INSIDE: t$"44.$$0.#4 t,7&-&35", t5)&+6"/."$-&"/ t-0451301)&54
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MADE USING DRAIN CLEANER, BATTERY ACID OR EVEN HAIR BLEACH. THEN POPPED IN YOUR MOUTH.
ECSTASY. FACE FACTS. For more information call 1800 250 015 or visit australia.gov.au/drugs
Authorised by the Australian Government, Capital Hill, Canberra.
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Calling all young performers to take to the stage at Leichhardt Town Hall in April 2012
Register to take part, go to www.leichhardt.nsw.gov.au/something-really-epic.html
Leichhardt Youth Council presents
Something Really Epic 2012 a battle of the best performers
Entrries close 5pmm Friday 24 Februarry 2012 For more information call 9367 9216
Leichhardt Youth Council
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TRIVIA WITH KEVIN
$500 PRIZE POOL
Thurs 16 Feb Fri 17 Feb Sat 18 Feb
BLITZEN TRAPPER Weekly Jackpot 7.30pm
Open Mic Night 7.30pm
BYO Instruments (PA Provided) Rock up to play
OPEN MIC NIGHT 7.30pm CONSTANT PROJECT DONI RAVEN AND THE BLACKJACK WOLFPACK THE DIRTY SURFIN BASTARDS + GUESTS
email@example.com | www.thelaunchsquad.com.au
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NEW ALBUM AMERICAN GOLDWING OUT NOW!
th f e or ha m rperl hoy te
900 PRINCES HIGHWAY, TEMPE PH: 9559 6300 www.valvebar.com.au WED 15 7PM
THURS 16 7PM
FRI 17 7PM
WEST TIGERS HOME HEROES FEAT: “SMOKIN’ MIRRORS” , “JEFF” , “ANGELS OF THE TATTOOED GENERATION” , “WILLIAM WANDERMADE” , “REVOLVER”
“THE HEART ATTACK MACHINES” INDIE/PROG/ROCK SHOW WITH SUPPORT FROM “YAE! TIGER” , “JULIA WHY?” , “GILBERT GANTRY UNION”
“BONES ATLAS” BLUES ROCK SHOW WITH SUPPORT FROM: “BURNING BLUE SKY” , “PSYBERIA” , “HAIRY BABY” , “CHRIS NETO” , “MATTY CORDERO”
SAT 18 6PM
NOISY CHICKEN PRESENTS DUB FX WITH FLOWER FAIRY&CADE, SVELT, ROYALSTON, DRACHEMANN, LOZ NONESENSE
SUN 19 12PM
VIBRATIONS AT VALVE BAND COMPETITION FEAT: “MASTA GRAVITY” , “RUBIX” , “THE CORRIDORS” , “BENEATH THE SHORE” AND MANY MORE COMING UP:
Wed 22 Feb: Prog Rock Show with: “The Damned Humans” , “The Window” , “Parenthia” ; Thu23 Feb: Hard Rock Show with “Exekute” and many more ; Fri 24 Feb: Rock’n’Roll Show feat: “Vanity Riots” , “Virginia Killstyxx” , “Become The Catalyst” , “Arcaien” , Burlesque by Maple Rose ; Sat 25 Feb: Instru Dub Show feat: Ben Cuddy, Daniel Twining, Marquessa Franco, Luskimze DJ’s and many more; Sun 26 Feb: 12pm - Vibrations At Valve band competition feat: “The Broken Line” , “Antisocial Society Club” , “Hey Baby” and many more For band bookings please email firstname.lastname@example.org
Bistro open Lunch and Dinner !!
TUESDAY 14TH FEBRUARY
THOMAS DOLBY (only Sydney show) + Stephen Taberner
Fri 24/02 Dan Mangan (Canada) Sat 25/02 CASH – 80th Birthday Show Fri 2/03 Bridie King &
THURSDAY 16TH FEBRUARY
Shushan Petrosyan (Armenia) + Marcus Rivera
SATURDAY 18TH FEBRUARY
with Anatoli Torjinski (cello) + Spike Flynn
The Foreday Riders Sat 3/03 Sunset Riot CD Launch Wed 7/03 Peter Rowan Bouegrass Band (US) Thur 15/03 Mick Harvey Sat 17/03 The Frocks present – Women In Uniform Fri 23/03 Abigail Washburn
WEDNESDAY 22ND FEBRUARY
Rick Price + guests
& Kai Welsh (US) Sat 24/03 Pierre Bensusan (France) Sun 25/03 Chris Hillman
THURSDAY 23RD FEBRUARY
Madison Violet (Canada) + Guests
& Herb Pedersen (US) Thur 5/04 Rosie Ledet & The Zydeco Playboys (US) Sun 22/04 DIG IT UP – Celebrating 30 Years of recording from the Hoodoo Gurus
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$10(PRE) & $15(DOOR) 8.00PM
DEVOUR THE MARTYR + DEPRIVATION + DATURA CURSE
LESS THAN STRENGTH: feat: THE SUNNY SIDE UP + A SLEEPLESS MELODY + YOUR WEIGHT IN GOLD + FINAL FRONTIER
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TUESDAY 28 $23.10(PRE) 8.00PM
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ROCK SOLID 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 16 • THE DRUM MEDIA
N E X
B I L L I O N S AU ST R A L I A P R E S E N T S
T W E E K
W I T H S P EC I A L G U E S T S D A P P L E D C I T I E S
T U E 2 1 F E B R U A RY
PALACE THEATRE, MELBOURNE
W E D 2 2 F E B R U A RY
ON SALE NOW
PALACE THEATRE, MELBOURNE
www.oztix.com.au | www.palace.com.au ARTIST WEBSITE www.deathcabforcutie.com TOUR INFORMATION www.billions.com.au
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FRIDAY 17TH FEBRUARY
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MADISON VIOLET THURSDAY 1ST MARCH
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THE BONDI CIGARS
FOR BAND BOOKINGS, PLEASE CONTACT INFO@CODEONE.NET.AU
$12 STEAK & ALE DEAL
TUE-FRI 12-3PM TUE 14 FEB WED 15 FEB THU
RIOT HOUSE COMEDY TUESDAY’S
RIOT HOUSE COMEDY THE STUDY feat
EUSH + BOWTIE + KACHING
EMMY LOU RUFFLEFEATHER + ADAM GEORGE SLEEPER MAKES WAVES SMW + DUMBSAINT + SOLKYRIE + BATTERIE
23/02 SLAM 24/02 NEON HEART 29/02 THE FREAK & SHOWGIRL 08/03 THE SKIMPS 09/03 THE ART + CELADORE 10/03 URGE OVERKILL 15/03 DJ QUIK 17/03 LEO THR LIONHEART 22/03 MASAKI KIKUCHI 23/03 SPACETRIBE 29/03 VIENNA CIRCUS 18 • THE DRUM MEDIA
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THE SANDRINGHAM HOTEL 387 KING STREET NEWTOWN / 9557 1254 S YEAR WWW.SANDO.COM.AU BOOKINGSCONTACT SANDO@ATOMICDROP.COM.AU WWW.MYSPACE.COM/THESANDRINGHAMHOTEL
Oxford Art Factory Friday night and we have two double passes to the show to give away.
