?”, whilst speeding dating for artists make its return, and art appreciation talks’ll help the ever-increasing curious make the right purchasing decision. Exhibition highlights include Paul Davies at Tim Olsen, Jasper Knight at Australian Galleries, the opening of Galerie pompom at MOP, Oliver Watts at Chalk Horse, Beijing’s Red Gate Gallery at Damien Minton, and a special Art Month project from Sydney-based collective’s Superkaleidoscope. Art Month runs from Thursday 1 March to Sudnay 25. Head to artmonthsydney.com for more info.
SHAKESPEARE FEST RETURNS TO GLEBE Summer in Sydney doesn’t just mean The Festival. The Sydney Shakespeare Festival plays a significant role in the inner-west’s cultural calendar, offering the bard’s work en plein air, with over a month’s work of shows under the starry night skies in Bicentennial Park, Glebe. This year’s productions are the mighty Hamlet and the delightful The Taming Of The Shrew – being presented Thursdays to Sundays until 12 February. The plays are performed on selected nights, so head to sydneyshakespearefestival.com.au for the schedule. 46 • THE DRUM MEDIA
(JUST LIKE WE) BREAK (IT) DOWN DIRECTOR AND CO-WRITER SIMON STONE EXPLAINS HIS PROCESS FOR REIMAGINING THEATRE’S CLASSICS. WORDS BY DAVE DRAYTON Simon Stone’s vision is bold. A brief glance over even his most recent work will attest to that; his temerarious reimagining’s of the likes of Frank Wedekind’s 1892 Spring Awakening and Henrik Ibsen’s 1884 The Wild Duck have been daringly told. Widely lauded, the real pleasure of Stone’s work is its ability to incite reaction, the invitation it extends for provocation. Co-written by Stone and the cast – Thomas Henning, Chris Ryan and Mark Winter – his version of Seneca’s Thyestes premiered in 2010 in Melbourne’s Malthouse Theatre and like Stone’s other re-workings, hurtles a story with years of existence far beyond those of Stone himself into a riveting contemporary relevance. “Mark and Tom are both theatre makers in their own right and have directed and written plays themselves before, so obviously they have an authorial instinct as well so they both had quite strong opinions about what they were interested in looking at,” explains Stone of the co-writing process. “The resultant work is based on the consensus between all of us. Chris also has a really instinctive understanding of dialogue in a way that I haven’t really seen in an actor nor a writer before, where he kind of finds the beauty in incredibly mundane conversations. “I had a strong idea of what I wanted to look at with the text. I suppose I
had a first proposition for the cast. I always begin with the structure of a plot. I can’t sit down and write anything until I know what happens and usually that involves me sitting in front of a wall or a whiteboard or a large piece of butcher’s paper and starting to notate – I suppose in the same way you tell someone a story; every time you tell them the story of something that’s happened in your life you learn from each telling how to make that story better or more effective or funnier or more dramatic the next time you tell it. So through a process of endlessly telling the story to each other of these two brothers in this Greek myth we got to a point where we started embellishing the story more and more. But embellishing it from having taken it down to its essential human element, devoid of its original period, and then building it back up again through that process of telling each other the story. Once we started seeing what the basic skeleton of that original mythology
was, finding parallels in history and in modern politics and all that we then appropriated like magpies, endlessly stealing other people’s stories and stories from history to create a patchwork quilt of story elements that ended up making this new version of this mythology utterly our own.” It is this ‘essential human element’ that has been the starting point for all of Stone’s reworkings. From the crux of a story unadorned, Stone sets about reconstruction. “You start getting rid of all the stuff that gets in the way of it being an essential human story or a time-based story. As opposed to updating it it’s actually removing period from it in a way that it then could take place in any period. You get rid of the swords and the dragons and the potions and the witchcraft and it could’ve taken place in the original period then or it could take place in two hundred years’ time from now in that there will always be families, people will always betray each other, whatever
tools or iPods or swords they use for it will change. The instruments will change, but the story will always be the same.” Stone first acknowledged the appeal of telling these older stories when, as a teenager, a book by Rimbaud struck a chord. “I was reading Rimbaud’s A Season In Hell and I was reading it as a fifteen year old and it was written by him as a fourteen- or fifteen year old and I couldn’t believe that a guy who had been dead for so long could have written a poem so long ago that actually felt pretty much like it had actually been stolen from my brain. We all remember that first moment where we watch or read or see a piece of art from an era that we think is distinctively different to our own era where we suddenly realise that there is a connection through time and that connection is our essential humanity, our essential animal existence that no matter how much it is fashioned into the mores of any particular time, remains the same. It could be that I’m sometimes drawn to stories that are more extreme than other stories, and I think that’s probably a little bit of a yin and yang thing, where I’ll do something very bourgeoisie and very, I suppose, civilised, and it’s an examination of a very cultured hermetic existence. For example, The Wild Duck is about a very middle-class family having a very middle-class problem.” Whether bourgeoisie or brash, Stone says that in each work there remains a challenge for himself. If recent productions are any indication, this challenge is evidenced in responses the work generates from the general public and critics alike. WHAT: Thyestes WHERE & WHEN: Carriageworks, Sunday 15 January to Sunday 19 February, part of Sydney Festival
BRIGHT YOUNG THINGS and MCs the evening, as well as providing some guidance for the first timers and each evening concludes with a musical cabaret performance from the likes of Mike McLeish and Sheridan Harbridge.
SYDNEY FESTIVAL PROGRAMMING ASSOCIATE ADAM MCGOWAN TALKS DAVE DRAYTON THROUGH TURNING HIGHER EDUCATION INTO HIGH QUALITY HUMOUR. You can’t spell ‘funny’ incorrectly without ‘P’ and ‘H’. And you can’t spell ‘dick jokes’ without ‘D’. Therefore, the letters PhD, commonly used in that order to represent a doctorate of philosophy, are essential to comedy. The argument may be flawed, the reasoning nonexistent, but come Sydney Festival there will be at least some truth (and hopefully some retrospective pity chuckles) in that statement. Taking over the infamous Spiegeltent for three late-night Wednesday sessions during the festival, Bright Club will place some of Sydney’s best and brightest academics on stage to perform a stand-up routine informed by their area of study. “I curate the Scope series, which includes a range of talks within the official programme, so Ira Glass and Vincent Moon also fall within that particular series,” explains Adam McGowan, Sydney Festival programming associate and the man behind Bright Club. “We’ve got a partnership with Sydney University so the previous two festivals we’ve held a talk event that’s involved a number of academics from the
university and we were keen to do another event with the university and very much trying to highlight the intellectual assets of the university. We came across an event called Bright Club, which has been running at the University College London for about the last two years. The whole event is built around getting academics out of the university context, out of that environment, and putting them in a space that is completely alien to them. In this case that happens to be a comedy variety sort of night. “When we were looking at a way in which we could engage with the university again for 2012 – and
we were really wanting to find something a bit more adventurous, a bit more sexy and dynamic and interesting – this just seemed like an absolutely perfect event to hold. It’s innately performance based and that’s what we were looking for, something that had more of a performative aspect to it, that wasn’t just a straight talk. The whole night is built around academics taking the plunge and having a go at comedy and in the case of all our participants this year, for the first time.” Like the UK event a comedic compere – in this instance the ABC’s James O’Loughlin – anchors
“I guess the ‘professional’ entertainers bookend the night in a way, and then in the middle we have a selection of academics. It’s a really good spread, we’ve got some very interesting folk that will be getting up to have a bash with this. The idea for the nights is that they will have a very loose theme, which hasn’t been by design but sort of fallen into place as we’ve locked people in. So the middle week, that theme is sex. We’ve got a sixty-four year old Sri Lankan sexologist who’ll be talking; we’ve got someone talking about insect ecology and looking at the way in which insects procreate, there’s some fairly interesting details as part of his stand-up piece; and an archaeologist and then someone from the Faculty Of Arts & Science who’s looking at demonic sex. So we’ve been really pleased to find people from a range of different faculties, it’s not just your arts and humanities types, there’s a good mix there.” WHAT: Bright Club WHERE & WHEN: The Famous Spiegeltent, Hyde Park Wednesday 11 January, Wednesday 18, and Wednesday 25 as part of Sydney Festival
SHOCK OF THE EAST
C U LT U R A L
THERE’S NEVER BEEN QUITE THE MUSICAL EAST MEETS WEST EXPERIENCE AS THE ONE FEATURED IN AWARD-WINNING AUSTRALIAN DOCUMENTARY, INTANGIBLE ASSET NO. 82. DIRECTOR EMMA FRANZ TALKS TO MICHAEL SMITH ABOUT IT. Jazz isn’t something you’ll usually see discussed at much length in Front Row, but this Saturday, the 2012 Jazzgroove Summer Festival’s Gala Night will not only feature encore performances by Ben Hauptmann’s BOB and Matt McMahon’s Paths and Streams, but also a rare screening of director Emma Franz and drummer Simon Barker’s powerful documentary, Intangible Asset No 82, and there’s a quite extraordinary story behind that. The “Intangible Asset” in this case, his official designation according to the South Korean government, is the late and enigmatic Shaman Kim Seok-Chil, a man whose percussionbased music has been an unlikely yet seminal influence on the way that Sydney jazz drummer Simon Barker plays and composes music. A singer herself, after eight years of performing and recording in various countries, Perth-born Emma Franz, a few years ago, decided she wanted to explore more fully the way in which
time in years, and he’d transformed into the incredible drummer that he is now, so I just thought that was the story to try to follow.” The resulting documentary, which went on to win Best Documentary at the Durban International Film Festival, Best Sound In Documentary at the 2009 AFI Awards Australia, and has screened in competition at South By South West in Austin, Texas, as well as in Canada, Argentina, Japan, India, Egypt and South Korea, follows Barker on his journey through Korea meeting a variety of younger Shaman musicians, many themselves inspired by Kim Seok-Chul and some of whom have pursued the unique and highly improvisational musical tradition of “ponsuri”, a tradition quite alien to Western ears used to melody and harmony.
musicians from various cultures are able to communicate and interact with each other purely through making music, but also to understand the relationship between music and the personal context from which it springs. In the story of Barker’s search to learn more about and hopefully meet Kim Seok-Chil, Franz found the perfect vehicle to explore her ideas in a new medium for her, film. “I’d known Simon for many years and worked with him in Sydney,” Franz explains, on the line from Perth, “and we were doing an album in Hong Kong. I hadn’t seen him for
about seven years at that point and he had just come from Korea, so I asked him what he’d been doing there and he said, ‘Looking for a Shaman,’ which was intriguing enough, and I thought, well, if a thirty-something jazz musician and an eighty year old Shaman can meet, it will really show how music can connect people despite having no common language and so on. “Then of course Simon started to tell me about some of these aesthetic ideas that had influenced him, which I also found very interesting, and then I heard him play for the first
“There is a long tradition of handing down of skills and knowledge within ponsuri,” Franz explains, “but that’s only one part of the picture. Almost the biggest part is to actually be amongst nature and to experience it and to learn from it.” Barker did manage to meet and even improvise with Kim SeokChul, but it is the journey as much as the meeting that is celebrated in Intangible Asset No 82. A Q&A with both Franz, who is currently editing her second feature film, a documentary on American jazz icon Bill Frizell, and Barker, will follow the screening. WHAT: Intangible Asset No. 82 WHERE & WHEN: Tom Mann Theatre Saturday 14 January, 5pm
LIZ GIUFFRE SPEAKS TO FEZ FAANANA, WHO’S BRINGING HIS POPULAR BRISBANETURNING-TOURING CLUB SHOW, BRIEFS, TO PARRAMATTA’S SPIEGELTENT FOR SYDNEY FESTIVAL.
“The group operates as a collective, and all the performers all bring a really solid, already polished piece
The Museum of Contemporary Art is reassuring us the venue is safe to visit despite an asbestos scare during renovations. The MCA says its galleries have been certified safe by an ‘industrial hygienist’ and pose no risk to visitors. But construction workers are being tested after asbestos was found in mortar they were cutting into. Their union, the CFMEU, has slammed the way the construction company has handled the health scare. Sydney Theatre Company’s production of Chekhov’s Uncle Vanya, adapted by Andrew Upton and directed by Tamás Ascher, will tour to the Lincoln Center Festival, New York, in July. The production has also been named best play of 2011 by Washington Post critic Peter Marks, after what he described as the strongest year of theatre in a decade. The entire original cast – John Bell, Cate Blanchett, Sandy Gore, Hayley McElhinney, Anthony Phelan, Richard Roxburgh, Andrew Tighe, Jacki Weaver and Hugo Weaving – will reprise their roles for the show, which was a box office triumph in Sydney in 2010, before its Kennedy Center run last year. Arts projects across the State are about to get $1.6 million in funding. New South Wales Arts Minister George Souris tells us 49 grants have been allocated to artists under the 2012 Arts Funding Program. He says the money is for a mix of music productions, theatre, visual arts, museum, dance, literature, multi art form, multimedia, opera and community partnerships. An Australian filmmaker has been arrested by the KGB while covering
a topless protest against Belarus president Alexander Lukashenko. Melbourne-based Kitty Green had been working on a documentary on the Femen organisation, a feminist group known for staging protests that frequently see members strip to the waist in public places. Australian Embassy officials in Moscow gave the 27 year old consular assistance and she’s apparently now left the country via Lithuania. Aussie crime movie Animal Kingdom is being made into a television show for US cable channel Showtime. The channel has previously made dramas such as Weeds and United States Of Tara. Showtime has commissioned a pilot based on Animal Kingdom with an option to develop it as a series. The pilot will be made by John Wells Productions, the company responsible for West Wing and the US adaptation of the British series, Shameless. Belvoir’s The Dark Room has seven nominations for the 2011 Sydney Theatre Awards, which will be presented at Paddington RSL on 16 January. The musical Hairspray also has seven nominations followed by The Libertine and The Wild Duck each with five. Baal, Gross und Klein, Mary Poppins, Neighbourhood Watch, and The Seagull each with four nominations. Vying for Best Mainstage Production are Gross und Klein (STC), Much Ado About Nothing (Bell Shakespeare), The Dark Room, Neighbourhood Watch and The Wild Duck (Belvoir). Nominees for Best Independent Production include The Disappearances Project (Version 1.0) and Smashed (Griffin Independent).
bit more ugly, and perhaps even a bit more bogan. They even include a meat tray raffle as part of their proceedings. Seriously. “I guess coming into this, and even into drag more generally, it’s about exploring physical dynamics and just exploring what you can do. From just the challenge of actually breaking a sweat on stage [something drag performers rarely do, and certainly burlesque seems to never do], to really seeing how we can up the ante and really explore our options. “We started off like a club night in Brisbane for people who weren’t interested in what else was happening, and it was just a place where people could get up and explore some more risqué and experimental stuff. And there was a massive response and we were always over capacity, and I think that just made it really clear that people of Brisbane, if not Australia, wanted something a bit different from these older traditions.”
Fez Faanana heads up Briefs, a 90-minute all cabaret/burlesque that describes itself as “all male, all vaudeville, all trash”. But it’s trash that’s carefully crafted and thoroughly enjoyably, rather than trash of the irony-free Kardashian kind. The boys have played around the country and the world, most recently supporting the Dresden Dolls for some international trash cabaret; however it’s been years of getting themselves, um, dirty.
The performer is talking to Front Row between gigs, rehearsals and set-ups in different cities. His troupe of six will take on the Parramatta Spiegeltent for the Sydney Festival; however, they also juggle other work (now all performance stuff).
WITH JAMELLE WELLS
“I started performing in independent collectives about twelve years ago, so I kind of understand that world of not being able to work primarily as a performer, and now that it’s finally happening I can hardly complain,” Faanana says. “But it is tiring.”
to help round out the show, and I’m the only non-traditional circus-like performer – I’m the bastard child of the ringmaster and the bearded lady,” Faanana explains with a laugh. “I play the clown of the show, and the format harps back to variety and vaudeville, and while we’ve got a simple format of act-based cabaret, we’re also playing with burlesque and it being barbed with political satire and masculinity and all that
kind of stuff. We really like mixing it up, turning it on its head, making people laugh…but also maybe letting them be disgusted.” There has certainly been a burlesque revival of late. However it’s been dominated by female performers and pseudo strip-tease. While there is still absolute respect to be paid to such inner-city revivalists, Briefs is about being a bit rawer, a
In particular, Faanana drags out one of the most unlikely forms of old school Australia to get into Briefs: “I think people wanted some of the hooliganism and larrikinism of Australia, and then the physicality of circus and dance, and the comedy of drag – and while there’s so much other stuff going on at the moment, here people can acknowledge how messed up things are, how amazing things can be.” WHAT: Briefs WHERE & WHEN: Friday 13 January to Sunday 22, Idolize Spiegeltent, Prince Alfred Park, Parramatta as part of Sydney Festival
(thank goodness for inconspicuous handfuls of doggy treats).
Among the adults, this is an allstar lineup, making it the perfect show to introduce children to the delights of musical theatre. Nancye Hayes hams it up beautifully as the crotchety Ms Hannigan and her performance of Easy Street with Todd McKenney and Chloe Dallimore has all the brassy razzle-dazzle of the old days of vaudeville. It’s just a shame that Anthony Warlow’s character only really gets to assert his presence towards the end of the piece.
Never work with kids or animals. Thankfully, the creators of Annie ignored that old showbiz adage back in the ‘70s when they created their charming musical based on a longrunning comic strip that became a classic kids film in 1982. Siena Elchaar, aged just 11 and one of three Annies employed for this Australian season, proves herself more than up to the task of carrying a musical, but she is almost outshined by Micky, the shaggy golden retriever/poodle cross who plays a fairly indifferent Sandy
Until 26 February DANIELLE O’DONOHUE
GRIFFIN CALL-OUT FOR AWARD SUBMISSIONS Griffin Theatre Company have put out a request for submissions for their 2012 Griffin Award, in which they seek the best of new, original plays. Last year’s season highlight, Silent Disco, won the award in 2009, and the resulting production took Sydney by storm – ending the year as one of the country’s highlights (and a film version is in development. (This year’s A Hoax won last year’s award.) The winner will be announced during the Griffin Festival of New Writing in June, with selections of the shortlisted plays read aloud prior to the winner’s announcement. Entries close 4pm, Tuesday 14 February, so get to griffintheatre.com.au now. THE DRUM MEDIA • 47
WITH BETHANY SMALL Somehow a bunch of people I know have been in Tasmania over the hols (yes yes some music festival thing that probably is nice but it’s my schtick not to know about bands okay) and they are all getting all “WOAH! MONA!” and I am jealous because I’m kind of obsessed with private museums and sex and death and also I’m having art withdrawals. Everyone else is having “Holiday!” season and I am having “But there are no plays or art shows opening?” season, and I have been to both the MCA and the AGNSW so many times in the last couple of weeks that it is not even reasonable. So many art world problems as I am having in this human life. And Helen Frankenthaler is dead and she was one of my historical adoptive art parents during the period of her marriage to Robert Motherwell because they were socially excellent in a way that Jackson Pollock and Lee Krasner just weren’t. But yeah, thank Heaven for the Sydney International Art Series, because it is totally fun to take people to see Picassos and also it is totally fun to watch people doing things in Recorders, which is the Rafael Lozano-Hemmer show at the MCA. I feel like a bit of a creeper there though as I am really mainly not in it for the participation as I am a chronically self-conscious human being who cannot think of a good thing to say into a machine that will record it when there is a group of people all going for it or, worse, a single attendant trying
not to look judgey at you. So there is a lot of me wandering around trying not to get captured by the tracking devices (but cleverly one cannot escape them entirely) and reminding myself that parents giving their kids slightly lame run-downs on contemporary art do not actually deserve that I should report them to DOCS; it is actually lovely that they are taking their kids to contemporary or really any art and I guess I don’t really know that much about how much a seven year old can take on conceptually given that I am prone to reading T. S. Eliot to my four month old nephew. What the Sydney International Art Series is doing is interesting to me because of the different sort of people who come to see big blockbuster shows and how much museums can really push that at them. I mean: most people know about Picasso I am pretty sure, but how many people who aren’t art people know R L-H? He has done heaps of important things I guess, but to me he’s contemporary-artfamous not art-history-famous? So the two in dialogue, how do they work? There is social commentary and they both kind of overwhelm one with the possibilities embodiment entails for art’s content? That’s... not as definitive as it could be. I am going to have to go see both shows a bunch more times, huh?
PUB LIFE ARTISTIC DIRECTOR ROSTISLAV NOVÁK TELLS NICK JARVIS ABOUT THE BEAUTY AND BAWDINESS OF HIS NEW CIRCUS TROUPE CIRK LA PUTYKA. The Czech Republic is in the vanguard of the New Circus movement, a melding of disciplines from clowning and acrobatics to puppetry and music, creating theatrical circus productions with narratives. The country is also the birth place of Pilsener, where it’s cheaper to buy beer than bottled water in the supermarket. So it makes perfect sense that actor and artistic director Rostislav Novák would choose a drink-sozzled dive bar as the setting and inspiration for his first theatrical steps into New Circus. “In Bohemia,” says Novak, “a lot of artwork, books, plays and many ideas were created in the pub. It’s a place where many people come for inspiration, and where many people go to relax. But the pub is also a place where a very important role is played by your imagination. Nothing has to happen, exactly – people are just sitting and drinking beer and thinking about the things they did wrong or did well in their lives, or what they would like to do, and everything takes place in their heads.” La Putyka (‘The Pub’; the ‘La’ is a nod to French circus tradition) delves inside the rich imaginary life of a party of reprobate booze hounds,
THE OLD FITZROY THEATRE
Tue 17th - Sun 22nd Jan - 9pm/8pm (Tue) 7pm (Sun) Tue 24th - Sun 29th Jan - 9pm/8pm (Tue) 7pm (Sun) Tue 31st Jan - Sat 4th Feb - 9pm/8pm (Tues)
$28 Adult, $25 Concession Cheap Tuesdays $21 All tickets Bookings: 8019 0282 www.rocksurfers.org
COURTYARD STUDIO Canberra Theatre Centre
Tue 7th - Sun 12th Feb - 8pm Wed 14th - Mon 19th Feb - 8.45pm
Bookings: Canberra Ticketing 6275 2700 canberraticketing.com.au
48 • THE DRUM MEDIA
using high-energy acrobatics and gymnastics, trampolines, tango and puppets to deliver the story, all soundtracked by a live Balkan gypsy punk band. “It’s mostly the story of the landlord,” Novak explains. “We observe a typical pub life situation from two different angles – once with a sober view and once through the bottom of a beer glass, where the same things seem to be completely different. I think everyone will find at least one moment they’re familiar with, or have at least encountered.” Familiar scenes to anyone who’s been on the wrong end of 20 schooners, then, but what you probably won’t have seen before is the range of talents and unique disciplines that go into creating this New Circus performance. “It’s really a very diverse and
colourful group of people – the landlord is played by an actor from the renowned Dragon puppet theatre in Hradec Kralove, which is the theatre where my grandfather played, a real nomadic puppeteer who was born in a caravan pulled by horses. “In La Putyka we also have a couple dedicated to contemporary dance, acrobats that are dancers or gymnasts with no circus schooling, and musicians that are not only members of the most popular band in the Czech Republic just now, but are also professional actors, working with everyone from the National Theatre to experimental projects. “I was looking for multifunctional people for La Putyka – each performer has at least three disciplines, and they also develop skills through their acting and dance training during the rehearsals of new
productions.” Novak has a long history in theatre, having worked previously with Czech theatre group Skutr, and it was while performing his solo Skutr show, 8 – Birds Black, Tits Great (‘8 polib prdel kosum’) that he started to play with melding disciplines. La Putyka is the direct result, and it’s a raucous, rollicking night on the tiles – but one that even teetotallers can enjoy. “It’s not about getting drunk, it’s about poetry, magic, fantasy and freedom. If you want a good time, and to see the energy of the new generation of Czech theatre, come and get drunk on our New Circus.” WHAT: La Putyka WHERE & WHEN: Riverside Theatre, Parramatta Friday 13 January to Wednesday 18 as part of Sydney Festival
ARE YOU READY TO LET OFF SOME STEAM?
TICKETMASTER.COM.AU OR 136 100
BOOK NOW UNDER THE AIR-CONDITIONED BIG TOP, TUMBALONG PARK, DARLING HARBOUR MAJOR SEASON PARTNER
“Refreshingly honest, unpatronising and bullshit-free” Stephen Dunne, Sydney Morning Herald on Urban Theatre Projects
Buried City y Written by Raimondo Cortese Conceived and directed by Alicia Talbot
January 6 - February 5 Belvoir 9699 3444 Sydney Festival 1300 668 812 sydneyfestival.org.au/buried belvoir.com.au/buriedcity
THE DRUM MEDIA • 49
TOUR GUIDE FEATURE TOUR
Sheffield lads done good, the Arctic Monkeys juggernaut seems to have only grown with their fourth album Suck It And See. The foursome have transformed from the fast-talking, hyperactive tunes of their hit debut single Bet You Look Good On The Dancefloor, and fans can expect some well-coifed swagger on stage as the gents pull out tracks spanning all of their records, and maybe a b-side or two? Having already rung in the new year (somewhat belatedly) at Falls Festival, the quartet will be hitting our fine city for two shows, supported by none other than Alex Turner’s best mate and fellow Last Shadow Puppeteer Miles Kane. They’re at the Hordern Pavilion on Thursday and Enmore Theatre on Friday night.
GOTYE PIC BY JOSH GROOM
PEAT’S RIDGE FESTIVAL GLENWORTH VALLEY 29/12/2011-1/1/2012
Getting ready to attend a camping music festival just out of Sydney in summer means packing for every possible weather condition, but this year’s Peat’s Ridge Festival - despite a couple of days of morning drizzle - was damn near perfect. Held in the picturesque Glenworth Valley and surrounded by beautiful rolling hills, the three-day festival is as much about sustainability and communing with Mother Nature as it is music, but the music can be pretty good too. On Thursday Ball Park Music and the Dum Dum Girls warmed up the main stage in the afternoon. Brisbane’s Ball Park Music mixed spacey jams with indie, power pop and while they were impressive, some of the subtlety of their set was lost on the open-air stage. Hailing from California, the Dum Dum Girls were cool dialled up to 11. With their spot-on harmonies and particularly on-song rhythm section, the band were a good find. Darwin duo Sietta also provided a good introduction to their soulful electronica. Vocalist Caiti Baker was able to really let rip at times, but still managed to jump and dance her way around the stage. But for campers up for dancing it was The Bird that were the first day’s main highlight. The veteran duo spent their hour set building complex live drum ’n’ bass and dubstep rhythms. Ben Welsh behind the kit was a rhythmic powerhouse, while tabla player Bobby Singh came out onstage to add a warmth to the songs. After the intensity of their set, Xavier Rudd’s stomping blues seemed to fall a little flat. While he looked to be enjoying his return to big festival playing the first night’s momentum was well and truly with The Bird. Day two dawned grey but fined up beautifully by the time cheeky punksters Los Capitanes dropped Beyonce’s Single Ladies to begin another day’s musical discoveries. Though it was early the band livened up their crowd with one of the more irreverent sets of the weekend. Complete with two-piece horn section, the band offered more covers including American jazz-blues standard, Summertime, and a whole bunch of ska and reggae-inspired punk. Fire! Santa Rosa, Fire! and The Holidays brought sun-tinged indie pop to the main stage. While The Holidays took a more calypso approach, Fire! Santa Rosa, Fire! blissed out with Caitlin Duff’s sweet vocals. But from there dark melodies twisted and grew, contrasting beautifully with Duff’s voice. It was a shame Hanni El Khatib’s muscley rock was scheduled at the same time as post-hardcore legend Jim Ward. The little of El Khatib that this reviewer saw definitely warranted a more thorough listen. But it was time to head to the main stage for Ward’s languid and 50 • THE DRUM MEDIA
graceful countrified set. Despite having only rehearsed with the two Australian members of his band the day before, Ward really seemed to be enjoying himself. As Peats regulars The Crooked Fiddle Band were burning up in the Lyrebird tent, Japanese funk band Mountain Mocha Kilimanjaro were setting up on the main stage. Definitely this reviewer’s nomination for band of the festival, MMK were everything a festival band should be. Though they were clearly incredible musicians, playing smooth and very danceable funk, with each band member getting his turn to shine, they were also bundles of fun. With their retro, snappy suits, dance moves and not-so-great English (“funky bassman, funky bassman”) MMK had the Friday night crowd in raptures. By day three of any festival, everyone is starting to look a little worse for wear but Foreign Dub, DJing in the elaborately set up Pirate’s Lair, were the balm to our sleepy souls, playing down tempo, dubby, bass grooves while festival goers tried to find the right breakfast to get them through one last big day. Benjalu have an unfortunate-sounding name but the hippy roots rock they played went down well. Harmonies and plenty of percussion livened up the wilting crowd while Brit import Passenger got everyone singing along to his gentle and poetic acoustic tunes. Oh Mercy are getting more confident every time they venture out of their hometown Melbourne and the new songs they dropped here were darker and more dangerous than their current crop of tunes. A promising start to 2012. Chinese rockers Hanggai must have wondered what the hell they’d wandered into with the majority of their crowd appearing in front of them in fancy dress for the annual Peats Ridge costume parade. While the crowd was full of bananas, cows, fairies, pirates and even a Bert and Ernie, Hanggai, dressed themselves in traditional Chinese Mongolian costumes, interspersed rock’n’roll techniques with traditional Mongolian folk music. But it was 2011 Australian sensation Gotye who had the task of welcoming in 2012. While some were disappointed that he seemed to focus on some of his slower material, it was still a set with plenty of energy. Of course, the biggest moments were the performances of his hit singles Somebody That I Used To Know and Hearts A Mess, and they both went down a treat. If there was one drawback, it was the excessive amount of talking between the songs. At a festival all everybody wants to do is dance. And for three days in the Glenworth Valley, dancing is most definitely what we did. Danielle O’Donohue
ARCTIC MONKEYS: Jan 12 Hordern Pavilion, Jan 13 Enmore Theatre JAZZGROOVE SUMMER FESTIVAL: Jan 13 – 15 various venues, Surry Hills and Redfern THE DAMNED: Jan 21 The Metro NOEL GALLAGHER’S HIGH FLYING BIRDS: Jan 23 Enmore Theatre KASABIAN: Jan 24 Hordern Pavilion ROYKSOPP: Jan 27 Enmore Theatre KANYE WEST: Jan 27 Sydney Entertainment Centre GIRL TALK: Jan 28 Enmore Theatre SEETHER: Feb 5 The Metro YOUTH LAGOON: Feb 16 Oxford Art Factory TRIPLE TREAT feat. MILLIONS, NANTES, NORTHEAST PARTY HOUSE: Feb 23 Wollongong Uni, Feb 24 Oxford Art Factory, Feb 25 Transit Bar BEN KWELLER: Mar 2 The Hi-Fi MANCHESTER ORCHESTRA: Mar 4 The Hi-Fi CHIC feat. NILE RODGERS: Mar 5 The Metro JESSIE J: Mar 8 Hordern Pavilion FUTURE MUSIC: Mar 10 Royal Randwick Racecourse WILD FLAG: Mar 13 Manning Bar BLUE MOUNTAINS MUSIC FESTIVAL: Mar 16 – 18 Katoomba MICHAEL ROTHER: Mar 17 Oxford Art Factory DEAD TO ME, COBRA SKULLS: Mar 30 ANU Bar, Mar 31 Annandale Hotel, Apr 3 Yours & Owls, Apr 4 Newcastle Leagues Club, Apr 5 Blush Nightclub JOHN HIATT: Apr 3 The Metro BUDDY GUY: Apr 4 Enmore Theatre FABULOUS THUNDERBIRDS: Apr 7 Factory Theatre JAY & SILENT BOB: Apr 20 & 23 Enmore Theatre SYDNEY COMEDY FESTIVAL: Apr 24 – May 12 various venues
NATIONAL THE BAREFOOT DIVAS: Jan 10 & 11 Carriageworks TIM FINN*: Jan 10 Jagermeister Hunting Lodge THE STILLSONS: Jan 11 Lizotte’s Newcastle, Jan 29 The Grand Junction Hotel INGA LILJESTROM: Jan 11 505 PASSENGER: Jan 11 The Clarendon, Jan 12 Lizotte’s Kincumber, Jan 13 Lizotte’s Newcastle, Jan 14 Lizotte’s Dee Why, Jan 15 Yours & Owls, Jan 25 Byron Bay Brewery HOLLY THROSBY presents SEE!: Jan 12 & 13 The Famous Spiegeltent EMMA LOUISE*: Jan 12 Jagermeister Hunting Lodge THE RED PAINTINGS: Jan 12 Tuggeranong Alliance Church JUKE BARITONE & THE SWAMP DOGS: Jan 12 Brass Monkey, Jan 13 The Vanguard, Jan 14 The Front THE CHARGE: Jan 13 The Lansdowne
JOSH PYKE: Jan 13 Jagermeister Hunting Lodge, Jan 26 Soldiers Club Bateman’s Bay, Jan 27 Shoalhaven Entertainment Centre, Jan 29 Milton Theatre, Feb 2 Entrance Leagues Club CLAIRY BROWNE & THE BANGIN’ RACKETTES: Jan 13 Idolize Spiegeltent HELENA & ACID JACK: Jan 14 Soho BROUS*: Jan 14 Jagermeister Hunting Lodge FRANK YAMMA: Jan 15 Idolize Spiegeltent IOTA: Jan 17, 18, 19, 20 & 21 Playhouse GABREL LYNCH: Jan 17 The Factory, Jan 27 Front Gallery CREATIONS*: Jan 19 Hot Damn, Jan 20 Manly Youth Centre, Jan 21 Cambridge Hotel, Jan 22 Liverpool PCYC ALPINE: Jan 20 Oxford Art Factory THE KILL DEVIL HILLS: Jan 20 Annandale Hotel CHASE THE SUN: Jan 20 The Boatshed, Jan 21 The Wickham Park Hotel, Jan 22 Beaches Hotel, Jan 25 Brass Monkey, Jan 27 The Grand Junction Hotel, Feb 2 The Basement, Feb 4 Clarendon Tavern ED KUEPPER: Jan 21 & 22 Idolize Spiegeltent FEED HER TO THE SHARKS: Jan 21 SFX, Jan 22 Bowman Hall KRISTY COX*: Jan 22 The Pub Tamworth WASHINGTON: Jan 25 Sydney Opera House BUSBY MAROU: Jan 27 Lizotte’s Kincumber, Jan 28 Lizotte’s Dee Why, Jan 29 Lizotte’s Newcastle ELIXIR: Feb 2 Lizotte’s Central Coast, Feb 3 Lizotte’s Dee Why, Feb 4 Lizotte’s Newcastle, Mar 1 Joan Sutherland Performing Arts Centre, Apr 19 Ravensthorpe Guesthouse & Restaurant, Apr 21 The Basement. I EXIST: Feb 3 The Basement Canberra 360: Feb 4 Great Northern Hotel, Feb 24 The Standard THE LIGHTHOUSE KEEPERS: Feb 3 The Polish Club, Feb 4 Camelot Lounge THE LAZYS: Feb 3 Sandringham Hotel, Feb 4 Fitzroy Hotel THE WIDOWBIRDS: Feb 3 The Front Gallery, Feb 11 Clarendon Guest House, Feb 12 Lizotte’s Kincumber, Feb 16 The Vanguard, Feb 17 The Junkyard, Feb 19 Brass Monkey CASEY DONOVAN: Feb 5, 12, 19 & 25 34 Degrees South, Feb 15 Vanguard, Feb 16 Brass Monkey, Feb 17 The Vault THE DECLINE: Feb 7 Popsgood Indoor Skate Park, Feb 8 Cambridge Hotel, Feb 9 Hot Damn TANIA DOKO: Feb 8 34 Degrees South, Feb 9 Brass Monkey, Feb 10 Clarendon Guest House, Feb 11 Burning Log VAN WALKER: Feb 9 Front Bar, Feb 10 Petersham Bowls Club, Feb 12 Grand Junction SAN CISCO, THE JUNGLE GIANTS: Feb 16 Byron Bay Brewery, Feb 18 Spectrum, Feb 19 Great Northern Hotel PARKWAY DRIVE: Feb 23 Bateau Bay PCYC, Feb 24 Sutherland Entertainment Centre, Feb 25 Penrith Panthers TRIPLE TREAT feat. MILLIONS, NANTES, NORTHEAST PARTY HOUSE: Feb 23 Wollongong Uni, Feb 24 Oxford Art Factory, Feb 25 Transit Bar ANTISKEPTIC: Feb 25 The Lair
spectacle. With an ever-changing projected backdrop depicting starry skies, wild mountain landscapes and blindingly colourful kaleidoscope shapes, it felt all night like we had been transported to a different world.