DOWN TO THE VALLEY FLOOR
WED 15 FEB
SPACETICKET + GHOST CAT + THE GLIMMER + WITCH FIGHT THU 16 FEB
AND TIARE HELBERG
FRI 17 FEB
UNDERGROUND WITH LOVE
Melbourne’s Underground Lovers reunited late last year to launch a career retrospective, Wonderful Things, that has not only garnered them critical acclaim but seen them embraced once more by audiences who’d been missing their mix of atmospheric sounds, cinematic moods and pop melodies. Currently recording a new album, the band is taking a quick breather to play the
TICKETS ON SALE NOW WWW.MOSHTIX.COM.AU
PUNK ROCK FLEA MARKET 1PM-5PM PUNKROCKFLEAMARKET.WORDPRESS.COM
SAT 18 FEB
"VIPERDEATHLOCK RECORDS PRESENTS"
ILL BRIGADE + VIGILANTE + CIVIL WAR + HURTXUNIT + 10 PACES + BLOW YOUR BRAINS OUT "I-94 BAR PRESENTS"
SUN 19 FEB
+ MEDICATED YOUTH (SIMON DAY OF RATCAT) + THE ABSTRACTIONISTS (EX-TACTICS) EVERY MON
“SANDO SKETCH CLUB”
“THE SONGWRITER SESSIONS”
COMING SOON WED 22 FEB --- UPSIDE
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"COOL RUNNINGS WITH THE BASHMENT CREW" FRI 24 FEB --- DRILL (REUNION SHOW) FRI 2 MAR --- "NIGHT OF THE LIVING GUITARS" *** WWW.MOSHTIX.COM.AU *** THU 8 MAR --- PETULANT FRENZY THU 23 FEB ---
PLAYS FRANK ZAPPA
ENDLESS BOOGIE (USA)
FRI 9 MAR --*** WWW.MOSHTIX.COM.AU *** SAT 10 MAR ---
(GRIM REAPER / LIONSHEART) (UK) *** WWW.HELLDOWNUNDER.COM ***
STREET LEVEL BAR:
WED 15 FEB
THE DEAD MARINES + $3 SCHOONERS OF SANDO LAGER JONATHAN DEVOY + SPECIAL GUESTS FREE THU 16 FEB
FRI 17 FEB
VIDEO JUKE BOX DAVE TICE AND MARK EVANS 4PM - 7PM DJ KAKI 8PM-LATE FREE SAT 18 FEB
SUN 19 FEB
THE SLOWDOWNS UNHERD OPEN MIC FREE MON 20 FEB
TUES 21 FEB
ADAM PRINGLE AND FRIENDS - FUNKY AS F#CK + TOOHEYS $6 NEW JUGS (7-8PM)
----------------DJ’S BISTRO----------------OPEN 7 DAYS SERVING GREAT PUB FOOD ALL NIGHT
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For more giveaways this week head to facebook.com/ drummedia and click on the giveaways tab
HEAD TO THE DRUM MEDIA FACEBOOK PAGE TO ENTER
+ SHINOBI + SCATTERFLY $15 PRE-SALE / $20 DOOR SALE SAT 18 FEB
Led by bass player Clay McDonald, best known for his work with The Beautiful Girls and Angus & Julia Stone, Valley Floor have been described as “psychedelic blues soul music combined with Easybeats-esque surf stomp”, the three-piece filled out by two parts ex-Brisbane combo Rogerthat and this week, they’re introducing themselves and their debut EP, Untitled, at the Old Manly Boatshed Thursday night and The Patch in Wollongong Friday night. We have three double passes to the Thursday night show to give away.
T H E D R U M M E D I A I S S U E 1 0 9 7 T U E S D AY 1 4 F E B R U A R Y 2 0 1 2
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. Carrie Brownstein explores her past and present in Wild Flag. Youth Lagoon has a weird mind. Pluto Jonze has a tension between clean and rough music. Limp Bizkit didn’t just do it all for the nookie. Cass McCombs tries to take things as far as he possibly can. If Kvelertak start singing in English, punch them in the face. The Juan Maclean has a real sense of what works on the dancefloor and what doesn’t. Eugene “Hideaway” Bridges pays tribute to Sam Cooke and more. Nick Lowe is not just grinding around the circuit riding on past glories. Jim Keays produces a garage rock album like he would have back in the day with Masters Apprentices. The Widowbirds form a new direction for the band’s core songwriting duo. Lostprophets have something for all fans of the band. Infected Mushroom cannot get rid of their sound as it will always be there. On The Record reviews new release albums and singles from Leonard Cohen, The Internet, The Menzingers 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.
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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, Celline Narinli, Chris Familton, Chris Maric, 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, Jessie Hunt, 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
Adam Curley muses on all things pop culture The Breakdown. 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. Tim Finney shows us his Dance Moves with new currents in the dance world. We get inside online musical discoveries with DCR and Hyper Music.
This Week In Arts plans your upcoming calendar; Neil Watkins prepares for a lot of wanking in Sydney; Cultural Cringe wraps up the week’s arts news and whispers. British funnyman Kevin Bishop talks about filming in Australia; playwright Rita Kalnejais discusses Babyteeth; David Grieg brings a Scottish story to the Sydney stage; The Freak And The Showgirl’s Mat Fraser returns with a world-ending show. Made You Look gets ready for Art Month; theatre productions Thyestes and Midsummer (a play with songs) are reviewed.
It’s all here: gig reviews, tour guide, what’s happening this week, charts, gig guide, random shit and Amodus break down female stereotypes. Backstage and BTL – your guide to studios, recording, gear, courses and more. The Classies – need a singer/bassist/drummer/any other service/product you can think of? Your answer is here. And on iflog.com.au.
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ART DEPT firstname.lastname@example.org Dave Harvey, Matt Davis, Kieryn Hyde 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
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SCREAMING BIKINI, LIME CORDIALE DJ: KRISTY LEE
FRI 24 FEB
THE LEISURE BANDITS
WE THE PEOPLE, KANE SARICH DJ: SPENDA C
SAT 25 FEB
SCREAMING BIKINI, BEC AND BEN DJ: PHDJ
MARCH - TIGER TOWN APRIL - SALOONS MAY - THE WALKING WHO
COMING UP UNDERLIGHTS, MESSRS, PIGEON, THE DELTA RIGGS, ADAM KATZ, STICKY FINGERS, KINGSWOOD, FIRE!, SANTA ROSA, FIRE!