TOUR GUIDE INTERNATIONAL THE JOLLY BOYS: Jan 10 The Famous Spiegeltent LYDIA: Jan 11 Rock Lily, Jan 12 Cambridge Hotel, Jan 13 The Patch DAN DEACON ENSEMBLE & JOHN MAUS: Jan 11 Keystone Festival Bar HAPPY NEW YEAR: Jan 11 The Croatian Club, Jan 12 Yours & Owls, Jan 13 Dirty Shirlows J MASCIS: Jan 11, 12 & 13 The Famous Spiegeltent SONS & DAUGHTERS: Jan 12 Keystone Festival Bar MOUNTAIN MOCHA KILIMANJARO: Jan 12 Clarendon Guesthouse, Jan 13 Kantara House, Jan 14 Heritage Hotel TARAF DE HAIDOUKS & KOCANI ORKESTAR: Jan 12 Enmore Theatre, Jan 13 The Concourse Chatswood ARCTIC MONKEYS: Jan 12 Hordern Pavilion, Jan 13 Enmore Theatre ABSU: Jan 13 Sandringham Hotel VENGABOYS: Jan 13 Selina’s SHABAZZ PALACES: Jan 13 Keystone Festival Bar COMBICHRIST: Jan 13 Manning Bar DJ YODA: Jan 14 Oxford Art Factory ANDREW WEATHERALL & NEVILLE WATSON: Jan 14 Keystone Festival Bar CANT: Jan 14 & 15 The Famous Spiegeltent MIKE PATTON’S MONDO CANE: Jan 14 The Domain, Jan 16 & 17 State Theatre JULIANNA BARWICK: Jan 15 & 17 The Famous Spiegeltent ASA & FEFE: Jan 17 Riverside Theatre, Jan 18 Keystone Festival Bar BETH ORTON: Jan 17 & 18 City Recital Hall FATOUMATA DIAWARE: Jan 18 & 19 Idolize Spiegeltent, Jan 20 & 21 The Famous Spiegeltent, Jan 22 Sutherland Entertainment Centre PJ HARVEY: Jan 18 & 19 State Theatre TUNE-YARDS: Jan 18 The Famous Spiegeltent, Jan 20 Keystone Festival Bar THEE OH SEES*: Jan 18 Chino’s Bar, Jan 19 Annandale Hotel TECH N9NE: Jan 18 Enmore Theatre KID CUDI: Jan 19 Enmore Theatre NOUVELLE VAGUE: Jan 19 Keystone Festival Bar IMMORTAL TECHNIQUE: Jan 19 The Metro KORT: Jan 19 The Famous Spiegeltent, Jan 20 City Recital Hall JOSHUA REDMAN & BRAD MEHLDAU DUO: Jan 19 The Concourse Chatswood, Jan 20 City Recital Hall AA BONDY: Jan 19 & 20 Idolize Spiegeltent DAN SULTAN & BUSBY MAROU: Jan 21 Old Kings School Site LAMBCHOP: Jan 21 City Recital Hall THE DAMNED: Jan 21 The Metro THE WHITEST BOY ALIVE: Jan 21 Keystone Festival Bar SAM AMIDON: Jan 21 & 22 The Famous Spiegeltent BACKTRACK: Jan 21 Hermann’s Bar, Jan 22 Bowman Hall, Jan 23 Bar 32, Jan 24 Blackbox Theatre GUTTERMOUTH: Jan 21 The Gaelic, Jan 22 Beachcomber, Jan 24 The Patch, Jan 25 Caringbah Bizzo’s, Jan 26 Cambridge Hotel KURT WAGNER: Jan 22 The Famous Spiegeltent 41 STRINGS BY NICK ZINNER: Jan 22 Sydney Opera House Concert Hall (5.30pm & 8.30pm) BATTLES: Jan 23 The Metro NOEL GALLAGHER’S HIGH FLYING BIRDS: Jan 23 Enmore Theatre KASABIAN: Jan 24 Hordern Pavilion ODD FUTURE: Jan 24 Enmore Theatre KITTY, DAISY & LEWIS: Jan 24 The Metro CAVALERA CONSPIRACY: Jan 24 Newcastle Panthers, Jan 27 ANU Bar, Jan 28 The Metro AMIINA: Jan 24, 25 & 26 The Famous Spiegeltent, Jan 27 Joan Sutherland Performing Arts Centre AMIINA in ANIMAGICA: Jan 24 & 25 The Famous Spiegeltent, Jan 27 Joan Sutherland Performing Arts Centre SUN ARAW, PRINCE RAMA: Jan 25 GoodGod, Jan 26 Yours & Owls THE CHARIOT: Jan 25 Oasis Youth Centre, Jan 26 Blush Nightclub, Jan 27 The Burdekin PEVEN EVERETT: Jan 25 Keystone Festival Bar LAIDBACK LUKE: Jan 25 Ivy MARIACHI EL BRONX: Jan 25 The Metro
BEST COAST: Jan 25 Manning Bar FOSTER THE PEOPLE: Jan 25 Enmore Theatre SOUNDGARDEN: Jan 25 Sydney Entertainment Centre RONAN KEATING: Jan 26 State Theatre, Feb 9 Royal Theatre, Feb 10 WIN Entertainment Centre, Feb 11 Newcastle Entertainment Centre TABOO: Jan 26 Ivy Pool THE PEDRITO MARTINEZ GROUP: Jan 26 Keystone Festival Bar ROYKSOPP: Jan 27 Enmore Theatre KANYE WEST: Jan 27 Sydney Entertainment Centre MY CHEMICAL ROMANCE: Jan 27 Hordern Pavilion THE STEPKIDS: Jan 27 Keystone Festival Bar VINTAGE TROUBLE: Jan 27, 28 & 29 The Famous Spiegeltent DJ KOZE: Jan 28 Keystone Festival Bar CAGE THE ELEPHANT: Jan 28 Oxford Art Factory GIRL TALK: Jan 28 Enmore Theatre BART B MORE: Jan 28 Greenwood Hotel ELEANOR FRIEDBERGER: Jan 28 & 29 The Famous Spiegeltent BASSNECTAR, BARE NOIZE: Jan 28 Chinese Laundry ACTIVE CHILD: Jan 29 Oxford Art Factory CHAIRLIFT: Jan 31 Oxford Art Factory THE HORRORS: Feb 2 The Metro GIRLS: Feb 2 Oxford Art Factory SBTRKT: Feb 3 The Metro (HED) P.E.: Feb 3 Manning Bar INCUBUS: Feb 3 Hordern Pavilion, Feb 4 Royal Theatre Canberra RYAN FRANCESCONI: Feb 4 Red Rattler BRUCE KULICK: Feb 4 Factory Theatre SEETHER: Feb 5 The Metro TWIN SHADOW, ANNA CALVI*: Feb 6 Oxford Art Factory GIVERS, PORTUGAL. THE MAN: Feb 7 Metro Theatre FEIST: Feb 7 Enmore Theatre GLASSER: Feb 8 The Standard THE DRUMS, CULTS: Feb 8 Enmore Theatre HALL & OATES: Feb 8 Sydney Entertainment Centre WASHED OUT, TORO Y MOI: Feb 8 Manning Bar AUSTRA: Feb 9 The Basement Circular Quay YUCK: Feb 9 Oxford Art Factory LAURA MARLING: Feb 9 Sydney Opera House Concert Hall THE PAINS OF BEING PURE AT HEART: Feb 9 Manning Bar M83: Feb 9 The Metro SEAL: Feb 9 AIS Arena, Feb 18 Sydney Entertainment Centre LA DISPUTE: Feb 10 & 11 Annandale Hotel, Feb 13 The Basement Canberra SCOTT KELLY & JOHN BAIZLEY: Feb 11 Manning Bar JOHN DIGWEED: Feb 11 Greenwood Hotel
FESTIVALS ILLAWARRA FOLK FESTIVAL: Jan 12 – 15 Bulli Showground JAZZGROOVE SUMMER FESTIVAL: Jan 13 – 15 various venues, Surry Hills and Redfern BIG DAY OUT: Jan 26 Sydney Showground YABUN FESTIVAL 2012*: Jan 26 Victoria Park, Broadway BLOOD, SWEAT & BEERS: Feb 4 The Annandale Hotel LANEWAY: Feb 5 Sydney College Of The Arts SOUNDWAVE: Feb 26 Sydney Showground PLAYGROUND WEEKENDER: Mar 2 – 4 Del Rio Riverside Resort FUTURE MUSIC: Mar 10 Royal Randwick Racecourse CMC ROCKS THE HUNTER: Mar 16 – 18 Hope Estate BLUE MOUNTAINS MUSIC FESTIVAL: Mar 16 – 18 Katoomba SHIR MADNESS: Mar 25 Bondi Pavilion THE GUM BALL: Apr 27 & 28 Dashville GROOVIN’ THE MOO: May 12 Maitland Showground, May 13 University Of Canberra SYDNEY BLUES & ROOTS FESTIVAL: Oct 25 – 28 Windsor * indicates new or amended listing this week
Opener, The Plains/Bitter Dancer, showcased the ensemble’s effortless vocal harmonising as the tune built to its euphoric climax and members swapped instruments with ease. A flute doubled Pecknold’s vocal line on the majestic Mykonos which, like many other songs tonight, sounded even bigger on stage with the help of a fiendishly strong piano. That flute became two during the haunting Your Protector, and the more experimental side of the band surfaced on The Shrine/ An Argument, with the jarring bass clarinet solo coming out in full force. There were plenty of goosebump moments, sometimes occurring multiple times within the same song – when the instruments all ceased for only the magnificently layered voices to stay, it truly felt like nothing else was of any consequence. It’s hard to believe that these guys didn’t emerge, fully formed and bearded, from beneath a rock in a mountainous paradise – it seems like this is what they were all born to do and it’s crazy to think that the band’s craft has been perfected to this level in only a few years. They broke the emotional tension by throwing in some healthy humour here and there, and the banter was actually entertaining and felt genuine and unscripted. Pecknold once again took the stage solo to open the encore, playing new song, I Let You, before the rest of the band returned for the soaring Sun It Rises. The uplifting Helplessness Blues ended the night with an incredible mesh of noise from all members, piano banging and drums pounding, and as they waved goodbye, the two-hour reverie faded, leaving an indelible feeling of warmth. Giselle Nguyen ALOE BLACC PIC BY LINDA HELLER-SALVADOR
ALOE BLACC & THE GRAND SCHEME, ELECTRIC EMPIRE, MAYA JUPITER ENMORE THEATRE 04/01/2012
As the opener to the opening act, Maya Jupiter made a solid attempt to warm the swelling crowd. Dressed like a genie in gold lamè, she had all the right elements; funky beats with a world music flair lent by a Latin-American harp, flamenco guitar and Cajon, enthusiastic rapping mixed with bilingual melodies, but somehow this time it didn’t quite gel. Louder beats would have provided a stronger backbone and at times the guitar drowned the vocals, but it was a catchy combination and with a little finetuning could be quite an entertaining act. Electric Empire produced such legitimate old-school soul music it’s hard to believe the talented bunch are home grown. Their tunes were uplifting with catchy melodies and beats you couldn’t help but dance to. The rhythm section provided a whole show on their own, grooving to every number with hilarious zest and animation, but most impressive were their voices. Equally strong, the drummer, guitarist and keys player passed the melodies between them effortlessly, often blending into deliciously thick harmonies. A funky rendition of Foster The People’s Pumped Up Kicks went down a treat, and a feelgood air swept contagiously around the room. Aloe Blacc wooed the crowd instantly, demanding their participation throughout the set. He was charming and charismatic, strolling the stage pumping out ridiculously good falsetto licks, his velvet voice oozing passion and sincerity. The six-piece Grand Scheme were slick in their suits and worked seamlessly through reggae, funk and soulful ballads, with Miss Fortune a highlight. I Need A Dollar satisfied the tangible anticipation with a mass singalong, before Maya Jupiter was welcomed back to the stage to close the set. A sexy encore of Billy Jean and a feelgood rendition of Ain’t No Mountain High Enough capped off an awesome night. Alex Hardy
SYDNEY OPERA HOUSE CONCERT HALL 02/02/12 Robin Pecknold possesses a voice that sounds and feels sweeter than a sea of strawberry ice cream, creating the most brilliant magic from the simplest ingredients tonight when he sang alone, acoustic guitar in hand, on songs like Montezuma (before it built up wonderfully into an a cappella treat) and the lovely Blue Spotted Tail. But the evening was about every single member of Fleet Foxes, not just the charismatic frontman – though he could indeed hold a show on his own, the lush harmonies and spirited accompaniment of his five bandmates transformed it into a true
METRONOMY, OSCAR + MARTIN MANNING BAR 05/01/12
Often, musicians use gimmicks to divert from the fact that their live performance lacks momentum. Metronomy’s Field Day sideshow can be classified as a textbook example of this phenomenon in action. Sadly however, no fancy gimmick, special effects or impressive lights could compensate for the sloppiness of the four-piece’s Sydney set. The show opened with the equally uninspiring Melbourne duo Oscar+Martin, who delivered a robotic performance which failed to resonate with rigid and blasé audience members. The duo’s signature brand of harmonic sugar-pop was unsuccessfully translated in a live setting due to the unanimous lack of enthusiasm from the band and spectators. Assumed crowd pleaser Do The Right Thing appeared mechanically over-rehearsed, hollow and awkward, with a chaotic knot of drum loops and synth samples. Regardless of such inconsistencies however, Oscar+Martin provided glimpses of tight, talented instrumentalism, breaking out into a dynamic collective tribal style drum overture mid-set, which momentarily managed to fill the room with energy. This energy dissolved when British wonky-indie kids Metronomy hit the stage, wearing matching neon lights as brooches on their chests. Unsuitably opening with mellow pop track, We Broke Free, off their most recent record, The English Rivera, members of the four-piece stood perfectly still, delivering an uncomfortable and strained performance. The attempted unified melodic vocals were devoid of precision and were coupled with slapdash drum work, which made the final product a shambolic, uninspiring opener to an equally uninspiring set. The band followed through with a slightly more enthused rendition of Love Underlined, where the light brooches taped to their chests flashed consistently to the bounce of the driving synth. These attention-seizing tools set off the audience’s undivided enthusiasm, with hands clapping in the air with every blinding flash of the brooch. The novelty soon wore off however, with the lights flashing constantly throughout their entire set, which eventually became exaggerated and tiresome. Tracks such as Heartbreaker and The Look, which on record are clean, percussively layered tracks and possess a heavy beat, were wildly mediocre and approached in an inhibited, shy manner. The syncopated, wobbly beats and synthesised instrumentals were soiled by Joe Mount’s vocal drones, which drew away from the potential value of the electronic melodies. The chilled folksy performance of Some Written broke the spirit of the crowd, as such a delicate acoustic track seemed better suited to a more intimate and smaller venue. The encore, featuring On Dancefloors and Radio Ladio, once again showcased a jumbled vocal/instrumental composition and seemed exhausted as the set came to an end. Regardless of the influx of sloppy guitar work, unpolished vocals and uneven synthetic melodies, the audience managed to energise themselves, forming a consistent dance pit in the centre of the floor. Ava Nirui THE DRUM MEDIA • 51
just how pedestrian most of the first-half of their performance was. Thankfully, as their indie-folk set continued, the thrills became far more frequent and, by the time they were finished, they had certainly done a lot to impress, not least with the awesome (yet frustratingly underutilised) howl of Charity Rose Thielen, who had quite the appealing stage presence throughout on vocals, hand-claps and violin. Grouplove arrived on stage and immediately set about working a sold-out room into a frenzy with their infectious energy. ‘Fun’ is a hard thing to achieve in music without coming across as insincere or just plain annoying, but the Californian quintet are fun with a capital F and there is nothing remotely contrived about them. When Christian Zucconi got the crowd to join in with some wolf-like howling before Close Your Eyes and Count to Ten, when vocalist Hannah Hooper bopped around delightfully and when Englishman Sean Gadd grooved on the bass and stalked the stage while singing the excellent Chloe, there wasn’t even a hint of histrionics. Rather, this was five people having a bloody good time and wanting nothing more than for the crowd to feed off their bonhomie.
THE KOOKS PIC BY LINDA HELLER-SALVADOR
THE KOOKS, TOUCAN HORDERN PAVILION 06/01/2012
Landing the highly sought-after opening slot for the evening, fresh young Sydney duo Toucan wowed the substantial early crowd. Jess Pollard’s bluesy vocals grabbed attention from her opening notes. Laced with attitude and maturity beyond her years, the poppy melodies gained an extra depth through her voice. Shea Duncan’s ringing keys added a haunting dimension to their simple yet effective dance-pop with the addition of a live drummer a welcome touch. The title single from their debut EP, Brave New World, had the young crowd nearly wetting their pants with enthusiasm – the bonus of an all-ages gig, but well deserved in this instance. It was a powerful introduction for a dynamic band who have already hit the ground running. As the lights dimmed for the headline act, The Kooks walked on stage to a frenzied roar and launched into their set with an infectious energy. Luke Pritchard skipped along the front foldback speakers, his endearing accent and vocal breaks perfectly articulating their coming-of-age lyrics. Their melodies are reliably simple and irresistibly catchy, and their new material, from Junk Of The Heart, is no exception. Their set traversed their three albums to date mixing rocky guitar solos with sweet Beach Boys-style harmonies. An epic light show really emphasised the music, but it was the single spotlight acoustic version of Seaside that stole the show. A dynamic rendition of Do You Wanna closed the set as the crowd writhed and danced. A female guest vocalist made an appearance but was unfortunately barely audible. An encore was expected and the anticipation for Naïve exploded with the first few chords, the crowd singing devotedly for the entire song. Yet again, the English lads pulled through with a thoroughly fun and entertaining show.
And then there are the tunes. Like a merrier Modest Mouse and making the noise of a plethora of Polyphonic Sprees, Grouplove have crafted a fine collection of singalong anthems. So much so that Lovely Cup was confidently chucked away early. Soon after, the summer fun of Naked Kids prompted the first of many raucous singalongs. After Hopper created some live art with a texta and some backlit perspex during the rocky Slow, the encore, of course, consisted of Tongue Tied before the evening ended with the epic indie of Colours. Many bands could learn a lot from Grouplove; they deliver a wonderfully feel-good vibe while having the songs to back it up and an undeniable sense of believability to their performance. The year may only have been three days old but, as punters headed for the exit smiling from ear to ear, they did so in the knowledge that they would see few better gigs in 2012. Rob Townsend
THE DEATH SET, DUNE RATS, HUMANS, DOC HOLLIDAY TAKES THE SHOTGUN THE STANDARD 29/12/11
As the Christmas haze begins to dissipate, there’s almost definitely a desperate grasp to retain the comforting plume of a festive stupor. Hence why we were back at The Standard, at the bar, and prepared to be blasted with waves of distortion. Fun. Doc Holliday Takes The Shotgun took that familiar swamp rock, desert-scouring rock, and added a hefty growl on the lead mic backed by a petulant scream. Guitars rolled like jeeps across the endless dunes and the harshly cracked earth. It was as familiar a sound as that clichéd journey into the wastelands. Not that this is a bad thing, just a familiar one. Humans devoured melody, rhythm and airspace with dominating Death From Above1979 flamethrower bass riffs while tossing in the odd synth burble. They yelped and screamed where appropriate. If you’re thinking Jaguar Love without the decade of pre-training in The Blood Brothers, you’d be close. Party sounds for neon teenagers fond of scream therapy. Potential noted.