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WHITNEY HOUSTON DEAD AT 48
It was confirmed on Sunday that US R&B singer Whitney Houston was found dead at the Beverly Hills Hilton on Saturday. AP first reported Houston’s death midday Sunday (Aus time) and the news quickly moved through social media circles before being confirmed by news outlets. Law enforcement sources told LA Times that paramedics arrived at the hotel where Houston was staying and found her dead. The cause of death was unknown, said the sources, who asked to remain anonymous because the investigation is ongoing. TMZ reported that “police arrived at the scene within minutes [of a 911 call]… paramedics performed CPR but it did not work and she was pronounced dead at
INDUSTRY NEWS WITH SCOTT FITZSIMONS firstname.lastname@example.org
3.55pm.” Beverly Hills police Lt Mark Rosen told a news conference that there were “no signs of foul play”. The Times went on to report that Houston’s ex-husband Bobby Brown was “beside himself” when told the news of the death, while Houston’s mother Cissy and cousin Dionne Warwick are both believed to have spoken to the singer only hours before her death and there were no signs of trouble. Houston had just finished working on a remake of cult musical film, Sparkle, and was expected to be amongst guests at a lavish pre-Grammys party, to be hosted by friend Clive Davis. Houston’s last public performance is believed to have taken place on Thursday night for a Grammy party at Tru Hollywood where she sang Yes Jesus Loves Me with Kelly Price.
SONG SUMMIT SCORES PAUL KELLY
Paul Kelly, Josh Pyke, Melinda Schneider and more will impart wisdom at Song Summit as speakers, it was announced last week. The three-day conference will take place at Sydney’s Convention Centre, Darling Harbour Saturday 26 – Monday 28 May as part of the Vivid Sydney program. Along with keynote speeches and panel discussions, it will host artist showcases, workshops and networking events. Australian music legend Paul Kelly leads this morning’s announcement of speakers, the majority of whom are local. Other musicians include Abbe May, Tim Levinson (Urthboy), Peter Farnan (Boom Crash Opera) and Grammy-nominated Shelly Peiken. There are also names from the industry, like The Jezabels’ manager Dave Batty, Commercial Radio Australia’s Joan Warner and QUT’s Phil Graham. Also announced and joining the likes of Gary Calamar, Imogen Heap, Kev Carmody and Bill Cullen, are Adam Argyle (UK), Rick Chen, Erana Clarke, Jen Cloher, Stu Crichton, Mick Daley, Brendan Gallagher, Marc Fennell, Phil Graham, Lee Groves, Lior, Eric McCusker, Peter Northcote, Stephen Navin (UK), Stephan Schutze, Rai Thistlethwayte and Jonathan Zwartz. Registrations for the expo will be available from Tuesday 14 February through the website.
AFL, GUDINSKI DENY SPRINGSTEEN RUMOURS
WHITNEY HOUSTON AT THE SYDNEY ENTERTAINMENT CENTRE IN 1986 ON THE GREATEST LOVE WORLD TOUR. PIC: TONY MOTT]
THE BUTTERFLY EFFECT VOCALIST QUITS BAND
Clint Boge, lead singer for The Butterfly Effect, has quit the band, who are now looking to continue on without him. Boge has been the voice of the band for over a decade, but has been more involved with side project Thousand Needles In Red in recent years. In an initial interview with Boge for Thousand Needles In Red’s first shows with The Front Line, Boge indicated that there had been tensions within the band in writing sessions – he had wanted to return to the band’s heavier, early sound but found opposition within the band. The band had pre-empted the news on their Facebook, but many fans had expected a new album to be announced. The announcement indicated that Boge will be “pursuing other music interests”. The remaining members (Ben Hall, Kurt Goedhart and Glenn Esmond) will continue to make music together and “will announce their intentions in the not too distant future”. The band will be embarking on a final tour around Australia with Boge that will coincide with the release of a compilation best-of, Effected.
GOTYE KNOCKS SIA OFF UK #1
Gotye’s Somebody That I Used To Know featuring Kimbra has taken top spot from David Guetta’s Titanium featuring Sia in the UK single charts this week. The track is now safely an international hit and there’s even a cover of the track charting at #80 in the UK. Locally there were three new albums in the top four – none of them Australian – as Lana Del Rey’s Born To Die clocked up another number one. It beat Leonard Cohen’s Old Ideas, which landed at two and Van Halen’s A Different Kind Of Truth. Paul McCartney’s Kisses On The Bottom was well off the pace at #25.
SPLENDOUR RETURNS TO OLD BYRON LOCATION
Splendour In The Grass announced last week that they’re moving back to Byron Bay – but not the new Parklands they’ve been pushing for. The festival – which didn’t sell out last year – has been held in Queensland’s Woodfordia for the last two years but it will return to Byron’s Belongil Fields, where it was held previous to the Queensland move, this year. Splendour In The Grass producers Jessica Ducrou and Paul Piticco are part owners in North Byron
Parklands’ Yelgun site and have been pushing for a festival development proposal on that site for more than two years. The final decision is being deliberated now and may be an option for the 2013 event. Ducrou said that, “Despite great efforts to have the festival at North Byron Parklands this year, we are yet to have a determination on the application. In the meantime and after much consideration we are excited at the prospect of returning to the birth place of Splendour… Taking the event back to Byron Bay allows us to give our audience the true Splendour experience, a quality music and arts festival combined with that distinctive Byron culture.” The financial injection that the festival will provide to Byron Bay’s community may even sway some of the locals, who have recently shown opposition to the Yelgun development. Byron Shire Mayor Jan Barham said today, “Splendour’s home is Byron Bay and there is defined benefit that the festival delivers to the area, especially in winter, so it is a welcome return.” Ducrou also thanked Woodfordia and the Moreton Bay Regional Council for the past two years. The festival will be held Friday 27, Saturday 28 and Sunday 29 July this year.
ABC’S NEW “SIMPLE” LABEL
ABC Music has launched a new label imprint FOUR | FOUR to cater for their “left of centre” acts, with the first band signed to the new imprint Sydney’s punk-folk outfit The Rumjacks. To be run under the banner of ABC Music, Head of ABC Music Robert Patterson said, “In essence, FOUR | FOUR represents music that, at its core, is as simple as a 4/4 time signature. It’s music that moves people in a fundamental way. The imprint’s first signing, The Rumjacks, typifies what FOUR | FOUR is all about – honest music-making with a no-nonsense directness and immediacy that connects with the listener from the first moment.” The Rumjacks have released a new single, Crosses For Eyes, in anticipation of a new album.
SATRIANI COMING TO CINEMAS
CinemaLive will host their latest cinema screening in March, showing a Joe Satriani concert in 3D. CinemaLive launched with a Nirvana concert last year and are aiming to roll out more cinema musical screenings across Australia this year. They will have guitarist Joe Satriani’s Satchurated in cinemas in all the mainland states Wednesday 7 March. The concert comes from Satriani’s 2010 tour of Canada, with this performance from Montreal. He was touring his album, Black Swans And Wormhole Wizards, at the time.
Rumours that Bruce Springsteen will play at the AFL Grand Final have been shot down by the league and promoter. Melbourne music journo Nui Te Koha appeared on Triple M in Melbourne claiming that “the word is promoter Michael Gudinski has got Bruce Springsteen wrapped up.” The news would seem to fit with unconfirmed reports of a tour by Springsteen, who has a new album this year, but they’ve been denied by Gudinski’s Mushroom Group and the AFL. A representative for the AFL told Your Daily SPA that there was definitely no confirmation for Springsteen at the event. A spokesperson for Gudinski’s Mushroom Group held a similar line with Fairfax saying, “There’s no truth in that rumour at all.” Last year Meat Loaf performed at the Grand Final, which was generally considered underwhelming.
LANA DEL REY SHOWS A REFUND NIGHTMARE
Desperate Australian Lana Del Rey fans could be out of pocket hundreds of dollars after she postponed her planned showcase tour. Overnight superstar Del Rey had intended to perform two intimate showcase shows – at Sydney’s Oxford Art Factory Tuesday 28 February and Melbourne’s Toff In Town Saturday 3 March – but last week the tour promoters announced the shows had been postponed and tickets will be refunded. Due to the intimate nature of the shows, tickets had been selling on auction websites for up to $500 each, money which will be hard to recoup for those who purchased on-sold tickets. The press release, which blamed “unprecedented international demand” for the postponement advised fans: “If you purchased your ticket online or over the phone through Moshtix your ticket will be automatically refunded back to your credit card/PayPal account. If you purchased your ticket from a Moshtix retail outlet you will need to return to the outlet with your ticket to receive your refund.” With the majority of tickets purchased online, money will be refunded to the credit card of the initial buyer – regardless of whether they’re still the holder of the ticket.
HARBOUR FIND FOUNDS
Hypnotic Brisbane indie six-piece Founds have signed to the Harbour Agency, Your Daily SPA revealed last week. The band, based across Brisbane and the Sunshine Coast, have signed with Harbour agent Daniel Sant, the latest in a string of signings for Sant, who has recently picked up Floatingme, Over-Reactor, Sleepmakeswaves and Oliver Tank. Founds, managed by Andrew Stone, are expected to release their new album, Hadean, “early” this year.
US COMPANY APOLOGISES OVER JOHN BUTLER ‘RIP-OFF’
An American company has apologised to the John Butler Trio after appearing to copy Zebra in a Super Bowl commercial. The theme music used in Dannon Oikos Greek Yoghurt ad The Tease, which appeared during the Super Bowl, appeared to be strikingly similar to John Butler Trio’s hit, Zebra. As news spread it caused outrage amongst his fans, who described the ad’s backing music as a “rip off” and encouraged him to take legal action. John Butler’s manager Phil Stevens posted to the band’s Facebook, “Thank you everyone for making us aware of the Oikos Greek Yogurt TV ad that aired during the Super Bowl yesterday featuring a song that sounds extremely similar to Zebra. John Butler and his management were not aware of this usage until yesterday and we will be seeking advice as how to address the issue.” Under intense pressure on social media platforms, the company posted on their website, “A question about the music in our Super Bowl commercial has been brought to our attention. We are working to fully understand and address the situation. We apologise for any concerns this has caused John Butler Trio’s band members and fans.” According to Oregan Live the ad, which features John Stamos, was directed by 21 year old Remy Neymarc, while the music was composed by Jonah Geil-Neufeld. When contacted by Your Daily SPA, John Butler’s management and label declined to comment further until they fully understood the situation.
CAKE DRUMMER ARRESTED FOR UNDERAGE SEX
Former Cake drummer Peter McNeal has been charged with child molestation regarding a child under the age of ten. McNeal joined the band in 2001, leaving in 2004, during that time touring with the band on the album, Comfort Eagle, which featured the singles, Short Skirt/ Long Jacket and Love You Madly. Fox News reports that McNeal was arrested last month by Los Angeles police and released on $US250,000 bail. A single count of oral copulation/sexual penetration of a child under the age of ten was brought against him in a preliminary hearing. It is reported that the Los Angeles Police Department believe there could be additional victims.
Can he do no wrong? Somebody That I Used To Know has now gone to number one in the UK. Has this song entered our national consciousness along with the likes of like Chisel, the ‘Finger, the Oils, etc? Watch out next year’s Grammys.
After last year’s “Who the fuck are The Suburbs?” comments after Arcade Fire’s win, The Grammy returned to predictable form with fairly bog standard winners. Adele wins pop? Foo Fighters rock? Skrillex dance? Kanye West rap? Taylor Swift country? Yep, we could have phoned those results in before they were announced.
Is likely to be deified too a la Michael Jackson after his passing.
music 22 • THE DRUM MEDIA
CEO of Moshtix Adam McArthur told Your Daily SPA, “Our terms and conditions are always very clear and we provide ways that you can securely pass on a ticket to a friend.” It is believed that if the tickets aren’t transferred securely to a new name through Moshtix, then the original buyer still has the rights to those tickets – and consequently the refund. McArthur added that they always advise against buying tickets from unofficial sources and punters should contact the promoter or ticket agency if in doubt. The press release claims, “More extensive dates will be announced soon” and that those who had purchased tickets will have “priority booking for new dates.”
Houston, we have a problem. Like Jacko, people would probably only know her in later years for disastrous concert performances, drug abuse and strange behaviour.
THE DRUM MEDIA • 23
NEWS FROM THE FRONT
TOUR NEWS After two years up at Woodfordia, Splendour In The Grass is returning to its original homebase this year, Belongil Fields in Byron Bay, and will be running over three days, Friday 27 through Sunday 29 July. Due to play two intimate shows in Sydney this month, Coldplay have been forced to postpone their scheduled visit, but in a press statement suggest fans “stay tuned for a big announcement soon”. International scheduling conflicts have forced the forthcoming tour by Seal to be moved to April, prompting a change of venue in Canberra, the show now at the Royal Theatre Sunday 8, while the show at Sydney Entertainment Centre is now Thursday 19. Tickets remain valid for the new dates, though refunds are also available.
YACHT CLUB DJS
YACHTING AROUND AUSTRALIA
Having launched their debut album, Vacation, with a small run of intimate performances last October, Melbourne duo Big Scary now hit the road for their biggest national tour. Expected to even feature some new songs, as well as new single, the moody Leaving Home, catch them Friday 27 April at Oxford Art Factory, with support Geoffrey O’Connor.