GROUPLOVE, THE HEAD & THE HEART While Seattle’s The Head & The Heart boasted six members and three vocals, their occasional explosions of exciting noise only served to illustrate
The Death Set should be familiar to most of us. The bassless trio are a high-energy splurge of trashy yet tight punk rock and Brooklyn hip hop influences. Firebrand Johnny Siera – who constantly checked to see if we were all “okay” - thrashed at his guitar yelling - picked
THE FACTORY THEATRE 03/01/12
GROUPLOVE PIC BY JOSH GROOM 52 • THE DRUM MEDIA
up cymbals to give the drummer a challenge, while Daniel Walker continued the song with his own thrashy contributions. They abhor silence it seems, so between songs we got snippets of hip hop, indie rock and other melodic delights. Essentially, we enjoyed 40 minutes of frenetic fun and nothing more, though also nothing less. Despite the energy emanating from the stage, there was little to relate to overall. But then, I was trapped in that silly-season fog and felt rather happy letting these four in with me.
Dune Rats were terribly off key at first, but we all soon fitted neatly into the slacker groove they sluggishly opened for themselves. Like Evan Dando and Craig Nicholls merged in a horrifying grunge experiment, Dune Rats’ frontman wandered around half-stoned while strumming his guitar in pleasant summery blasts of slightly angular chords. Occasionally there was a burst of overdrive that kicked songs up a gear, but the lazilyapplied musicality suited his similarly laid-back drawl.
THE JIM JONES REVUE PIC BY ROD HUNT
THE DRESDEN DOLLS, THE BEDROOM PHILOSOPHER, THE JANE AUSTEN ARGUMENT THE ENMORE THEATRE 07/01/12
The Jane Austen Argument ignited the evening of theatrics with Dickens’ Broadway-esque vocals and fanciful props. Next on the bill, The Bedroom Philosopher, known best for his faux-hipster ‘tude, based the majority of his set on impromptu comedy. Opening with a party popper, he performed his satire-drenched singles about “organic hummus” and “knitted bikes” accompanied by a couple of dramatic stage kicks. Live, he completely reinvented Northcote (So Hungover) by replacing the verses with YouTube comments left on his video. Six years since their last visit to Australia (inclusive of a three-year hiatus), The Dresden Dolls made up for the time apart with an extravagant two-anda-half hour set. A staggering number of loyal fans of the Brechtian-inspired Boston duo packed into the close-to-sold-out Enmore Theatre, passionately clad for the occasion in punk-cabaret attire. Taking on the role of the MC for the first two acts, Amanda Palmer was dressed in an elegant kimono and an army hat - but not for long. Second song in, she stripped down to a black lace bra and circus pants ensemble in true Dolls-style. Back-to-back we heard a mish-mash of original songs that spanned across their entire discography as well as covers from Beastie Boys, Nick Cave (Aussie tribute) and George Michael. The show was what could only be described as a cocktail of cabaret, kitsch, rock, goth and punk. Mandy Goes to Med School gradually spun into an extended jazz improv session reaching explosive heights with Palmer assaulting her keyboard with two hands and a foot whilst her counterpart (and exceptional drummer) Brian Viglione eagerly thrashed the drums, breaking more than two drumsticks over the course of the evening. The only criticism was that at times, many of the critical intricacies of their songs were lost due to the deafening volume level of the sound mix. However, Half Jack, Girl Anachronism and Missed Me showcased the duo’s (11 years’ worth of) highly entertaining onstage chemistry with signature Dolls-theatrics, including Viglione’s exaggerated pantomiming whilst drumming.
Returning for an encore with a cover of Cabaret’s finest, Mein Herr, the audience watched Viglione strum on stage, whilst Palmer appeared on the balcony, strutting and prowling through the upstairs crowd with a complimentary lap dance or two. Closing the show with an energy-driven rendition of Black Sabbath’s War Pigs, if this show was anything to go by, The Dresden Dolls are back. Celline Narinli
THE JIM JONES REVUE, THE DELTA RIGGS ANNANDALE HOTEL 5/1/12
The Delta Riggs are one of those bands that shine through the venue walls and their music has a volatility that drips from the speakers. Whether or not it comes from a genuine passion for the idiomatic recklessness of classic blues-based rock - which would justify how they refuse to acknowledge any timidity or apathy in a tightly-filled pub crowd - or from an egotistical naivety which creates an unbridged distance in what they’re doing on stage and what the collection of souls are doing in their own heads and tired feet. Regardless, Elliot Hammond is an impressive frontman with irrepressible and skilled sex appeal driving a crazy train with strong tenor howls and duelling guitars on the flanks. By the time they closed out with a fattened rendition of Heavy Water they could almost have performed an encore. In Jones’ words and my own, The Jim Jones Revue don’t fuck around. With not a single downbeat song in their catalogue and all five musicians layered up in black clothes and leather they set out determined to sweat, move and yell “yeaaaaaah”. Playing an even blend of their 2008 debut and 2010’s Burning Your House Down they shot out with one of the purest, most frantic opening songs imaginable in Hey Hey Hey Hey. Jones comes at you like a demonic Carl Perkins, melodically howling and screeching lyrics of melodramatic love, lust and vengeance above a steady rolling base of classic rockabilly guitars and piano. Rupert Orton and Henri Herbert respectively keep stoic focus on their work with a consistent energy that should be impossible for anyone over 25, but in Orton’s case (who’s safely over 40) they leave absolutely nothing in reserve. The songs of JJR are all so infectiously frantic that they belie how individually crafted they are with just the cores of the blues/rock register. This creates perfect satisfaction for a live performance akin to progressing from a 2D image to a 3D view complete with sound and atmosphere. The pure fury of their efforts gave the sound engineers constant, and amusing, difficulty in fighting feedback and over-distortion as JJR pummelled every level. Rather than ease off the assault with audience banter, Jones taunts the audience and provokes responses with songs like Shoot First and Cement Mixer. That, and the unrelenting appeal of the music gave way to two full encores, finishing up with Jones and Orton hopping from the stage to the bar for a roaring climax. Jarred Kane
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LAZY? NOT THIS BAND.
The Lazys national ‘Temptation Never Liked You’ tour kicks off this Friday 13 at the Entrance Leagues Club, following the release of their new EP by the same name. The Terrigal-based five-piece band are being pegged as Australia’s next big rock band, having already shared a stage with Grinspoon, Gyroscope and The Living End, and are set to return to Sydney’s The Sandringham Hotel on February 3, supported by Canadian rock band, GrimSkunk.
OBVIOUSLY, CAPTAIN This Wednesday, the Sandringham Hotel in Newtown will play host to Captain Obvious for a night from 8pm. In acoustic mode and channelling everyone from Radiohead to Elvis, and with free entry, how could you possibly go wrong?
This Saturday, ARIA-nominated electro DJ Tommy Trash will be playing at Chinese Laundry. Trash’s tracks have featured heavily in international charts; now, he returns to Sydney in the company of Ember, A-Tones, Tigerlilly and more. Running from 9pm until 4am, all these acts will cost you just $15 before 10pm and $25 after.
Until Sunday 15 January, Miss Poly Rae and the Hurly Burly Girlies will be performing at the Factory Theatre. This exceptional burlesque show, fresh off London’s West End stage, features Miss Poly Rae’s breathy, sexually-charged vocals and the whole troupe’s clever combination of bawdy burlesque of old and modern-day music and popular culture.
This Friday, the Watershed in Darling Harbour will play host to a Caribbean party as old as time itself; the J’Ouvert, or Carnival After Dark. The night will feature many a musical genre — Reggae, Dancehall, Zouk and Soca — to represent the various Caribbean islands from which the party comes. Five dollar shots of vodka and face paint, glitter and devil horns will be available to get the party started.
REGGAE IS BACK This Friday, Hermann’s Bar at Sydney Uni, on the corner of Sydney Uni and Butlin Avenue, is re-opening as Sydney’s home of reggae and dancehall. Entry will cost you $15, and early birds will get a free ‘Best of 2011’ mix CD.
DESERT MUSIC This Friday will see one of metal’s most influential acts, Abzu, leave the depths of the Texan desert and play Newtown’s Sandringham Hotel. Live shows are a rarity for the cult-like black/thrash metal group so be sure to grab some tickets from Moshtix.
FRESHLY LAUNDERED DUB
AWAY WITH KATE Getting away from it all this weekend? Consider dropping into Byron Bay to see Kate Elsworth exhibit her gorgeous virtuoso lyrics and soulful vocals at Lala Land. Elsworth is renowned for her breakthrough single, Alive, which was produced by Dirty South; the show will doubtless be surprising.
Having been voted the coolest person in music according to NME, Azealia Banks is garnering a whole lot of attention, making her collaboration with Scissor Sisters a win-win for both acts. The dance heavy track’s video portrays a school play like nothing you ever performed in primary school. Kids dance, mime pulling a person’s intestines out, throw confetti and have multiple costume changes while a completely unimpressed audience watches on. A kid holding a sword twice his size is amusement enough for us. http://www.youtube.com/ watch?feature=player_ embedded&v=mLZ8jCDYHHM#! 54 • THE DRUM MEDIA
Nothing To Do BLEEDING KNEES CLUB Let Me Introduce You JOE ROBINSON Weightless ANIMALS AS LEADER Parting The Sea Between Brightness And Me TOUCHÉ AMORÉ …And So We Destroyed Everything SLEEPMAKESWAVES Helplessness Blues FLEET FOXES Only In Dreams DUM DUM GIRLS Death. Savour. Life MANHATTAN JINX
The dapper gentlemen that make up Mount Mocha Kilimanjaro will be bringing their unique groove, rock and funk to stages around Sydney this week. After a handful of festival gigs (including Peats Ridge and Sydney Festival), Mount Mocha Kilimanjaro will be favouring some more peaceful destinations. Thursday will see them at the Clarendon Guesthouse, Katoomba and Saturday will see them at the Heritage Hotel, Bulli.
ARIA TOP 10 SINGLES CHART OF 2011
Party Rock Anthem LMFAO FEAT. LAUREN BENNET & GOONROCK
Take it easy while Sunday winds down with Gary Todd, Alley Oop , Astrix Little and James Taylor performing at World Bar, with plenty of chill-out space and cocktails aplenty.
Red Flags THE CHARGE
Somebody That I Used To Know GOTYE FEAT. KIMBRA Moves Like Jagger MAROON 5 FEAT CHRISTINA AGUILERA Rolling in the Deep ADELE Sexy and I Know It LMFAO Give Me Everything PITBULL FEAT. FEAT. NE-YO, AFROJACK & NAYER Born This Way LADY GAGA Price Tag JESSIE J FEAT B.O.B On The Floor JENNIFER LOPEZ FEAT. PITBULL S&M RIHANNA
Melbourne country/roots band The Stillsons will be playing a handful of regional towns up and down the East Coast this week. They start the week at Lizotte’s in Newcastle on Wednesday, spend Thursday at Port Macquarie Hotel, Port Macquarie, and Friday at Valla Beach Tavern. The weekend will be spent in Bellingen; Saturday at an in-store appearance at Roots Record Store, and Sunday at the Federal Hotel, Bellingen. With the band’s well-received second album, Earnest, available now, it’s difficult to believe the band won’t be playing to sold-out venues.
BACK TO THE SHOW
SCISSOR SISTERS FEAT. AZEALIA BANKS SHADY LOVE
Self-Titled NOEL GALLAGHER’S HIGH FLYING BIRDS
Someone Like You ADELE
Renowned for his amazing guitar technique and his wild live shows, The Pat Capocci Combo will be playing at the Newtown Town Hall for the first time this Friday. What with free entry, the night promises to be an exceptional example of rockabilly.
This Friday, the ‘undisputed king’ of American dubstep, 12th Planet will be hitting up the Chinese Laundry. He’ll be accompanied by Australian acts Empress Yoy, Sam Scratch, Victims, Dos Bangers and Audiobotz. The night will run from 10pm until 4am, and if you arrive before 11pm, it’ll only set you back $20 — after 11, it’ll cost $25.
THIS SIDE OF KILIMANJARO
MISS LYDIA? Vocalist Leighton Antelman and drummer Craig Taylor have revived USA band Lydia and return to Australian stages this summer, hitting up Sydney’s Rock Lily on Wednesday, and Wollongong’s Cabbage Tree Hotel on Friday, promoting their brand new realease, Paint It Golden. Tickets are available now from Moshtix and tickets did sell out last tour, so grab them while you can!
ROCKIN’ THE COMBO
Has Friday 13 lost its scare? You’ll find it again this year when Horrorwood Mannequins creep out of their coffins to play at The Manning Bar this Friday at 8pm. They’ll be opening for Combichrist and Shiv-r so buckle up ghosts and ghouls because it’s bound to be a frightful night.
ON THE DRUM STEREO
Sydney’s infamous Royal Chant, fresh from the success of their debut LP, Raise Your Glass And Collapse, will be reintroducing their exciting brand of fuzz pop to their hometown audience. Local favourites Bang! Bang! Rock ‘n’ Roll! will be accompanying the group, as will Sydney noise/shoe glaze legends Sounds Like Sunset. If you like what you’re reading, the Roxbury in Glebe will be the place to be this Saturday.
After a long hiatus, the UK’s Sons and Daughters return to Australian stages this Thursday, with their appearance at Sydney Festival’s Keystone Festival Bar. After a collaboration with JD Twitch for their new album, Mirror Mirror, Sons and Daughters have a strong reputation in the country. Accompanied by Songs and The Laurels, the tour will no doubt sell out fast, so get tickets as soon as possible.
HOLLOW OF HIS HEART
With her Europe tour and Peats Ridge festival set behind her, Inga Lijestrom has one last Australian show to promote her brand new album, Songs For The Hollow Of His Heart. This Wednesday 11 January will find Inga at 505 in Surry Hills, playing a selection of songs from that new album, including a cover of Cat Steven’s Trouble.
ARCTIC MONKEYS & MILES KANE LITTLE ILLUSION MACHINE (WIRRAL RIDDLER) LIVE IN MELBOURNE Arctic Monkeys recently hit Falls Festival where they botched the New Year’s Eve countdown (but that’s a whole other video worth finding on YouTube). The video we recommend you check out is of their Melbourne show’s encore, featuring their support act Miles Kane. Known as the other Last Shadow Puppet, he joined the band to perform the co-written Little Illusion Machine (Wirral Riddler) and the result was electric. Kane’s rock star moves are unintentionally hilarious, especially when he drops to his knees to worship at Turner’s guitar. Here’s hoping we get a bit of that when they’re in town this weekend. http://www.youtube.com/ watch?v=Y18N5wgLYpw
LOON LAKE’S NEW TUNES
Loon Lake are sharing the love in NSW, playing new tracks off their forthcoming EP this Wednesday 11 at the Beach Road Hotel, Bondi. The band, which was nominated in triple J’s Next Crop Artists of 2011, will also be sharing their new sunny garage melodies this Friday 13 at The Great Northern Hotel in Newcastle, with guests The Guppies and Long Island Sound.
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JAM IT UP
BACK TO THE ROOTS
On Wednesday, a group of very talented musicians will be hitting up the Bald Faced Stag Hotel in Leichhardt for Musos’ Club Jam, a roots‘n’blues affair, completely free and kicking off at 8pm. There’ll be yet another jam night on Thursday in Rooty Hill, at the Carousel Hotel, once again starts at 8pm and is free.
Northern NSW’s beloved Loren and Murray Kyle are making a trip into the big city to play at Paddington Uniting Church this Saturday. Doors will open at 7:30 PM for a combination of two of the most remarkable, lyrically gifted musicians in Australia at present.
WASH YOUR MOUTH OUT
Melbourne’s Nigel Wearne will be bringing his brand of honest, alt-country/folk to Sydney for a bit of a show this Friday at the Old Manly Boat Shed. Famous for his slow, steady tunes with eloquent narrative quality; tales about mischievous bank robbers, wandering poets and his love of eggs abound throughout his music.
Few bands could hope to match celebrated punkrock outfit Guttermouth’s onstage intensity, explicit in-your-face showmanship and very punk attitude. They’ll be playing their longest Australian tour to date this year, with dates right up and down Australia’s east coast. Saturday 21 January will see them at the Gaelic, Tuesday 24 at Wollongong’s The Patch and Wednesday 25 at Bizzo’s in Carringbah.
ANNANDALE EVENINGS As always, the Annandale is bringing us some beautiful live music this week. Wednesday from 7:30pm, we’ll have Bennie James, Sheizbot, AnnaLeisa, Carousel and Jackie and the Rippers courtesy Jagermeister, for just $8 on the door. Thursday will see Red Oxygen, Gypsies and Gentlemen, Pixiekills and more, and on Friday Annandale’s famous Friday Night Lights will showcase Skinpin, The Bedlams, Grey turns Blonde, Thayne and Hot Spoke, kicking off at 7:30pm and for $10 on the door.
LIKE A ROLLING STONE This Friday, Sydney group Classic Kings will be playing tribute to The Rolling Stones’ 60th year. Performing the Stones’ classic hits of the 1960s through 1980s will be a well-travelled lineup of some of Australia’s most experienced musicians. Palm Beach Golf Club will play host to this remarkable show on Friday.
BADASS BARITONE Juke Baritone and his band of Swamp Dogs, back home from the US, have been described as ‘muppets with real bad attitude’. The band themselves are renowned for having a stage presence that makes audiences both dance and wonder if the band should be committed. This Friday will see them at the Vanguard in Newtown and Saturday at the Brass Monkey in Cronulla.
UNDER A RED FLAG Drawing on inspiration like Black Sabbath, The Charge present hard rock the way it was meant to be — angry and loud but with a kind of accessibility. Promoting their first album, Red Flags, the band are embarking on a tour of the East Coast, first stop being the Lansdowne this Friday.
OUTSIDE THE SQUARE This Saturday, a group of well-reputed musicians will be converging on Sydney’s newest venue The Square (beneath the Roundhouse on George Street). Sydney’s prime sludge band, Lomera will be releasing their debut self-titled EP, and Canberra favourites Looking Glass bring their ethereal sounds to what may be their only Sydney show for 2012. Lo-fi psychedelic tunes will be brought by Sydney band Mother Mars, fresh of their brand new album, Fossil Fuel Blues. Finally, stoner rock kings Daredevils will round off the evening.