Lana Del Rey has also had to reschedule her Australian tour due to “unprecedented international demand”; refunds are available from point of purchase.
RUSSACK’S SOUNDS IN OUR CITY
Emma Russack recently released her debut album, Sounds Of Our City, a collection of dark and striking folk songs and naturally that means a tour is in order to showcase them. Friday 6 April she plays the Kings Cross Hotel, Saturday 7 at Chino’s Bar in Newcastle and Sunday 8 at Yours & Owls in Wollongong and she’ll be supported by Rohin Jones (ex-Middle East) and Jessica Says throughout.
Rapper, producer and DJ Mickey Fortune, who travels as Oh Snap!, takes over Fake Saturday night. Vancouver, Canada singer/songwriter Dan Mangan has now added a night at the Hotel Steyne in Manly Thursday 23 February to his Sydney visit, playing Notes the following night. With Germany’s Mo’ Horizons exclusively performing, as is fellow German Karsten John, as well as the UK’s DJ Hudge and a stack of local faves, second release tickets for Funkdafied Top Deck are nearly all gone, so best get on the case before it all hits the Harbour in Mad Max fancy dress Saturday 25 February.
Even the promoters never imagined the demand for Aqua tickets would be so great, which is why they’ve upgraded the venue for the second Sydney concert Saturday 17 March from The HiFi to the Enmore Theatre, HiFi tickets bought for that date valid for the Enmore. Melbourne’s teenage funk sensations The Cactus Channel have scored the support spot for veteran American soul man Charles Bradley Friday 16 March, Kylie Auldist opening the evening with an acoustic set.
BOY & BEAR
FEEL LIKE MEXICAN?
Boy & Bear looking forward to dropping into every corner of the country in May to reflect on where it all began, give a nod to and share their success with those who made it happen in the form of a huge 25-date tour. Playing intimate rooms in regional areas as well as capital cities, they’ve intentionally kept capacities low where possible to make for some very special performances for those who have supported the band from the beginning. Called Remembering The Mexican Tour, namechecking their early single, Mexican Mavis, they play Wednesday 30 May at the State Theatre, Thursday 31 at Newcastle Uni’s Bar On The Hill, Friday 1 June at ANU Bar, Canberra, Saturday 2 at Waves, Wollongong and Sunday 17, Entrance Leagues Club. Tickets will go on sale Monday 27 February.
They broke up in 1995, but Sydney fourpiece DRILL have reformed and will play The Sandringham Hotel alongside Zeahorse, Toy Death and Manic Sleeper Cell Friday 24 February. THE BUTTERFLY EFFECT
One of the most sought-after writer/producers working the contemporary r’n’b/pop scene, UK artist Taio Cruz is coming to Sydney for a week from Friday 27 February on a promotional tour. Based in Hamburg, techno beatmeister Oliver Huntemann, who will be in Sydney Saturday 10 March to play the Future Music Festival at Randwick Racecourse, releases his fourth album, Paranoia, the week before, Friday 3.
Yacht Club DJs have announced their first national tour since 2010, hitting the road on their They Mostly Come At Night… Mostly tour and bringing their genre mash-ups, along with fake blood, zombies and dancing shoes to NSW in late April. Supporting them will be their hometown friends Hunting Grounds, known for their hyperactive energy and frenetic sounds. They play Thursday 19 April at Wollongong Uni Bar, Friday 20 at Academy Canberra (minus Hunting Grounds), Saturday 21 The Standard and Sunday 22 Cambridge Hotel Newcastle.
HORSE RIDES AGAIN MARK LANEGAN
LANEGAN LANDS AGAIN
The Mark Lanegan Band are returning to Australia for the first time in eight years and Friday 20 April they’ll play The Hi-Fi, showcasing newly released album, Blues Funeral, Lanegan’s first since 2004’s Bubblegum. Alongside Lanegan’s gravely vocals, Blues Funeral also features appearances from Greg Dulli, The Gutter Twins and Queens Of The Stone Age’s Josh Homme.
An Horse are returning to Australia to tour their 2011 album, Wall, playing at Oxford Art Factory Saturday 28 April. The duo has released a third video off Walls, for the track Airport Death, the video shot in Brooklyn, New York and directed by Nina Stiefel, a recent graduate of the NYU Film School. Tickets are on sale Wednesday.
LAST CHANCE TO CATCH BUTTERFLY
The Butterfly Effect recently announced that vocalist Clint Boge is amicably leaving the band “to pursue other musical interests”. The longtime lineup will perform one last time in a national Effected tour, playing Panthers Leagues Club Newcastle Thursday 10 May, UNSW Roundhouse Friday 11, Waves Wollongong Saturday 12 and the UCU Bar, Canberra Wednesday 16.
The UK’s premier tech-funk and bass master, Icicle, will be performing a two-hour drum’n’bass dubstep set at the Sly Fox Hotel Thursday 1 March. Supporting him on the night will be Kakhand, Sam The Chemist and Foreigndub.
The Saturday 24 March concert by Kina Grannis in Sydney Opera House’s Studio has completely sold out, so a second at the same venue for Sunday 25 is now on sale. Catherine Traicos & The Starry Night have been invited to join The Mountain Goats when they next visit Australia in May, that tour bringing them to the Metro Saturday 6 and the Clarendon Guesthouse Tuesday 8. The Friday 24 February reunion show by Machinations at the Bridge Hotel has completely sold out, so a second show has been announced at the same venue for Saturday 25. Kicking things off with a performance at CoolChange, the Sydney Mardi Gras Harbour Party Saturday 25 February, followed that night by a set at The Midnight Shift, Paulini launches the video for her new single, Fireman, at Arq Thursday 9 March. Doc Holliday Takes The Shotgun and The Prehistorics will be joining Brisbane’s Bertie Page Clinic when they present Pussy Love! at the Vanguard Friday 2 March. Melbourne singer/songwriter Adam Eaton, who’s been based in Norway the past couple of years, is back in Australia with his Norwegian band to launch his debut EP, You And I And Us, and plays the Camelot Lounge Thursday 1 March, the Old Manly Boatshed Wednesday 7, the Clovelly Hotel Thursday 8 and the Heritage in Bulli Friday 9. Baby Animals hit the road once more to showcase some new tracks along with old favourites, playing Celebrate in the Park Festival in Canberra Monday 12 March and then the Belmont 16ft Sailing Club Saturday 17. Sarah McLeod will join James Walsh, frontman of UK band Starsailor, as special guest on an upcoming March tour of Australia that sees him play The Standard Saturday 24.
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THIS MAN’S NOT BORING Their elegant style, complex arrangements and dreamy melodies won I, A Man the triple j Unearthed Falls Festival slot. Kicking off their new EP You’re Boring Us All in style, they’re doing an East Coast tour and play the Kings Cross Hotel Thursday 15 March.
Thursday 1 March, Civic Underground hosts three of the best hip hop producers under the same roof, Washington’s Oddisee performing alongside Katalyst and M-Phazes, supported by Ellesquire, DJ Frenzie and DJ Ology. They’ll also judgie a beat battle.
Ostgut Ton legend Prosumer will be hitting our shores fresh from Berlin Saturday 24 March performing his blend of techno and house in a four-hour set at One22.
OPEN GIG INVITE
Brisbane four-piece Fushia release their new EP, Open Invite, Saturday 17 March. They hit Drum parts a couple of weeks before release, playing Rock Lily Wednesday 29 February, Oxford Art Factory Gallery Bar Thursday 1 March, Hamilton Station Hotel Friday 2 and the Lansdowne Hotel Saturday 3.
LUST FOR LIFE
I, A ,MAN
The Bald Faced Stag Hotel sees singer/songwriters and mental health support groups unite in a night designed to raise awareness of depression and suicide prevention - A Concert 4 Life. Playing on the night will be The Torchsong Country Soul Band, Velvet Road and Steph Miller, while there’ll also be a guest speaker from the BlackDog Institute. The night starts at 5pm.
Dallas Frasca has announced the release of a new single, All My Love, in the lead up to the forthcoming second album, Sound Painter, which was recorded in New York with Australian producer Andy Baldwin. Frasca and band are set to play three NSW dates as part of their national tour, at the Junkyard in Maitland on Friday 23 March, The Square on Saturday 24 and as part of Bluesfest in Byron over Easter.
HOLD THE BATPHONE
The Fearless Vampire Killers are bringing their retro surf-rock to NSW this March with a national tour to celebrate the release of their debut LP, Batmania, and new single, I Won’t Stay Too Long. They play Spectrum on Friday 2 March.
Cosmic Gate will embark on the Australian leg of their worldwide tour for their new album, Wake Your Mind, featuring Emma Hewitt. Hewittt will also be performing her own tracks on the night, including her hit track, Colours, as well as her IDMA-nominated collaboration with Cosmic Gate. They’ll be appearing at the Metro Theatre on Saturday 14 April as part of Genesis.
THE PIGS AND THE BEEZ
Fresh from playing their seventhh consecutive Tamworth Country Music Festival, The Pigs are bringing their bluesgrass and pop covers to Sydney, performing at The Empire Hotel on Friday 2 March, before heading off on tour around the country that includes a stop at the Corinbank Folk Festival in Canberra. They finish their tour in Newcastle, performing at Lizotte’s with Berlin’s The Beez on Saturday 14 April in a foot-stomping night of country pop.
DON’T FIGHT THE POWER
Lady Gaga, Forbes Magazine’s Most Powerful Woman of 2011, will be treating all her little monsters to two Sydney shows this June. Called the Born This Way Ball, Gaga describes her show as an “electro-metal popopera”. Given Gaga is one of the biggest living online personalities – and also one of the highest-grossing female artists – it seems obvious that the show will sell out within minutes. Gaga will perform – with glorious, painstakingly designed sets – at Allphones Arena on Wednesday 20 and Thursday 21 June.
READY, SET, GO
The Go Set are taking their fusion of punk, rock and ska across the country once again this March and April to support their upcoming, self-titled LP. They’ve released their new single, Drums Of Chelsea, online. They’ll be playing the St. Patrick’s Festival in Hyde Park Sunday 18 March, before heading to the National Folk Festival in Canberra for Friday 6 and Sunday 8 April. They follow that with the Southern Cross Club in Canberra Friday 20 and the Sandringham Hotel Saturday 21.
All-female pop trio, The Fabergettes, will launch their self-titled EP at Goodgod Small Club on Friday 9 March, with the announcement of a national tour to follow. Their new EP features infectious cocktail pop and group harmonies.
West coast hip hop act DJ Quik is playing live in Sydney for the first time in a full live concert Thursday 15 March at The Gaelic. DJ Quik released his eighth studio album, The Book Of David, last year, which included appearances by Ice Cube, Bun B, Kurupt and Dwele.
THE DRUM MEDIA • 25
NEWS FROM THE FRONT
M A R L E Y
SHAKE, RATTLEHAND AND ROLL
Acclaimed for their tight and vibrant live shows, Americana rock outfit Rattlehand have announced they’ll be taking the road again to tour the east coast with their self-titled, debut album. They’ll perform on Friday 2 March at The Junkyard in Maitland, Saturday 3 at The Phoenix Bar in Canberra and Sunday 4 at the Lansdowne. DAWES
DAWES OPENING THE JACKET SHARON SHANNON
ONE MAN PARTY BAND
His national tour in January last year around Big Day Out was much celebrated, so Manhattan-based Andrew WK is returning with his one-man-party band this May. Already announced for the travelling Groovin’ The Moo Festival, Andrew WK now announces some headline sideshows. With special guest Aleister X you can catch Andrew WK Thursday 10 May at The Standard, with tickets on sale Wednesday.
Renowned Irish musician Sharon Shannon will be making the trip out to Australia once more this March, on the back of her brand new album, Set List. Master of all genres – from pop/rock to traditional Celtic sounds – Shannon is famed for her collaborations with artists like U2 and Jackson Browne. Now, she’s assembled an all-star crew of Irish, Australian and New Zealand musicians, including Bob Dylan’s saxophonist, Richie Buckley, and Australian jazz prodigy Matt McMahon. She’ll be performing Thursday 8 March at The Factory in addition to her Port Fairy and Womadelaide festival appearances.
WOKE UP THIS MORNING
Got yourself a gun? Well, let’s hope not. But the good news is that Alabama 3 will perform an exclusive Sydney date in addition to their performance at Bluesfest. They’ll be performing at the Manning Bar on Saturday 7 April when they once more bring their “sweet motherfucking country acid house” to our city.
CELTS NOW WITH GYPSY FEEL
Joining UK folk punk legends The Pogues for their Bluesfest sideshow date on Wednesday 11 April at the Hordern Pavilion will be Melbourne’s selfdescribed ‘gypsy deathcore’ band, The Barons Of Tang. Their eclectic mixture of jazz, rockabilly, metal and ‘gypsy feels’ sees the band serve up catchy tracks with a punk ethic you would imagine would go down well with Celtic punk punters.