STORMY SUMMER NIGHTS
ROCK THE BOATSHED
EASTSIDE HOBOS This Thursday night, Venue 505 plays host to both Hobo Bordeaux and Merchants of Sound. Hobo Bordeaux, often compared to the likes of Lanie Lane and Lolo Lavina, have been likened to everything from cabaret to swamp to spaghetti western. Eastside Radio will be bringing music out of the radio and into a live format, and for this, we give them thanks.
This Sunday will see Stormcellar take to the stage at the Exchange Hotel in Newcastle around 5pm. A blues-and-roots outfit who’ve finally come out of their self-imposed songwriting hermitage, the band has a reputation for putting on an energetic live show and will no doubt live up to it.
Not quite into Miss Universe as much as Donald Trump? Head to Venom at The Agincourt Hotel this Saturday and catch the semi finals of Miss Alternative 2012. Headlining the show is Sydney’s new industrial outfit The Damned Humans, so check it out and see the most alternative folks in Australia.
LAST OF THE BEAUTIFUL GIRLS The Beautiful Girls are bringing us some solid summer tunes at the The Mona Vale Hotel this Friday on the last leg of their national tour. Joining them will be longtime collaborator Kid Mac – so catch them before they get their beauty sleep. Tickets through Moshtix with doors open at 8pm.
MERE MUSIC This Thursday night, FBi Social will be exhibiting some truly fine local acts: Mere Women, Julia Why?, Kang Gang and The Lunars. The show will kick off at 8pm and set you back $10. Mere Women are ready to show off some of their brand new tracks to their hometown and JuliaWhy? will deliver their infamous punching rhythms and gut-wrenching yet ethereal vocals.
In some good news for Newcastle’s live music scene, Chino’s Bar will be launching Wednesday 11, promising to be the city’s next boutique music and arts venue. Chino’s will make their debut hosting Wollongong duo Mother & Son, with a string of artists to be showcased in the future. So if you’re a local, or just fancy a road trip, keep an ear out for what’s happening at Chino’s next.
SHOW BERNI THE LOVE
Yet again, FBi Social brings together a group of incredible acts this Friday: Kade MC, who has supported the likes of Illy and Horrorshow, Big Dumb Kid, as heard on Triple J and FBi, the innovative Old Men of Moss Mountain, and Deadbeat & Hazy, busy fusing dark dubstep with smooth hip hop over the past two years.
Looking for some old school grooves? Berni Love will be performing an acoustic soul set alongside Professor Groove and The Booty Affair and Don Dolla this Friday 13 and Saturday 14 at Sydney’s new venue, Blue Beat, in Double Bay for 48 hours of old school funk, blues and jazz-style music.
CUB SCOUT NIGHT This Saturday, A Story Never Told and Lonely Kids’ Club will present two acts at FBi Social: Cub Scout and Tales in Space. The show will kick off at 8pm and cost $10 on the door, and will be followed by Late Night Social DJs, from midnight until late, which will be free and streamed live onto FBi Radio.
Musical scallywags Mark Evans (AC/DC) and Dave Tice (Buffalo) are touring their new punkedout blues music around NSW, with gigs this Friday 13 at Lakes Hotel, The Entrance, and The Sando, in Newtown on Saturday 14 as part of their tour for new album, Brothers In Arms.
ROCKABILLY AT THE TOWNIE
Each Sunday afternoon in January, FBi Radio will be streaming live from FBi Social, where Foreigndub Airwayvz and Loose Joints will be broadcasting. This week, they will be supported by Sydney reggae soul band Addison Road, whose sound mixes Kiwi reggae with dub and soul elements.
The Pat Capocci Combo will be bringing the rockabilly and rock‘n’roll to Newtown’s Town Hall Hotel this Friday 13 playing three sets and kicking off at 9pm. So with free entry, what excuse could you possibly have?
WESTERN SUBURB ROCK
The Merilyn Steele Band will be performing again at Westmead Tavern this Sunday 15, starting at 3pm. So if you’re around, relax with a schooner in the beer garden and listen to your favourite country rock covers.
The first of some upcoming monthly jam sessions, this show will pay homage to a bygone era, when Sydney’s jazz clubs were open until early morning and musicians jammed until late after their scheduled shows. As well as scheduled appearances from The MFW, Adam’s Garden, The Cooking Club, Mango Balloon, Mike Rivett Quintet, Zac Hurren Trio and the Tony Electro Heavy Vibe Concert there’ll be late night jams hosted by the Warwick Alder Quintet and the Jackson Harrison Trio. These sessions will run this Friday, Saturday and Sunday at The Gaelic. A part of the Jazzgroove Summer Festival.
VINCE JONES RETURNS… To Sydney’s Blue Beat, that is. Hailed as a spellbinding jazz performer and “landmark in local creative music”, Vince Jones has already conquered Blue Beat once and returns by popular demand this Thursday 12, starting at 9pm.
BRINGING THE ANTICS TO SYDNEY For the first time in their 20 years of making music, Fiendish Cavendish are making their Sydney debut at The Lansdowne the afternoon of Sunday 15. Citing “general lethargy, drug fuckedness and poverty” for preventing their playing there before, this Sydney gig will definitely be one to see. Fellow Adelaidians Vombat will be supporting, alongside local blues garage outfit the BlindFolds.
DIY IN THE MOUNTAINS Blue Mountain’s blues and roots artist Claude Hay is preforming his newish release, Deep Fried Satisfied, this Saturday 14 at Katoomba RSL Club. His DIY styling is acclaimed, with his single, How Can You Live With Yourself, reaching #1 on triple J’s Roots Unearthed. Hay is supported by Melbourne-based blues/folk singer Luke Watt and alternative country singer, Nigel Wearne – so with free entry, you have no excuse to miss it.
Some time ago, FBi Social started up the most ingenious little free daytime show, Lunchbreak. It’s an hourlong show that slots neatly into your, well, lunch hour, so instead of eating at your desk sadly or staring vacantly at pigeons, you can spend your free time listening to the beautiful, dense tunes created by WIM, full of haunting four-part harmonies and Grizzly Bear-esque melodies. 1pm, FBi Social, this Wednesday. 56 • THE DRUM MEDIA
ILLAWARRA FOLK FESTIVAL
The Illawarra Folk Festival is happening this weekend at the Wooli Showground, Woolongong between Thursday 12 and Sunday 15 January and features over 150 acts from around the world, including Brendan Gallagher, Skipping Girl Vinegar and Scotland’s Dougie McLean.
LOUD AND LOCAL AT THE LANDSDOWNE
The Lansdowne this Friday will see Melbourne bands The Charge, touring their new album, Red Flag, and System of Venus, who are set to release their debut EP early this year. Sydney band Raprager will also be bringing their psychedelicinfused rock alongside fellow Sydneysiders Jessamine, for their first gig of 2012.
TRANZFAT THAT’S GOOD FOR YOU
Tranzfat bring their melodic blend of funk and rock to The Empire Hotel, this Saturday 14 at 7pm, alongside The Initiation, Arrowhead and Another Minute Past Midnight. Formed in 2009, the band has over 40 collective years of musical influences, so you’re bound to hear something in the mix that appeals to you.
WORLD BAR FAVOURITES
Any excuse will do when it comes to World Bar, so with 11 months until the end of the world (at least according to the Mayans), World Bar are continuing the party and Tuesday will see giant twister, karaoke and silent disco,
NEVER MISS A STEP
Head to World Bar on Wednesday for the best dubstep, electro and hip-hop gracing the floor with DJs Pirate, Bruxism, Hazy, Deckhead, Pipemix, Clockwerk and Lights Out. Then Thursdays return with Propaganda, this week featuring DJs Urby, Shag and Dan Bombings.
MUM IS A PUNK
Friday sees World Bar punked out with MUM, with bands Anamas, Hira Hira, The Nugs, Making, Dead Johny & The Memphis Gun, Drake the Fake and The Fabergettes performing.
WAKE US UP FOR WHAM
James Taylor, Pablo Calamari, Diamond Lights, Trent Rackus, Mo’ Funk, Shamozzle, Adam Bozzetto, Kerry Wallace, Mitch Croshier, Illya and Richie Carter will have you dancing all night long when they play at WHAM on Saturday,
JAZZ IS GROOVY
A true gift for lovers of jazz music, this Saturday night sees the infamous jazz film Intangible Asset No. 82, about drummer Simon Baker’s pursuit of a Korean shaman, screened at Tom Mann Theatre, right next door to Drum HQ, with a Q&A to follow with the film’s subject and director. At 7:30pm, the live music commences, with guitarist Ben Hauptmann’s BOB, and then pianist Matt McMahon presenting his celebrated Paths and Streams. A part of the Jazzgroove Summer Festival.
FOR THE KIDS
This Sunday at Redfern Town Hall, from midday onwards, comes one of the Jazzgroove Festival’s most successful programs, the Free Kids’ Concert, presented in conjunction with Music Viva. Featuring The World According to James and Lah-Lah. A part of the Jazzgroove Summer Festival
THE DRUM MEDIA • 57
TUE 10 ADAM PRINGLE, + FRIENDS: Sandringham Hotel, street level BAREFOOT DIVAS: Carriage Works, Eveleigh BLUEJUICE, THE ASTON SHUFFLE: Great Northern Hotel - Byron Bay DAVE WILKINS: Coogee Bay Hotel - Beach Bar DAVID HAKAN: Mars Hill Café - Parramatta STEVE TONGE: Observer Hotel - The Rocks SYDNEY FESTIVAL presents, TUBULAR BELLS FOR TWO: Seymour Centre THE LONELY BOYS: 3 Wise Monkeys Pub - City THEY CALL ME BRUCE: Maloneys Hotel - City TIM FINN: Jagermeister Hunting Lodge - Hyde Park, Sydney VALLEY FLOOR: Brass Monkey - Cronulla
WED 11 ANDY MAMMERS DUO: Maloneys Hotel - City ARABESK, GLENN CARDIER: The Basement - Circular Quay BAREFOOT DIVAS: Carriage Works, Eveleigh BIG BEN: Coogee Bay Hotel - Beach Bar BLUEJUICE, THE ASTON SHUFFLE: Yamba Bowling Club - Yamba BRADLEY CORK & THE FOLKLORE MANTRA, SPOOKYLAND, LESSONS IN TIME, LIAM GORDON, RAY RAY RAY & THE JETSONS: Valve Bar - Tempe CAPTAIN OBVIOUS ACOUSTIC): Sandringham Hotel, street level CATCH 22: 3 Wise Monkeys Pub - City DAN SPILLANE: Mean Fiddler Hotel, Sub Bar - Rouse Hill DAVID AGIUS: Summer Hill Hotel - Summer Hill DAVID HAKAM: Petersham Bowling Club - Petersham GEMMA: Observer Hotel - The Rocks GROUPLOVE (USA): Great Northern Hotel - Byron Bay INGA LILJESTROM: 505 - Surry Hills JAGERMEISTER presents.., BENNIE JAMES, SHEZBOT, ANNALEISA, CAROUSEL, JACKIE & THE RIPPERS: Annandale Hotel - Annandale JAMIE LINDSAY: Northies, Sports Bar - Cronulla KATCHAFIRE, EBB N FLO: Plantation Hotel - Coffs Harbour LIVE & LOCAL: Lizottes Central Coast - Kincumber LIVE & LOCAL: Lizottes Newcastle - Newcastle LIVE & LOCAL: Lizottes Sydney - Dee Why
58 • THE DRUM MEDIA
LYDIA (USA), THE CAVALCADE: Rock Lily - The Star Casino - Pyrmont MANOREX6, ABSTRACT CLASSIC: Yours and Owls - Wollongong MATT JONES: Novotel - Brewery Bar, Olympic Park OPEN MIC NIGHT: Fitzroy Hotel - Windsor SOPHIE HANLON & THE FALLING EMPIRE, JANE AUBOURG: The Vanguard - Newtown STEVE SMYTH: Brass Monkey - Cronulla SYDNEY FESTIVAL presents, DAN DEACON ENSEMBLE, JOHN MAUS: Hyde Park Barracks Museum - Sydney SYDNEY FESTIVAL presents, TUBULAR BELLS FOR TWO: Seymour Centre SYDNEY FESTIVAL presents, J MASCIS: Spiegeltent, Hyde Park - Sydney THE RED PAINTINGS: Factory Theatre - Enmore THE SMITH: Artichoke Gallery Café - Manly THE WALL feat., P1RATE, BRUXISM, HAZY, DECKHEAD, PIPEMIX, CLOCKWERK, LIGHTS OUT: World Bar - Kings Cross VALLEY FLOOR, THE DIRTY SURFIN BASTARDS: Old Manly Boatshed - Manly
THU 12 12TH PLANET, SAM SCRATCH, EMPRESS YOY, VICTIMS, DOS BANGERS, AUDIOBOTZ: Chinese Laundry ARTIC MONKEYS, MILES KANE, VIOLENT SOHO: Hordern Pavilion - Moore Park BAND OF GYPSIES, TARAF DE HAIDOUKS, KOCANI ORKESTAR: Enmore Theatre - Enmore BLUEJUICE, THE ASTON SHUFFLE: Plantation Hotel - Coffs Harbour BOB DYLAN TRIBUTE SHOW: Notes Live - Enmore CAMBO: Observer Hotel - The Rocks CRAIG THOMMO: Coogee Bay Hotel - Beach Bar CURTIS MASON: Slide Darlinghurst DAN SWEETO: Mars Hill Café - Parramatta (Early) DAVID AGIUS: Northies, Sports Bar - Cronulla FBI SOCIAL feat., MERE WOMEN, JULIAWHY?, KANG GANG, THE LUNARS: Kings Cross Hotel - Kings Cross GRAMOPHONE MAN, EMMA LOUISE: Jagermeister Hunting Lodge - Hyde Park, Sydney GREAT BIG HITS: Nelson Bay Diggers Club
HAPPY NEW YEAR (USA), NITE FIELDS, MOONBASE COMMANDER: Yours and Owls - Wollongong HOBO BORDEAUX, MERCHANTS OF SOUND: 505 - Surry Hills ILLAWARRA FOLK FESTIVAL: Bulli Showground - Wollongong JAGERMEISTER presents.., RED OXYGEN, GYPSIES & GENTLEMEN, THE PIXIEKILLS, + more: Annandale Hotel - Annandale JESSE: Campbelltown Catholic Club Caf‚ Samba JITTERBUGS: Central Coast Leagues Scenic Lounge JUKE BARITONE & THE SWAMP DOGS: Brass Monkey - Cronulla LATE SHIFT: 3 Wise Monkeys Pub - City LIVE-RACKET AWARDS FINALS feat, DROP TANK, THE CHOKE, WITCH FIGHT, WAGGA TEK: Valve Bar - Tempe LOUNGE SOUNDS: Artichoke Gallery Café - Manly LYDIA (USA), THE CAVALCADE: Cambridge Hotel - Newcastle MANDI JARRY: Dee Why Hotel - Dee Why MARTY from RECKLESS: Marlborough Hotel - Newtown MICHAEL MCGLYNN: Greengate Hotel - Killara MOUNTAIN MOCHA KILIMANJARO: Clarendon Guest House - Katoomba PASSENGER, TIM HART, STU LARSEN: Lizottes Central Coast - Kincumber PROPAGANDA feat., URBY, SHAG, DAN BOMBINGS: World Bar - Kings Cross RAOUL GRAF: Gymea Bay Hotel - Gymea SALT LAKE CITY, RUTH ROGERS-WRIGHT, CITRUS JAM: The Vanguard - Newtown SAM & JAMIE TRIO: Maloneys Hotel - Sydney STEVE TONGE: Harbord Beach Hotel - Harbord SYDNEY FESTIVAL presents, SONS & DAUGHTERS, SONGS, THE LAURELS: Hyde Park Barracks Museum - Sydney SYDNEY FESTIVAL presents, TUBULAR BELLS FOR TWO: Seymour Centre SYDNEY FESTIVAL presents, J MASCIS: Spiegeltent, Hyde Park - Sydney TERRY BATU: Jannali Inn TRIBUTE TO THE ROLLING STONES: Lizottes Newcastle - Newcastle TUBA SKINNY: The Basement Circular Quay VINCE JONES: Blue Beat - Double Bay