In the lead-up to Future Music Festival, organisers have announced the lineup for three of the stages that will take residence at the festival. The Ear Storm Records Stage (aka Knife Party’s record label), which will showcase a visual and aural attack for the senses, will see Flux Pavilion, Porter Robinson, Kill The Noise and Zane Rowe join Knife Party on stage over the day. The DFA Records stage will feature James Murphy and Pat Mahoney (LCD Soundsystem/ DFA), Hercules & Love Affair, Holy Ghost!, Juan MacLean, Benoit & Sergio, Horse Meat Disco and local acts that are yet to be confirmed. The Flamboyant Flamingo Stage will see the festival’s headliners play this year, including New Order, The Wombats, The Rapture, Friendly Fires, Gym Class Heroes, Naked & Famous and Alex Metric. But you don’t want to miss all of this do you? Tickets are nearly sold out, with organisers announcing the third release tickets going on sale now.
ROKY GETS TREATMENT The Treatment has just been announced as the support act for Roky Erickson’s Sydney date of his national tour alongside his Golden Plains appearance. Set to perform on Wednesday 14 March at The Factory, The Treatment is the new psychedelic rock band project of You Am I, who are of course seasoned tour warriors.
IN THE JACUZZI LA synth-popster Geneva Jacuzzi is joining Ariel Pink’s Haunted Graffiti Australian tour. The Playground Weekender sideshow at Oxford Art Factory on Friday 2 March now comprises Ariel Pink’s Haunted Graffiti, Geneva Jacuzzi, Richard In Your Mind and Erik Omen.
WHOLE LOTTA ROSIE
MORE FOR THE WEEKENDER THE PRETTY RECKLESS
TAYLOR THE RECKLESS CREATOR The Pretty Reckless, fronted by teenage starlet Taylor Momsen, are blazing a trail through the rock world right now and will next be performing Monday 27 February at The Wall. Joining them will be Australia’s pop/punk Heroes for Hire, who will also be touring with the Soundwave Festival this year. Tickets go on sale Friday.
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Singer/songwriter Mick Thomas has announced that he’ll be taking his new album, The Last Of The Tourists, on the road, for a national tour. After performing at Bluesfest, he’ll play The Front Gallery in Canberra on Wednesday 18 April, Lizotte’s Newcastle Thursday 19, Lizotte’s Kincumber Friday 20, Annandale Hotel Saturday 21 and Coogee Diggers Sunday 22. Supporting him at each venue will be Shelley Short.
COMING HOME TO PARADISE
Fans of Sam Sparro, Australian expatriate and master craftsman of electro-funk, pop and soul tunes, will be eagerly awaiting the prodigal pop star’s return to Australia as well as his forthcoming album, Return To Paradise. Now signed with EMI Australia, Sparro says the new album is the result of much “experimenting”, of taking his music towards one genre, then towards another. Sam Sparro will be returning during March for two Sydney tour dates, one as part of Mardigrasland on Saturday 3 March at the Entertainment Quarter and the other at the Oxford Art Factory on Friday 9.
FUTURE MUSIC’S FUTURE
THE BARONS OF TANG ALABAMA 3
Los Angeles’ four-piece Dawes will make their debut on Australian shores when they support My Morning Jacket on their Sydney date this April for their forthcoming national tour in addition to their Bluesfest performance. They are set to play at The Enmore Theatre on Tuesday 3 April and will perform tracks from their album, Nothing Is Wrong, which reached #35 on the US Rolling Stone’s Albums of the Year list.
LAST TOURISTS TOURING
Organisers of Playground Weekender have announced the new round of artists who will be joining the already huge lineup from Friday 2 through Sunday 4 March at Del Rio Riverside Resort that includes Boy & Bear, Black Lips and Unkle Sounds. Just announced are Shapeshifter, Melbourne Ska Orchestra, Steve Bug (pictured), LTJ Bukem, Amirali, Russ Yallop, Cameras, Paper Scissors, Rufus, Fait Accompli, Guerre, Pluto Jonze, Loon Lake and Catcall. In slightly worse news, since the first lineup was announced it has also been confirmed that Fat Freddy’s Drop and Modeselektor are now unable to perform.
Louisiana’s Rosie Ledet is an artist right at the forefront of the modern Zydeco movement. She’ll be bringing her driving dance grooves to Notes on Thursday 5 April, in addition to her previously announced Bluesfest appearance.
Alternative country rockers Jeremy Edwards & The Dust Radio Band are touring their new album, Russian Doll, and play Beaches in Thirroul Thursday 23 February, while Friday 24 they perform at The Empire Hotel.
THE QUICK AND THE TOURING
THE FUNKOARS The Funkoars return for another lap of the country showcasing their album, The Quickening. With a brand new single and video to be released in March, catch them in Drum parts Friday 30 March at The Tradies Club, Canberra, Saturday 31 at the Entrance Leagues Club and Saturday 5 May at the Annandale Hotel.
ROYAL ACID ROCK
San Francisco garage band The Royal Baths have announced an east coast tour that sees them perform their “bad trip acid rock, dark and seedy but not atonal” music Friday 30 March at the Annandale Hotel, as heard on their second record, Better Luck Next Time.
AS SIMPLE AS FOUR/FOUR
The ABC has just launched a brand new imprint label, Four | Four, to which locals The Rumjacks have just been signed. To celebrate, the Rumjacks will be bringing their distinctive punk-rock/reggae/ swing to Katoomba on Friday 16 March at Baroque and the Sandringham Hotel on Saturday 17.
NOT THAT GREEN
Hard-hitting rock band Greenthief are embarking on a 12-date tour to promote their upcoming single, Epidemic, playing Wednesday 11 April at the Cambridge Hotel Newcastle, Thursday 12 Yours & Owls, Friday 13 The Basement in Canberra and Saturday 14 at The Square.
THE HARDEST PART WWW.SUMMERFESTIVALGUIDE.COM.AU
Dynamic Chicago hardcore group Veil Of Maya are trekking down under on the back of the release of their album, Eclipse, supported by Newcastle metal titans The Storm Picturesque, who are currently gearing up to release their own debut album, Arrival, as well are the prodigious Stories. They play Saturday 7 April at SFX.
THE DRUM MEDIA • 27
NEWS FROM THE FRONT
IN BRIEF REBEL SOULJAHZ
REBEL UPRISING In recent years, the Pacific region has come to rival the Caribbean as a source for fresh new sounds in reggae music and Hawaii’s Rebel Souljahz are a prime example of that trend. After conquering the Islands, New Zealand and the mainland US, they bring their vibes to Australia for the first time. You can catch them Thursday 1 March at Selina’s.
MORE MEN MEN is a Brooklyn-based band and art/performance collective led by Le Tigre’s JD Samson. Already announced performing as part of Mardigrasland festivities Saturday 3 March, thy’ll now hold their own show Friday 2 at Red Rattler with guests Holy Balm, Stereogamous (the remix project with Seymour Butz and Paul Mac) and more.