FRI 13 1927, JO ELMS: Lizottes Sydney - Dee Why AM 2 PM: Parramatta Leagues - Firehouse ANDY MAMMERS: Harbord Beach Hotel - Harbord ANTON ZAMMIT: Red Cow Hotel - Penrith ARCTIC MONKEYS, MILES KANE: Enmore Theatre - Enmore BACKLASH: Penrith Gaels - Kingswood BLACK DIAMOND HEARTS: Crows Nest Hotel (late) - Crows Nest) BLACK ROSE: Matraville Hotel - Matraville BLUEJUICE, THE ASTON SHUFFLE: Panthers - Port Macquarie CAMBODIAN SPACE PROJECT: Heritage Hotel - Bulli CIVIL WAR, VIGILANTE, SICK PEOPLE, DOWNPOUR, NEVER RIGHT, BLIND SIGHT: Valve Bar - Tempe COMBICHRIST, A+D+A+M, DJ ANGELSPIT, HOPRORWOOD MANNEQUINS: Manning Bar, Sydney Uni - Camperdown CRAIG THOMMO: The Belvedere Hotel - Sydney DAN LISSING DUO: Crows Nest Hotel (early) - Crows Nest DAVE TICE & MARK EVANS: Lakes Hotel - The Entrance DAVID AGIUS: Novotel - Brewery Bar, Olympic Park DEUCE: Hotel Jesmond - Jesmond DJ FALCON: Trinity Bar - Canberra ACT DWAYNE ELIX & THE ENGINEERS: East Leagues Club - Bondi Junction ENDLESS SUMMER BEACH PARTY: Moorebank Sports Club FALLON BROTHERS: Observer Hotel (late) - The Rocks FBI SOCIAL feat, DEADBEAT & HAZY, OLD MEN OF MOSS MOUNTAIN, BIG DUMB KID, KADE MC, DJ PEACE: Kings Cross Hotel - Kings Cross FRIDAY MIXTAPE feat, JAMES FITZGERALD: Shelbourne Hotel - City FRIDAY NIGHT LIGHTS with, SKINPIN, THE BEDLAMS, GREY TURNS BLONDE, THAYNE, HOT SPOKE!: Annandale Hotel - Annandale GEORGIES PLAYGROUND: Belmore Hotel - Newcastle GERRARD MASTERS: Tall Timbers Hotel Ourimbah, Central Coast GRAND THEFT AUDIO: Exchange Hotel - Newcastle HAPPY NEW YEAR, NITE FIELDS, KIRIN J CALLINAN, SECRET BIRDS: Dirty Shirlows - Marrickville
HIP NOT HOP: Quakers Inn - Quakers Hill HOORAY FOR EVERYTHING: Coogee Bay Hotel - Beach Bar HP3: Orana Hotel - Blacksmiths IAN MOSS: The Vault - Windsor IGNITION: Penrith RSL IGUANA: Charlestown Bowling Club ILLAWARRA FOLK FESTIVAL: Bulli Showground - Wollongong INTIMATE LOUNGE MUSIC: Fairfield RSL, Supper Club JESSICA MAUBOY, STAN WALKER: Revesby Workers, Whitlam Theatre JOHN SWAN with RICK & JOHN BREWSTER: Lizottes Central Coast - Kincumber JONO LEE JONES: Great Southern Hotel - Sydney JOSH PYKE: Jagermeister Hunting Lodge - Hyde Park, Sydney JUKE BARITONE & THE SWAMP DOGS, CASH SAVAGE: The Vanguard - Newtown KEEP THE FAITH - BON JOVI SHOW: Towradgi Beach Hotel - Towradgi KIRK BURGESS: Collaroy Beach Hotel - Collaroy LADY K & THE GOODTIMES: Warners at the Bay LOON LAKE, THE GUPPIES, LONG ISLAND SOUND: Great Northern Hotel - Newcastle LUKE DIXON DUO: Stacks Taverna Darling Harbour LUKE ROBINSON: Parramatta RSL - Parramatta LYDIA (USA), THE CAVALCADE: Cabbage Tree Hotel - Fairy Meadow MARTY MULHOLLAND: Northies, Sports Bar - Cronulla MARTY STEWART: Parramatta Leagues, Café 88 - Parramatta MATT JONES DUO: Hillside Hotel - Castle Hill MATT PRICE DUO: Mean Fiddler Hotel - Rouse Hill MICHAEL & LUCAS: Kirribilli Hotel - Kirribilli MILLIONS, SURES, STEVE SMYTH, DJ BAD WIVES: Upstairs Beresford - Beresford Hotel MISSION JONES: Club Rivers - Riverwood MOONLIGHT DRIVE DUO: Nelson Bay Diggers Club MOUNTAIN MOCHA KILIMANJARO: Kantara House - Green Point MUM feat, PANAMAS, HIRA HIRA, THE NUGS, MAKING, DEAD JOHNNY & THE MEMPHIS GUN, DRAKE THE FAKE, THE FABERGETTES: World Bar - Kings Cross NATIVOSOUL: Artichoke Gallery Café - Manly
NEILL BOURKE: O’Malleys Hotel - Kings Cross NICKY KURTA: Mill Hill Hotel - Bondi Junction NIGEL WEARNE, LUKE WATT: Old Manly Boatshed - Manly PASSENGER, TIM HART, STU LARSEN: Lizottes Newcastle - Newcastle PAT CAPOCCI COMBO: Town Hall Hotel - Newtown PAUL PHILLIPS: Oasis on Beamish Hotel - Campsie PEPPERMINT JAM: Club Central - Hurstville PETE GELZINNIS: Windsor Castle Hotel - Newcastle PIRATE, XENOGRAFT, NET OF BEING, EYEMAZE: The Square, Haymarket ROADHOUSE ROCKERS: Belmont 16’s - Belmont ROB HENRY: Observer Hotel - The Rocks RYAN ENRIGHT: Castle Hill RSL - The Terrace SIREN LINES, SECRETS IN SCALE: Oxford Art Factory - Gallery STEPPIN’ OUT: Kingswood Sports Club - Kingswood SURPRISE PARTY: 3 Wise Monkeys Pub - City SYDNEY FESTIVAL presents, SHABAZZ PALACES, TAYLOR MCFERRIN, SHANGAAN ELECTRO: Hyde Park Barracks Museum - Sydney SYDNEY FESTIVAL presents, CLAIRY BROWN & THE BANGIN’ RACKETTES, MEEM: Idolize Spiegeltent - Parramatta SYDNEY FESTIVAL presents, TUBULAR BELLS FOR TWO: Seymour Centre SYDNEY FESTIVAL presents, J MASCIS: Spiegeltent, Hyde Park - Sydney TERRY BATU: Canterbury Leagues THE BAD BAD THINGS: Duke of Wellington Hotel - New Lambton THE BELLHOPS: Blacktown RSL Celebrity Room THE CHARGE, JESSAMINE, RAPERAGER, SYSTEM OF VENUS: Lansdowne Hotel - Broadway THE JUSTICE CREW: Penrith Panthers, Evan Theatre - Penrith THE LAZYS: The Entrance Leagues Club - Bateau Bay THE POD BROTHERS: Juniors at the Junction - Maroubra THE RUMJACKS: Brass Monkey - Cronulla THE VENGABOYS: Selinas, Coogee Bay Hotel - Coogee THE ZEPPELIN SHOW: Bull & Bush - Baulkham Hills THEY CALL ME BRUCE: PJ Gallaghers - Drummoyne
TIM PRINGLE DUO: Kincumber Hotel - Kincumber, Central Coast TOM TRELAWNY: Castle Hill RSL Cocktail Lounge TRANSIT: The Stag & Hunter Hotel UNFORGIVEN- THE METALLICA SHOW: Engadine Tavern VALLEY FLOOR: Pacific Hotel - Yamba WILDCATZ: Marlborough Hotel - Newtown ZOLTAN: PJ’s Irish Pub - Parramatta
SAT 14 1927: Lizottes Central Coast - Kincumber ALMOST FAMOUS: East Leagues Club - Bondi Junction AM 2 PM: Parramatta RSL - Parramatta ANDY MAMMERS: Brewhouse - Marayong ARMCHAIR TRAVELLERS DUO: North Ryde Community Club BEN FINN DUO: Ettamogah Hotel - Rouse Hill BENN GUNN: Newport Arms Hotel BLACK DIAMOND HEARTS: Rock Lily - The Star Casino - Pyrmont BLUE MOON QUARTET: Fairfield RSL, Supper Club BLUE VENOM: Engadine Tavern BROOKES BROTHERS: Gladstone Hotel - Chippendale BROUS: Jagermeister Hunting Lodge - Hyde Park, Sydney BUTCHER BLADES, OXBLVD, DIE FOR YOU, DJ F.R.I.E.N.D/S DJs: Upstairs Beresford - Beresford Hotel CARAMEL: Castle Hill RSL - Cocktail Lounge CARL FIDLER: Observer Hotel (early) - The Rocks CHERRIBOMB: Macarthur Tavern - Campbelltown CLAUDE HAY, LUKE WATT, NIGEL WEARNE: Katoomba RSL - Katoomba CLUB TROPPO feat, MJM, DREW MERCER: Shelbourne Hotel - City CORPUS, FAIT ACCOMPLI: The Standard - Surry Hills COVER NOTES DUO: Kingswood Sports Club - Kingswood CRAIG THOMMO: Helensburgh Workers DAMN FINE GENTLEMEN: Dicey Riley’s Hotel - Wollongong DAN BEAZLEY: Charlestown Bowling Club DANIEL ARVIDSON: Duke of Wellington Hotel - New Lambton DAVE TICE & MARK EVANS: Sandringham Hotel, upstairs
DAVE WHITE EXPERIENCE: Crows Nest Hotel (late) - Crows Nest) DAVID AGIUS: PJ Gallaghers Drummoyne DES GIBSON: Lansvale Hotel - Lansvale ELLESQUIRE, THE DANNY G FELIX PROJECT, MILAN: The Basement Circular Quay EMMA PASK: Brass Monkey - Cronulla EMPIRE RISING, BLUE CANDY: Caringbah Bizzos ENDLESS SUMMER BEACH PARTY: Mounties, Terrace Bar - Mt Pritchard EYE ON YOU: Orana Hotel - Blacksmiths FALLON BROTHERS: Harbord Beach Hotel - Harbord FBI SOCIAL feat., CUB SCOUT, TALES IN SPACE: Kings Cross Hotel - Kings Cross GARRY TODD, MURAT KILIC, SCHWA, ROBBIE LOWE, MATT WEIR, AMY FAIRWEATHER, TOM BRERETON: The Spice Cellar - Sydney GAY PARIS, GLITTER CANYON, SURPRISE WASP, GUTHRIE: The Vanguard - Newtown GEN-R-8: Cessnock Supporters Club GET YER YA YAS OUT feat, THE CLASSIC KINGS, DAMIEN LOVELOCK: Palm Beach Golf Club GRAFTON PRIMARY, SAN CISCO, THE ONLY, ELLESQUIRE, RUFUS, ELLIOT THE BULL, LIFE ON EARTH, DALI’S ANGELS: Beachcomber Hotel - Toukley HAM RADIO, NATHAN MCKENNA: Mars Hill Café Parramatta (Early) HEATH BURDELL: Northies, Beach Bar (afternoon) - Cronulla HOMEBREW, BUTSACAP, HIDDEN ACE, MOTHER BRODY, THE POSTMODERNISTS, SYSTEM OF VENUS, FOUULHAWK, GUTTER TACTIC, ONE DAY SOON: Valve Bar - Tempe (Afternoon) HOORAY FOR EVERYTHING: Panania East Hills RSL - Panania HUE WILLIAMS: Everglades Country Club - Woy Woy HUNGRY KIDS OF HUNGARY, BLEEDING KNEES CLUB, NANTES, TOUCAN, MILLIONS: Kent Hotel - Hamilton, Newcastle IGNITION: Blacktown RSL - Celebrity Room IGUANA: Bay Hotel ILLAWARRA FOLK FESTIVAL: Bulli Showground - Wollongong
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www.thedamnedhumans.com THE DRUM MEDIA • 59
PASSENGER, TIM HART, STU LARSEN: Lizottes Sydney - Dee Why PETER WHIRTER: Campbelltown Catholic Club - Caf‚ Samba REBECCA JOHNSON BAND: Coast Hotel - Budgewoi ROB HENRY: Castle Hill RSL - The Terrace SAMPOLOGY, DJ YODA: Oxford Art Factory, Live Art Space SINGLED OUT: Orient Hotel - The Rocks STEVE TONGE: Northies, Sports Bar - Cronulla STEVE TONGE: Observer Hotel (afternoon) - The Rocks SUNDAYS RECORD, DJ SONIC: Belmore Hotel - Newcastle SUPERSTITIOUS: Penrith RSL, Castle Lounge SYDNEY FESTIVAL presents, ANDREW WEATHERALL, NEVILLE WATSON: Hyde Park Barracks Museum - Sydney SYDNEY FESTIVAL presents, PARRA OPENING NIGHT PARTY: Parramatta Park SYDNEY FESTIVAL presents, TUBULAR BELLS FOR TWO: Seymour Centre SYDNEY FESTIVAL presents, CANT: Spiegeltent, Hyde Park - Sydney SYDNEY FESTIVAL presents, MIKE PATTON’S MONDO CANE, BROUS: The Domain - Sydney TERRY BATU: Mortdale Hotel - Mortdale THE GOOCH PALMS, CANNON, THE NUGS: Oxford Art Factory - Gallery THE GOYLES: Corrimal Leagues Club - Corrimal THE INITIATION, ARROWHEAD, AMPM TRANZPHAT: Empire Hotel - Annandale THE JUSTICE CREW: Revesby Workers, Whitlam Theatre
GIG OF THE WEEK
FAMILY JAZZ DAY
Fingers crossed the weather is fine for this Saturday, when there’ll be some excitement in Prince Alfred Park as The Glorious Sousaphonics, The World According to James, and The Sun Chasers Collective will all be playing some family-friendly tunes in the great outdoors this weekend for free, so be sure to grab a picnic rug and head down to to Cleveland St. end of the park after 1pm. It’s all happening as part of the Jazzgroove Summer Festival. THE LEVYMEN, PETE HIBBERT: Windsor Castle Hotel - Newcastle THE LONELY BOYS: Mercantile Hotel - The Rocks THE MATCHBOX TRIBUTE SHOW: Wyong District Rugby League Club THE POD BROTHERS: Ivanhoe Hotel - Manly THE ROAD RUNNERS: Matraville RSL THE SMARTS: Warners at the Bay THE VENGABOYS, THE HERBS, HOT COP, GLASS TOWERS, DJ RUGGS: Newcastle Panthers - Newcastle West THIRD TIME LUCKY: Penrith Gaels Kingswood TOM T DUO: Courthouse Hotel - Taylor Square TOMMY TRASH: Chinese Laundry TOUCHWOOD: Richmond Inn Richmond TOXIC HOLOCAUST, KROMOSOM, HELLBRINGER: Bald Faced Stag - Leichhardt
TWINSANITY: Nelson Bay Diggers Club V.I.P BAND: Bull & Bush - Baulkham Hills WHAM! feat., JAMES TAYLOR, PABLO CALAMARI, DIAMOND LIGHTS, TRENT RACKUS, MÓ’ FUNK, SHAMOZZLE, ADAM BOZZETTO, BEN KORBEL: World Bar - Kings Cross WILDCATZ: Scruffy Murphy’s - City YUKI KUMAGAI, JOHN MACKIE: Wellco Café & Wine Bar - Leichhardt ZOLTAN: Malabar RSL - Malabar
SUN 15 1927, GABRIEL LYNCH: Lizottes Newcastle - Newcastle AFTERNOON DELIGHT feat, LOOSE JOINTS, FOREIGNDUB AIRWAYVZ, ADDISON ROAD: Kings Cross Hotel (afternoon) Kings Cross ALL STAR DUO: Gymea Bay Hotel - Gymea
ANDREW WINTON, PHIL EDGELEY: Lizottes Sydney - Dee Why ANDY MAMMERS: Bull & Bush - Baulkham Hills ANTOINE: O’Malleys Hotel - Kings Cross BENJALU, DAMN FINE GENTLEMEN: Towradgi Beach Hotel - Afternoon BLUES SUNDAY feat., MARK HOPPER: Artichoke Gallery Café - Manly BOB LOUNDAR BENEFIT LUNCH: Lizottes Central Coast - Kincumber BOBBY C: Royal Federal Hotel BOTTLENECK: Beaches Hotel Thirroul (afternoon) BP DUO feat BRIEN MCVERNON: Beauford Hotel - Mayfield BRIDGE CITY JAZZ BAND: Central Coast Leagues CASTLECOMER, JOSH MCIVOR: Mean Fiddler Hotel - Rouse Hill CATHERINE TRAICOS & THE STARRY NIGHT: Low 302 - Darlinghurst
CHRIS TURNER’S CAVE MEN: Bald Rock Hotel - Rozelle COOL CHANGE, MARISSA SAROCA: Belmont 16’s - Belmont COUGAR DUO: Blue Cattledog Hotel - St Clair CRAIG WOODWARD: Royal Oak Hotel - Parramatta DAN BEAZLEY: Warners at the Bay DAVE WHITE DUO: Northies, Northies Bar - Cronulla DAVID AGIUS: Harbord Beach Hotel - Harbord DAVID GOYEN: Club Five Dock - Five Dock DJ JACK SHIT & HIS 78s: Jagermeister Hunting Lodge - Hyde Park, Sydney DOUBLE BARREL: Springwood Sports Club DUST feat, GARY TODD, JAMES TAYLOR, ALLEY OOP, ASTRIX LITTLE, + GUESTS: World Bar - Kings Cross GEMMA: Kincumber Hotel - Kincumber, Central Coast GLENN WHITEHALL: Collaroy Beach Hotel - Collaroy
GREEN BEAVER, THE MAJESTICS, THE SUNSHINE LAUNDRY: Valve Bar - Tempe (Early) HAPPY HIPPIES: Albion Hotel-Parramatta ILLAWARRA FOLK FESTIVAL: Bulli Showground - Wollongong JAMIE LINDSAY, WHITE BROS: Ettamogah Hotel (afternoon) - Rouse Hill JJ DUO: Coogee Bay Hotel - Beach Bar JOHN LARDER: Tall Timbers Hotel Ourimbah, Central Coast JOHN VELLA: Waverley Bowling Club - Waverley JOYCE COLLINS: The Belvedere Hotel - Sydney KATCHAFIRE, RAZ BIN SAM & THE LION BAND: Great Northern Hotel - Byron Bay KIRK BURGESS: East Leagues Club - Bondi Junction LOVE THAT HAT: The Mark Hotel - Newcastle LYDIA (USA), THE AVALCADE: Tuggeranong Alliance Church - Canberra, ACT MARTYS PLACE: Helensburgh Workers MASS: Orana Hotel - Blacksmiths MERILYN STEELE BAND: Westmead Tavern (afternoon) - Westmead MIKE BENNETT: Observer Hotel - The Rocks PASSENGER (UK), STU LARSEN, TIM HART (BOY & BEAR): Yours and Owls - Wollongong PETE: Oscars Hotel - Pyrmont PETE HUNT: Oatley Hotel (afternoon) - Oatley PETER HEAD TRIO: Harbour View Hotel - The Rocks PETER NORTHCOTE, VIRGINIA LILLYE: Bridge Hotel - Rozelle REVEL: 3 Wise Monkeys Pub - City ROB HENRY, CAMBO: Observer Hotel (afternoon) - The Rocks STORMCELLAR: Exchange Hotel - Newcastle
SYDNEY FESTIVAL PARRAMATTA presents, FRANK YAMMA: Prince Alfred Park - Parramatta SYDNEY FESTIVAL presents, FRANK YAMMA, MEEM: Idolize Spiegeltent - Parramatta SYDNEY FESTIVAL presents, TUBULAR BELLS FOR TWO: Seymour Centre SYDNEY FESTIVAL presents, JULIANNA BARKWICK, CANT: Spiegeltent, Hyde Park - Sydney TERRY BATU: Wisemans Ferry Inn THE SLOWDOWNS: Sandringham Hotel, street level TOM & DAVE SHOW: Northies, Sports Bar - Cronulla TOM TRELAWNY: Parramatta Leagues - Firehouse TOM UGLY: Brass Monkey - Cronulla TRIBAL, MUGGER, PORTLAND, SUPERLATIVES, SAMSARA, BLACK ROSE, INTO THE FIREPLACE: Valve Bar - Tempe (Afternoon) WELLSY: Duke of Wellington Hotel - New Lambton WILDCATZ: Hunters Hill Hotel - Hunters Hill YUKI KUMAGAI, JOHN MACKIE, PAUL FURNISS, JOHN SMITH: Illawarra Master Builders Club
MON 16 MANDI JARRY: Coogee Bay Hotel - Beach Bar SYDNEY FESTIVAL presents, MIKE PATTON’S MONDO CANE: State Theatre THE BEARDED GYPSY BAND: Yours and Owls - Wollongong
Have your questions answered online and ﬁnd out more about CQUniversity Australia.
IT’S NOT TOO LATE.
It’s a new year and it’s not too late to think about where and what you want to be, and how you’re going to get there. Attend an upcoming online information forum to ﬁnd out more about our wide range of new and existing degrees offered by distance education or across our 10 campuses located in Brisbane, Bundaberg, Emerald, Gladstone, Gold Coast, Mackay, Melbourne, Noosa, Rockhampton and Sydney. You can also have your questions answered about our ﬂexible study options, entry pathways including STEPS and TEP, how to apply, changing your preferences, support services, scholarships and much more. Date: Tuesday, 17 January 2012 Time: 5 pm – 8 pm Start your journey. Visit www.cqu.edu.au/keydates for more information or to register your interest.
www.cqu.edu.au/keydates BRISBANE 60 • THE DRUM MEDIA
CRICOS Provider Codes: QLD-00219C, NSW-01315F, VIC-01624D
JESSICA MAUBOY, STAN WALKER: Penrith Panthers, Evan Theatre - Penrith JJ DUO: Jannali Inn KALEIDASCOPE: Penrith Panthers - T.C’s KIRK BURGESS: Rose Bay Hotel - Rose Bay KIRSTY LARKIN: Beauford Hotel - Mayfield KNOCKOUT 2012 feat, ZATOX, B-FRONT: Metro Theatre - Sydney KRIS MILLER: The Mark Hotel - Newcastle KRISHNA JONES: The Belvedere Hotel - Sydney LOOKING GLASS, LOMERA, DAREDEVIL, MOTHER MARS: The Square, Haymarket LOREN, MURRAY KYLE: Paddington Uniting Church LOVE THAT HAT: Belmont 16’s - Belmont LYDIA (USA), THE CAVALCADE: The Entrance Leagues Club - Bateau Bay MACKA: Bidwell Hotel MANIK ROK: Oatley Hotel MARK DA COSTA: 3 Wise Monkeys Pub - City MATT JONES: Rydges - Parramatta MATT SCULLION: Toukley RSL - Toukley MICHAEL MCGLYNN, SAM & JAMIE SHOW: Mean Fiddler Hotel - Rouse Hill MISSION JONES: Hunters Hill Hotel - Hunters Hill MOONLIGHT DRIVE: Exchange Hotel NewcastleMOUNTAIN MOCHA KILIMANJARO: Heritage Hotel - Bulli MYSTERY GUEST: Coogee Bay Hotel - Beach Bar NICKY KURTA DUO: Stacks Taverna Darling Harbour ONE HIT WONDERS: Marlborough Hotel - Newtown PARTY VIBE: RG McGees - Richmond
13CQUni 13 27 86 MELBOURNE
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• AN ONLINE HUB FOR THE ANNUAL AUSTRALIAN MUSIC PRIZE • • THE OFFICIAL ENTRY POINT FOR ARTISTS • • TRACK THIS YEAR’S PARTICIPATING ALBUMS • • UPDATED AMP NEWS • • ARCHIVE OF PREVIOUS SHORTLISTS AND WINNERS •
THEMUSIC.COM.AU THE DRUM MEDIA • 61
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MEET THE NEW STINGRAY BASS Retaining its no-nonsense design, the familiar oval pickguard, the ash body and those distinctive tones courtesy its three-band preamp and Music Man-designed humbucker pickup with Alnico pole pieces, the Sterling by Music Man Ray 34 StingRay bass is now in Australia, available in a distinctive three-tone sunburst finish, with maple fingerboard and matching headstock. Check it out at your nearest Music Man stockist.
NEIL GIVES VINYL THUMBS UP
Proud owner of Roundhead Studios in Auckland, New Zealand, home of some of the best in vintage analogue recording gear, Neil Finn recently told UK magazine, Mojo, that, despite enjoying his iPod shuffle, as far as he’s concerned, “There’s no question, LPs are the far superior format. They sound better and are a more enjoyable listening experience.” As for the CD format, he’s scathing: “Whoever thought of the CD jewel box as a packing device I personally blame for music losing its value for the consumer. You can’t hold it and think this is a valuable thing.”
Reconstituting the classic ‘90s lineup of the band in 2010 to play the 21st birthday party for record label Matador, America’s Guided By Voices recorded their forthcoming self-produced “comeback” album, Let’s Go Eat The Factory, in the lofts, garages and basements of the various band members, reproducing their famously lo-fi four-track sound. Los Angeles metal five-piece Murder Construct are recording their as-yet-untitled album at Architeuthis Sound with engineer Sean Vahle, though the drums were tracked at Trench Studios in Corona, California with John Haddad (Abysmal Dawn, Exhumed, Intronaut) while it’ll be mastered at Mammoth Sound with Dan Randall (Toxic Holocaust, Impaled, Magrudergrind). Recorded in Los Angeles and Portland, Oregon, over the course of last year with producer Greg Kurstin (The Flaming Lips, Karen O, Sia), Port Of Morrow, the new album from The Shins, due out in March, was mixed by Rich Costey (Muse, Franz Ferdinand, The Mars Volta). Produced by the band’s guitarist Howsie Noise and bass player Billie-Jade, the debut album, Rebirth, from Melbourne horror rock five-piece Hatchet Dawn was recorded and engineered by Theron Rennison at Rennisound Studios in their hometown and mixed at DTB Studios in New Jersey by Neil Kernon (Sex Pistols, Queen, Cannibal Corpse), Alan Douches (Sepultura, Misfits, Mastodon) handling the mastering at West West Side Music in New York City. While they produced their debut album, Red Flags, themselves when recording it at Debasement Studios with engineer Jason Torrens, Melbourne four-piece The Charge called in producer and Shihad drummer Tom Larkin (Calling All Cars) to mix it with Ben Ehrenberg at Studios In The City. William Bowden then mastered at his King Willy Sound facility in Sydney. Committed, as always, to getting his Delta bluesbased sounds as close to authentic as possible, singer and guitarist Dom Turner booked himself and harmonica player Ian Collard into Jim Moginie’s Brookvale facility, Oceanic Studios, to record a duo album, Mama Thinks We’re Crazy Too, Moginie also mixing and mastering the album. Recorded at Capital Sound in hometown Adelaide, the debut album, Death. Savor. Life., from multiinstrumentalist Matt Gelsi AKA Manhattan Jinx, was coproduced, engineered and mixed by Michael Deslandes and mastered at Chicago Mastering Service by Jason Ward. Sydney-based punkish bush band Handsome Young Strangers recorded half their latest album, Here’s The Thunder Lads!, at Sound Level Studios with Jorden Breback, who mixed it at The Orange Room, while the other half was done at Sebastion Trio Studios with Cameron Potts and Jason Mills, with Dan Arena mixing it at Remain Calm. Reece Tunbridge then mastered it all at Benchmark. Sydney’s self-styled “grunge jazz” trio The MFW recorded their latest EP, Sus Scrofa, with Richard Belkner, who also mixed it at Free Energy Devices Studios in Camperdown, Studios 301’s Oscar Gaona then mastering it there. Winner in the Best Male Artist category at the 2011 WA Country Music Awards, Jonny Taylor recorded his forthcoming second album at Bergerk! Studio in Perth suburb, Rivervale, with Al Smith mixing and mastering. firstname.lastname@example.org 62 • THE DRUM MEDIA
SHE GOES BY THE NAME LIGHTS, A YOUNG CANADIAN ELECTRO-ROCK/ SYNTH POP ARTIST WHO TALKS TO MICHAEL SMITH ABOUT MAKING HER SECOND ALBUM, SIBERIA.
resh out of Ontario, Canada, Lights, born Valerie Anne Poxleitner, signed a publishing deal at 16 and began writing songs for other artists. Four years later, she released her first EP in her own right, simply titled Lights, which earned her a Best New Artist at the 2008 Juno Awards, Canada’s equivalent of our ARIAs. A debut album, The Listening, followed, and in October last year, her second, Siberia, was released, co-produced by Lights and collaborator Thomas “Tawgs” Salter.
“It’s kind of this weird combination,” Poxleitner explains the mix of digital and analogue sounds that make up the big sound of Siberia. “It is electro, because there are obviously a lot more electronic elements than there are acoustic, but, interestingly enough, the electronic elements were actually recorded live in analogue. So that was different than I made the last record and it’s different than I’ve ever seen electronic music made. Some tracks were just recorded live, sort of like a jam session, and then pieced and patched together later. “So it’s like a producer’s nightmare, using a couple of elements all smashed into one. But I think it ended up, it did have this raw, live feel which is kind of the antithesis of electro – grittier and raw, not perfect. Initially I didn’t want to get stuck in some direction for the second record and I was really starting to gravitate to a lot of heavier electro stuff and darker electro, like Crystal Castles and Montage and a lot of dubstep stuff, and naturally I just wanted to marry the soft pop melodies that I had with something a little grittier, a little dark, I figured that was the right place to go. “Then when I brought [guest producers Graham Walsh and Brian Borcherdt from fellow Canadian, indie-electro four-piece] Holy Fuck on board, they kind of helped me turn in that direction as they started to put their stain on everything and make everything a little gnarlier and it just started naturally to progress that way.”
According to the liner notes, it would seem the recording and mixing of Siberia ran across four studios – The Salt Room in Ridgeway, Metalworks and Dreamcrusher Studios in Toronto, Canada, and The Zoo in Nashville, Texas – but as it happens, none but The Zoo are really proper studios. “Most of it was actually recorded in this little tiny town near Niagara Falls in Ontario, literally the middle of nowhere, in the wintertime in this nondescript little cottage behind Tawgs’ home. Then a bit in Toronto in a studio for about a week when we just kind of ran a bunch of our tracks through their gear and some were just recorded at Brian’s home, one of the guys from Holy Fuck, just in his dining room. Nothing was done in some big, glamour studio; it was all very small unassuming locations, and that gave it a very cool environment for creativity.” Among the collection of her own keyboards Poxleitner used on the album were the Korg XL and the Roland Keytar 5, the latter a favourite stage tool, while Walsh and Borcherdt brought in various old Casio and Yamaha keyboards, distortion pedals, gates, reverb pedals, drum triggers, compressors and drum machines. “You’ve got to explore, to search for sounds with synthetic instruments,” she explains. “It’s partly what you envision. You’ll say, ‘I want this sound with a long release and wide bottom end,’ so you’ve sort of got an idea of the sound you want and so you explore and maybe one stands out that you weren’t expecting and you just go for it. It’s seriously just a process of discovery and that makes it so much fun. I’ve never heard anything like what we were doing. There were moments in the studio where I’d get butterflies ‘cause I hadn’t heard this before and that’s kind of why we called it Siberia, because it’s like exploring unknown territory – it’s a bit scary, it’s vast and adventurous but it’s cool and it’s really mysterious. “So when I was working with the guys from Holy Fuck, on a song like [title and opening track] Siberia, I was playing the chords and my keyboards were running through a compressor and a distortion that was running through a drum machine and then back through a gater, so that every time the kick hit, it ‘pinched’ the keyboard sound and gave it that pulse.”
Alongside the drum machines on five of the tracks on Siberia are the live drums of her touring band’s Maurie Kaufmann, and both Poxleitner and coproducer Salter added acoustic and electric guitar parts here and there through the record. The most organic element of the record is of course the voice. “I’ve gained more confidence in my vocals over the past couple of years of touring and it’s all about the dynamics, the yin and the yang. With a song like Flux And Flow, which is a perfect example of the record as a whole, there are moments where I’m just belting – you can’t have any shame or reservations when you go in there, you just have to sing, so those moments are, like, raging – and in the very quietest moments, like in a song like Cactus In The Valley, I just sat down and sank into this really soft couch until you’re almost in the state of sleep and then you sing. So I had a really good time just getting the highs and the lows out of my voice and singing what I’m capable of. This whole record is about that contrast of heavy versus the soft and of how it’s actually like this weird juxtaposition that really works and the vocals are only one part of that, and I thought, why not take it all the way?” Siberia is out now on Last Gang Records through Shock.
STUDIO PROFILE SILVER SOUND BEN DAVIES – STUDIO MANAGER/ ENGINEER
What’s the studio set up you have there equipment-wise? Silver Sound’s construction consists of a 16m2 acoustically-treated live room, a comfortable control room of similar size and an extra isolation space for guitar amps. The studio runs ProTools and houses outboard gear from Universal Audio, TL Audio, LA Audio and Presonus and monitoring is via Roland DS90s and Fostex PM05s. The studio mic rig has all the dynamic favourites from Shure, Audix and EV, but more notably we have a pair of Rode valve K2s, a pair of Beesneez LuLu FETs and a Beesneez Elly FET. Also included in the studio hire fee is free use of our guitars (including a Gibson LP and Musicman Stingray HH), Marshall and Orange amps and our vintage Roland Jupiter-6. The studio also has an inhouse Yamaha U1, Mapex Orion Classic drum kit and vintage Pearl 1972 wood/fibreglass kit for hire. Any tips for artists entering a studio for the first time?
Which notable artists have worked at the studio? I’ve had bands from Melbourne to Brisbane travel to record at the studio. There is a full list on my studio website. Analogue vs digital – discuss.
Be well rehearsed, this will allow you more time to experiment with different sounds and tones. Service your instruments; no matter how old or new your instrument is give it a check up in the week leading up to recording. Guitarists, get your guitar’s intonation done and new strings on all your guitars. Drummers, new skins for every drum, and if you can afford it do the resonant sides too. If you can’t afford a full set of skins at least replace the snare and kick skins. Singers, rest your voice and ease up on the smoking for a couple of days before you need to sing. Don’t turn up at the studio with Mum, everyone’s girlfriends, five drinking buddies and the guy that was at the train station. The recording process is supposed to be fun but the more spectators you bring the more pressure you put on yourself to perform and the less distractions there are the faster you will get things done. Have fun and try to relax, the studio guys are there to help you. Take breaks when you need them and encourage your bandmates.
Silver Sound runs a healthy balance between the two. At the studio we have some really nice analogue gear and this gear is integral to getting our sounds just right before they hit the computer. As for mixing I prefer to use ‘plug-ins’ and the computer to get my sounds tweaked. The main pro for using this system of mixing for me is the instant recall factor. If I do a mix for a band and two weeks later they decide that the level of a particular instrument is a bit soft it’s a five minute job to fix, but to recall a mix on an analogue desk is a big job. Can bands bring in their own engineer or do they have to solely use a house engineer? Bands are welcome to bring an engineer for sessions; we have special rates for that. We still supply an assistant for the sessions to make sure everything runs smooth. Is the studio capable of holding a full band at once for recording?
Yes the studio has enough space to track drums, bass, guitar and vocals simultaneously if you wish. A regular setup for us is drums in the live room, bass in the isolation room, guide guitar and guide vox in the control room. What’s the access to the studio like with regards to parking, flat load, etc? Plenty of free parking in our car park and a flat load in; the studio shares a building with a music shop so strings and sticks are plentiful. Working in the studio can be arduous and we’ll need a break – what are the amenities in the local area? The studio is a five-minute drive from the heart of Wollongong where there are lots of pubs and live music venues. Closer to the studio you have all the regular fast food places (McDonalds, Pizza Hut, Subway) and there is also a cafe (called KAFE) 50 metres away that do amazing ham and cheese croissants and the best coffee in Wollongong. Music venues The Patch and Waves are both only a five-minute drive away. What are your contact details? www.silversound.com.au Phone: 0434246064 Email:email@example.com
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Professional mature-age Drummer/Vocals/ reads/back acts/shows - all styles including jazz - available for casual work. phone:(02) 9807-3137 eMail: nadipa1@yahoo. com.au iFlogID: 13285
Professional mature-age Drummer/Vocals/ reads/back acts/shows - all styles including jazz - available for casual work. phone:(02) 9807-3137 eMail: nadipa1@yahoo. com.au iFlogID: 16562
TOP INTERNATIONAL DRUMMER available, great backing vocals, harmonica player and percussionist. Gigs, tours and recording always desired. www.reubenalexander.net
ERIC CLAPTON SHOW
Music of Eric Clapton Show to include Yardbirds and George Harrison’s work that involved Eric. Incorporating acoustic blues, Bluesbreakers, Cream, Bonnie and Delany, Blind Faith, Derek and The Dominos and later reggaeish material. Require: 2 Erics, keys, female singer and an Eric voice. The guitar work would NOT be interpretations of Eric, but copying as much as possible. Clubs and proper pro gigs in mind. You would need to be into Clapton to enjoy it and therefore perform well. Interested? email Keith at Allcomersjam@gmail.com iFlogID: 16845
METALCORE DRUMMER WANTED!!!
Sydney-based Metalcore/Electronic band, ResonancE looking for a permanent DRUMMER. We have shows lined up in 2012. Contact Fredi on 0434894404, and check out http:// www.facebook.com/resonancearena (tracks available for streaming) if interested.
A practical guide to computer based recording with the bulk of the course being hands on with no more than 2 students per work station. The course is software neutral. The software and platform take a secondary role to the concepts that are being taught. Six 3 hour lessons over six Saturdays @ $660. Students are able to use the teaching resources anytime during the six weeks course for free. Contact Zen Studios 02-9550-3977. www.zenstudios.com.au
Steve Ostrow, New York voice teacher and vocal coach who discovered and nurtured the careers of Bette Midler, Barry Manilow, Peter Allen, Stevie Wonder and countless others now Sydney City based and welcoming students on all levels; beginners, advanced and performers; Rock, Pop, Classical etc. For availability call on 0408461868. For a free e-copy of my book ‘On Becoming a Singer..A Guide To How’ email me on sostrow@bigpond. net.au. Lessons include the entire scope of singing...voice production, musicianship, interpretation, performance skills etc. I look forward to hearing from you.
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 email@example.com Parramatta area iFlogID: 15320
PIANO • BLUES, ROOTS & POPULAR
VOCAL TUITION for students having problems with pitch, placement and breathing. tel. John 0431953178 iFlogID: 16882 Wanted left handed electric guitar teacher Parramatta area, Contact John at... firstname.lastname@example.org iFlogID: 16308
VIDEO / PRODUCTION D7 STUDIO MUSIC VID FROM $250 music vid $250. Live gig edits, multi angles, fr $125 a set, 1 live track $100. All shot in full HD. d7studio@ iinet.net.au 0404716770 iFlogID: 13368
Kontrol Productions is a highly professional production company that specializes in the production of music video’s. We ensure that our products are of the highest industry standards. For enquiries www.kontrolproductions.com iFlogID: 13827
MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with a variety or artists and strives to offer quality & creative Music Videos. Visit www. immersionimagery.com email email@example.com iFlogID: 13825
Specialised tuition from Don Hopkins, Blues Performer of the Year. Improvisation, piano technique, theory. Songwriting skills. Reading music, chords. Individual sessions. Beginners to advanced. Get to where you want to be. Spaces available now. 0425201870 firstname.lastname@example.org iFlogID: 16432
PICKS AND STICKS STUDIO. Private Guitar lessons from an experienced teacher. All levels, All ages, All styles. Improvising, Theory, Song Writing, Technique Seven Hills, Sydney. Call Dave 0410 963 972 or email email@example.com
Mature age bass player looking to join or start a classic rock covers band. Mainly for enjoyment but also keen to gig. Have heaps of experience, including 6 years playing in the U.S. Good player, good gear, reliable and easy to get along with. Looking for similar. Prefer based in or near city. Allen, 0422 623 796 or firstname.lastname@example.org iFlogID: 16916
Electric & upright bass. Good gear. Comfortable in most styles. Experience performing live and in the studio. Check out my website if you wanna hear more. http://www.wix.com/ steelechabau/steelechabau iFlogID: 16159
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
RHYTHM GUITARIST/DRUMMER NEEDED FOR ORIGINAL ROCK BAND, 30-40YRS OLD NO TIME WASTERS, GIGS WAITING AND ONLY SERIOUS PLAYERS APPLY, GOOD EQUIPMENT, TRANSPORT, MALE OR FEMALE READY TO ROCK ASAP, CONTACT ME IT’S SHOW TIME iFlogID: 16952
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 Professional and versatile guitarist available for gigs and recording work. Top quality gear, easy-going attitude. Rock, pop, blues, jazz, country acoustic and slide guitar. See www.scottburford.net for more information iFlogID: 16956
KEYBOARD KEYBOARD PLAYER AVAILABLE 21 y.o.Sutherland area wishes to join well organised R&R band for rehearsal/gigs. Competant with a little band experience, intermediate sight reader good ear Please send contact details band description/bio, location and current song list. James 0418698534 iFlogID: 16832
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
ABE DELANEY, ORIGINAL ‘ROCK’ GUITARIST LOOKING TO JOIN/FORM A SUCCESSFUL SYDNEY ;ROCK’ BAND. (20-35). ABE HAS 10 ORIGINAL ‘ROCK’ SONGS INCLUDING THE 1 WE COULD NOT GET OUT ‘CAUGHT BY HER EYES’. POSITIVE FEED-BACK CREATED BY A ‘PEP UP’ FROM HELL HAS RATED HIS MUSIC MAINSTREAM. INFLUIENCES INCLUDE SLASH, METALLICA ETC... INTERESTED CALL ABE 0405808941 & GET READY TO BECOME A ROCK STAR!
Dj available Dubstep to Drum&bass willing & able to adapt to your event. Low hourly rates. Everything negotiable. Easygoing, flexible entertainment. Call for a quote today. KN!VZ Entertainment Group Ph:0415680575
Your voice has the ability to sing at the Audioslave/Muse/Aretha/ Yeah-Yeah-Yeahs level because of Design. Increase your range- sing with effortless power- learn to sing the right technique. Microphone technique, recording techniques, songwriting Newtown 0405044-513
BASSPLAYER LOOKING FOR BAND
SINGING LESSONS THAT >>ROCK<<
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.
Play horns? Funk/soul band looking to build a Horn section no matter what you play from trumpet to the baritone sax contact email@example.com for more information. Sydney based.
15yr old bass player looking to start metal/ punk band. influences include big4 bands, ozzy osbourne, black sabbath, trivium, pantera, blink-182, offspring and alot more. email firstname.lastname@example.org if your interested. iFlogID: 16774
BANDS WANTED Sydney rock act Red Fire Red is looking for talented and hard working bands of all genres from Sydney, Newcastle & Wollongong to play on a series of upcoming shows in 2012. Acts must be tight and willing to promote. For more information go to www.redfirered.com or email us email@example.com iFlogID: 16973
Central coast band seeking a drummer for a four piece hard rock band needs to be over 18 and needs own gear for more information contact firstname.lastname@example.org
Drummer, guitarist and bass player wanted for original rock / country band. Influences include Ryan Adams, Jeff Buckley, Justin Townes Earle, Led Zeppelin, Soundgarden, Stone temple pilots etc. CD recently completed - looking for people to play gigs and collaborate with. iFlogID: 16943
Guitarist needed. Looking to form original band. Some old music @ www.soundcloud. com/audiation.Varied influences. Some covers QOTSA, PJ, Dylan, Young etc. mikehyde@ ymail.com
DRUMMER 14-17 year old drummer wanted for new metal band, Metallica, Megadeth, Slayer, Misfits hard rock/thrash metal, has own gear, dedicated and not a time waster.
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 needed for 2pc garage/60s punk/ scuzz band “The Brainys”. Influences: Royal Headache, Bleeding Knees Club, Guided By Voices, Straight Arrows, 18.104.22.168s, Frowning Clouds. Contact Chris - christopan@hotmail. com iFlogID: 16821
Drummer wanted for Sydney indie/pop/ folk band, inner west based. In the style of Warpaint, Alpine, Jezabels. Gigging regularly, recording, looking for someone with intuitive style and musicality. email@example.com 0415036745
Chasing ORA, an established Female Fronted Indie Rock band is looking to recruit a talented guitarist. Northern Beaches based. Must have pro gear, own transport, relevant influences. Check out Chasing ORA’s music at www.facebook.com/chasingora. If this is something you can be passionate about please register your interest by email at firstname.lastname@example.org. Please provide examples of your playing and as much detail as possible on your background.
BASS PLAYER NEEDED NOW
Sydney based, agency backed, working cover band is in need of a bass player. Applicant must be easy going, reliable, professional, have good gear, own transport and able to fit into a friendly working dynamic. Backing vocals a plus but not essential. Please feel free to call. Set lists available upon request. Auditions open immediately. Ronnie 0422 004 260 iFlogID: 16967
Bass player needed. Looking to form original band. Some old music @ www.soundcloud. com/audiation.Varied influences. Some covers QOTSA, PJ, Dylan, Young etc. mikehyde@ ymail.com iFlogID: 16746
BASSPLAYER WANTED 4 CLASSIC 70S/80S ROCK COVERS BAND PLAYING BETWEEN GOSFORD & NEWCASTLE REHEARSALS ARE AT LAKE HAVEN &/or MORISSET WORK WAITING PH 0449536661 iFlogID: 16813
BASSPLAYER wanted for LAKE MACQUARIE/ NEWCASTLE Rock/Blues Covers band with some originals Covers are,Hendrix Stephenwolf ZZ top Santana Cream Stones SRV Free Bad Company Deep Purple, Working soon phone 0449536661 iFlogID: 16798
ONE NIGHT IN PARIS Sydney Protocore band infl. by BMTH, Enter Shikari & TDWP. email@example.com www.facebook.com/onenightinparisband iFlogID: 16345
SUNSET RIOT SEEKS BASS PLAYER WHY DOES THE DEVIL CLAIM ALL THE GOOD RNR! Applicant must be able to tour nationally/internationally, have own gear, reliable transport, age 21-30yrs and BE A CHRISTIAN. Gigging experience essential. Phone 0435784481/0404729014. iFlogID: 16841
GUITARIST WANTED FOR BLUES / SOUTHERN ROCK BAND FREEWHEELIN BASED IN HAWKESBURY AREA. COVERS FROM BLACK CROWES, SKYNYRD, SRV, ZZ TOP, DOOBIES. BACK UP VOX ESSENTIAL. STEVE 0404959756, SCOTT 0416256471 iFlogID: 16392
IN THE PICTURE, FRAMED MUSIC
DIY vocalist seeks help of like-minded producer(s)/DJ(s) to challenge listeners. Likes: M.I.A., Blood Red Shoes, Sleigh Bells, Marina and the DIamonds, Paramore, Interpol... Find ‘GeistFright’ in SoundCloud. iFlogID: 16796
SINGER 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
MALE SINGER WANTED FOR BLUES / SOUTHERN ROCK BAND BASED IN HAWKESBURY AREA. COVERS FROM BLACK CROWES, SKYNYRD, STONES, ZZ TOP, BAD CO. OWN TRANSPORT & RELIABLE. STEVE 0404959756, SCOTT 0416256471
MOTHER BRODY seeking drummer 20-30 wanting to play something different! Originals. Think Beach Boys’ melody, Motorhead’s volume, Nirvana’s power. 100% commitment with own gear & transport. Will be gigging & touring. www.facebook.com/MotherBrodyOFFICIAL 0431317613
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
PUNK/GARAGE DRUMMER WANTED for punky/garagey band “Ang and The Airbenders”. Check out www.myspace.com/ angandairbenders. We will be an unoriginal band that rips off better bands : ) We plan to go gigging soon. Email michaelcorpuzbrock@ hotmail.com iFlogID: 16928
Sydney based melodic metal band require drummer to complete line up. Own kit and transport essential. For more information or to express interest contact Rachel 0402 722 010. iFlogID: 16437
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
WORKING BAND SEEKS DRUMMER Drummer wanted for working covers band with agency backing. Must be able to play with a click track. Vocals an advantage. We are a professional outfit with 25years in the music industry 70’s 80’s 90’s 00’s Classic Rock Hits. No time wasters iFlogID: 16806
GUITARIST 18 year old guitar player looking for another guitar player. Influences: GN’R, Aerosmith, Zeppelin, New York Dolls. Preferrably someone in the south (Shire). Call Tom on 0401722767 iFlogID: 13407
KILL THIS PHANTASMOPHOBIA!
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.
2nd Guitar Player wanted. Willing to rehearse, must have good gear and transport. Rock based along the lines of QOTSA, DOORS, BRMC. Please contact Patrice 0421741665 or Alex 0420423219 for more details and demos. soundcloud.com/voodoo-needels iFlogID: 16904
Central Coast based Hard Rock originals band seeks a guitarist with a good sound and good gear 19-26 email firstname.lastname@example.org for more info.
Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Logos, Hosting and 5xemail addresses and much more! Contact email@example.com. au or see www.bizwebsites.com.au iFlogID: 13864
Limited Edition mens tees and hoodies with a sense of humour. All hand-screened and numbered. monstrositystore.com iFlogID: 13611
OTHER EARPLUGS FOR MUSICIANS Protect your hearing with custom moulded earplugs designed to reduce the level of sound without adversely affecting the frequency response of the music. Choose between 10,15 and 25dB attenuation. Fitted by professional audiologist, by appointment only. Ph 9387 3599 iFlogID: 15216
Looking for an experienced drummer for live gigs. Super catchy songs written and recordedcheck out www.cautionforces.com to get an idea. Please send a link to your playing.
Musician Plugs come in four different filter choices to reduce the volume of loud music to a safer level. They will not distort the tonality of the music, rather simply reduce the volume ‘equally’ across all tones. Fitted by a qualified hearing professional we have a number of locations throughout Sydney as well as in the CBD. To make an appointment call 9223 0225.
GRAPHIC DESIGN Get your Band or Business Online Cost effectively and PROFESSIONALLY from $299 including Hosting and email addresses! Contact firstname.lastname@example.org or see www. bizwebsites.com.au.
iFlogID: 15512 iFlogID: 16893
Experienced drummer with a commitment to practice and regular rehearsals required for Melbourne-based alternative rock band. Influences QOTSA, Foo Fighters, Nirvana… www.myspace.com/mollydredd 0411 372 469
CUSTOM MADE MUSICIAN PLUGS
SINGER WANTED iFlogID: 16386
SINGER WANTED FOR SYDNEY GRUNGE BAND. Less than 24 years old please. influences: Silverchair, Nirvana, AIC, Sabbath etc Contact Daniel on 0403 885 433 for more info and demos.
DRUMMER NEEDED FOR CENTRAL COAST/ LAKE MACQUARIE 60S,70S,80S CLASSIC ROCK/COVERS BAND DOING SOME ORIGINALS WORKING EARLY 2012 GIGS WILL BE BETWEEN GOSFORD & NEWCASTLE. REHEARSING IN CENTRAL LOCATION PHONE 0449536661.
The Clue is looking for a DJ keen on playing with a blues-rock band (sampling, grooves, etc). MUST know what he/she’s doing. Email email@example.com to express interest.
A great opportunity exists for an experienced lead guitarist to join the ranks of an exciting live band specializing in classic & contemporary rock covers from the 70’s to now. You will need to be diverse with sound & effects as well as 100% committed to an established working band. Vocal ability is also a huge plus. Check out our website to see what we do www. framedmusic.com.au & send your CV or demo to firstname.lastname@example.org iFlogID: 16698
LEAD GUITARIST WITH VOX NEEDED
Sydney based, agency backed, working tribute / cover show is in need of a lead guitarist that has decent backing vox ability. Applicants should be easy going, reliable, professional and have their own gear and transport.
SINGER WANTED Female singer wanted for ongoing recording projects with view to live performances. I am looking for someone with a unique, instantly recognisable voice. Style: Gorillaz, Groove Armada. Studio recording and live experience preferable. For further details, contact Adrian at email@example.com iFlogID: 16938
SINGER/FRONTMAN 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. Contributing your own lyrics/vocal lines will be a big positive as well. If you have called before, please don’t hesitate to call again as our singer didn’t work out. Inf; Sabbath, The Stooges, Motorhead Kyuss etc. Call Jeff on 0405 225 267 iFlogID: 16644
SOULFUL FRONT MAN Call now for more details. Arranging auditions immediately. List sets available upon request. Ronnie 0422 004 260 iFlogID: 16969
Rhythm/Lead guitarist required for exciting pop-rock band/show with Album on iTunes. Be reliable, excellent Musician, professional attitude (styles: early Elton, Billy Joel). Paid performances. Phone Geoff, Extraordinary Entertainment: 99691179. iFlogID: 16792
KEYBOARD Band of alternative/pop genre looking for keyboardist. Simple melodic lines. We are looking for someone with appropriate gear who is able to access various sounds for song arrangements. Listen at soundcloud.com/bobbocloud/sets/katiewhyte/s-O05oQ. Contact us at Katie198618@live.com.au
GREEN ZEPHYR A GROOVING ROCK BLUES FUNK BAND NEEDS A FRONT MAN WITH CHARACTER & A SOULFUL VOICE BASED IN NORTHERN BEACHES CALL BEN ON 99444984 OR firstname.lastname@example.org iFlogID: 16598
The Clue is looking for a singer for blues-rock original songs. Email email@example.com to express interest. iFlogID: 16853
Working club band is looking for an experienced versatile vocalist. Ability to play an instrument is preferred, but not essential. Most Gigs in RSL / Sports Clubs. 0407 013 688 iFlogID: 16782
SERVICES BEAUTY SERVICES
Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Hosting and 5xemail addresses and much more! Contact firstname.lastname@example.org or see www.bizwebsites.com.au. iFlogID: 13862
GOOD WITH YOUR HANDS? Good with your hands? Private massage job available $50/hr no experience necessary (sorry no dudes) anyway send your number and maybe a photo to email@example.com iFlogID: 16750
If you want to use DRUGS, that’s your business If you want to STOP, we can help. Narcotics Anonymous 9519 6200 www.na.org.au iFlogID: 16217
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
TATTOO Monstrosity Dreadlocks, Sydney. Dreads and maintenance special: All service $30 per hour. Professional, guaranteed service. Kings Cross. Call 0421356410 iFlogID: 13613
Transvestite Romance Experience. Massage Or More For Men. Private Cosy City Studio. Sydney. Over Nites & Outcalls Available. Call Sandi Now! 0410-181-865 iFlogID: 16618
TUITION >>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
DRUM LESSONS AVAILABLE School holiday special! Bachelour of Music Education & Degree of Drumming. Music studio available in Roselands or I can come to you. Beginners to advanced players of all styles welcome. $40/Hour 0402022973 iFlogID: 16758
P&O DJ CRUISE
The Clue is looking for a keyboard player (organ, el. piano, synth, etc. all good) for original blues-rock songs. Email firstname.lastname@example.org to express interest.
Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact email@example.com or see www. bizwebsites.com.au.
FULL COLOUR BAND GIG POSTERS @ AMAZING PRICES 100 A4 full colour on Gloss = $40 100 A3 full colour on Plain = $50 100 A3 full colour on Gloss = $80 100 SRA3(32 x 45cm) full colour on Gloss = $80 WWW.BLACKSTAR.COM.AU iFlogID: 16754
LEAD GUITARIST AND DRUMMER WANTED. Middle of the Road repertoire. Regular rehearsals working towards gigs (none available now) Based in Penrith Pamela 0432790076 iFlogID: 16800
For a limited time. Free online and print classifieds Book now, visit iflog.com.au
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
STAND-UP COMEDY WORKSHOP Have fun learning invaluable communication, presentation and humour skills from ARIA nominated Robert Grayson. 15 years experience. “Amazing! Fantastic! Liberating!” Jess Capolupo, Hot-Tomato FM. www.youstandup.com / Robert@youstandup. com / 0401 834 361. iFlogID: 16694
ANNANDALE (02) 9517 1901 55 PARRAMATTA ROAD ANNANDALE
HOURS: MON-FRI 10:00am - 5:30pm* *THUR 10:00AM - 6:00pm SAT 10:00am - 4:30pm
*MUST BE FROM AN AUSTRALIAN AUTHORISED SELLER. EXCLUDES STOCK LIQUIDATIONS, LOSS LEADERS AND OUT OF STOCK PRODUCTS
THE RRP IS THE RECOMMENDED RETAIL PRICE SET BY THE AUSTRALIAN DISTRIBUTOR OF THE PRODUCT AND MAY NOT HAVE NECESSARILY BEEN SOLD AT THIS PRICE POINT IN THE PAST OR SOLD IN THE FUTURE. ALL PRICES WERE CURRENT AT THE TIME OF PRINTING JANUARY 2012. WE CANNOT BE HELD RESPONSIBLE FOR PRICE RISES OR REDUCTIONS AFTER THIS DATE. WE RESERVE THE RIGHT TO CORRECT ANY MISPRINTS. STOCK SUBJECT TO AVAILABILITY. SOME STOCKS ARE LIMITED.
Perform. Record. Manage. Animate. Design. Capture. Enrol. What will your creative future look like? Degrees and Diplomas in Music, Audio Engineering, Entertainment Business Management, 3D Animation, Game Design and Film and Television Production.
Open Day. 20 Jan 2011 Register Today!
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Your creative future starts today. Visit jmcacademy.edu.au or call on 1300 410 311. facebook.com/jmcacademy
Published on Jan 9, 2012
Drum Media is a Sydney icon. The people behind Drum virtually invented what has come to be known as street press. For over 15 years, Drum ha...