A NEW BREED Europe’s industrial four-piece groove masters Sybreed head down under in March for their first ever Australian tour bringing their vicious grooves, metallic blasts, technological shivers and icy melodies to The Wall Friday 2 March, Saturday 3 as part of Chaos ACT VI at The Maram, Canberra, as well as Thursday 15 at The Cambridge Hotel Newcastle. Sybreed will be performing around the nation with local blackened death metal machines Anno Domini.
YOUR MAMA Sydney’s own sweet seductress of soul Alphamama has produced her first album, Truth, Trips And Revelations, an eclectic fusion of urban soul, pop and reggae interlaced with the maturity of a woman’s experiences. Surrounded by an all-female lineup of dancers, musicians and artists, Alphamama will launch the album Wednesday 7 March at Oxford Art Factory.
GET THE MESSAGE
LANIE GOES BANG After a massive six or so months that saw her release her debut album, To The Horses, and sell out the tour accompanying it among lots of other wins, Lanie Lane returns to the road again for her Bangity Bang national tour, ostensibly so we can all rooty toot toot along to her new single, Bang Bang. Joining Lane will be up and coming blues act The Rubens and you can catch them Friday 1 June at the Metro Theatre. General public tickets go on sale Thursday.
CHECKING IN New Zealand’s The Checks are returning for a tour that revolves around their track, Ready To Die, a rocky track with hints of dub, funk and Cobain. Following an Australian jaunt just before Christmas, they are back Wednesday 7 March at the Beach Road Hotel.
VINYL RON After many requests to release their most recent album, Future Universe, on vinyl, Ron S Peno & The Superstitions have agreed and a strictly limited batch of 300 will be released on Friday 30 March. Considering the CD version of the album is in its fourth pressing, you wouldn’t imagine the vinyl to hang around too long. They’ll be launching the vinyl version Saturday 7 April at The Vanguard.
UNDER THE SKIN On Thursday 1 March, Skinpin will hit the stage at the Sandringham Hotel to perform tracks from their debut album, Shifting Sands. They’ll follow that up with a gig at The Square on Saturday 10, before heading to the Lansdowne Hotel on Friday 30. Skinpin will also be supporting UK punk legends The Exploited as part of their national Australian tour, performing Friday 27 April at the Manning Bar.
The annual Message Sticks celebration returns to the Sydney Opera House from Tuesday 27 March, showcasing the best in Indigenous music and performing arts in Australia. Kicking off the festival this year is Casey Donovan, singing a tribute concert to Mama Cass and her band The Mamas & The Papas. This is happening in The Studio on opening night as well as Wednesday 28. On Saturday 31, Archie Roach, Shane Howard and Neil Murray will be performing. The night will showcase three songwriting legends whose iconic careers span three decades. On Sunday 1 April at the Concert Hall, the festival closes with Black Arm Band’s stunning new project, Dirtsong, a musical journey through Australia’s heartland featuring Archie Roach, Dan Sultan, Lou Bennett (Tiddas), Shellie Morris, Emma Donovan, Djolpa MacKenzie, Deline Briscoe, William Barton, Stephen Pigram, Tim Rogers (You Am I) and Shane Howard and band.
MARDI GRAS SHOULD BE SO LUCKY Kylie Minogue will be the jewel of the Mardi Gras crown this year, performing live at the Mardigrasland party, joining the already announced lineup featuring Sam Sparro, RuPaul, Sneaky Sound System, Chicane and other local and international acts. This will mark the first time she’s performed at Mardi Gras in 14 years and will see the honorary Kylie float, K25, make its way through the parade. Mardigrasland will take place on Saturday 3 March at the Entertainment Quarter.
VILLAGE TOUR After making it into rage’s Top 50 Music Videos of 2012 with the leaked single, Villages, Fairchild Republic are officially releasing the single on their Villages tour, which sees them play at Oxford Art Factory on Saturday 3 March. The four-piece from the Gold Coast will release their debut album later this year.
ADRIAN BOHM by arrangement with ARTIST VOICE presents
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Slash releases his as yet untitled second solo album locally Friday 18 May. Winner of the Best Actress Award at the 2009 Cannes Film Festival, Charlotte Gainsbourg reminds us of her other career with the release, Friday 24 February, of her third album, Stage Whisper. Also out that day is the new album, Rooms Filled With Light, from London-based five-piece Fanfarlo, Edinburgh-born Londonbased four-piece Django Django’s new album, Default, fellow UK duo The Ting Tings with new album, Sounds From Nowheresville, the debut album, World, You Need A Change Of Mind, from Kindness AKA UK artist Adam Bainbridge, the debut album, The Slideshow Effect, from Canadian duo Memoryhouse, and All Of Me, the new one for American sweetheart Estelle. Out on DVD that day is, Meowingtons Hax 2k11, deadmau5 captured in concert in the Rogers Centre in Toronto last year, while Santana: Live At Montreux, captures the veteran guitarist’s greatest hits in concert, again last year. Fresh from opening for The Dresden Dolls on their recent Australian tour, Melbourne duo, The Jane Austen Argument, release their debut album, Somewhere Under The Rainbow, Friday 2 March, their lyrics written by much-lauded author Neil Gaiman no less. New York-based five-piece White Rabbits release their third album, Milk Famous, Friday 9 March, while LA-based blues-soaked solo artist Rocco DeLuca releases his new album, Drugs ‘N Hymns, the same day. Tennessee punks Lucero release their eighth album, Women & Work, Friday 16 March. Another great UK band from the ‘80s that never really went away, The Wedding Present, release their eighth studio album, Valentina, Friday 23 March, while the same day sees Sydneysiders Bearhug release their debut album, Bill, Dance, Shiner.
O UNTI PEN FRID L 3AM SATU AYS & RDAY S
LIVE 16 CROSS ST BAR DOUBLE BAY
GRILL TAPAS T APA
A AND ND COCKTAILS
+ JOY & LARA + KARA GRAINGER + SUZY CONNOLLY
TUESDAY 14 FEBRUARY
Now resident in Austin, Texas, Jackie’s unique Alt-Country Roots Rock has been heard touring the USA with Tommy Emmanuel, as well as on her own gigs all over the US and opening for the likes of Bettye Lavette, Joe Ely, Jimmy Webb, Madeleine Peyroux and Daniel Lanois. Her band features Mark Punch, this year’s Golden Guitar winner for Musician of the Year. Add Joy & Lara, Kara and Suzy to the bill and it’s one helluva gig.
JIMMY VARGAS’ NOIRSVILLE PRESENTS
GREG POPPLETON’S BAKELITE BROADCASTERS WEDNESDAY 15 FEB
Redeﬁning Old School as 1920s and 1930s dance band swing! A unique recreation of the classic danceﬂoor sounds of the Great Gatsby era.
WITH CLIVE LENDICH BAND
THURSDAY 16 FEB
Outstanding new jazz vocalist with a swinging, sophisticated take on the Great American Songbook. Backed by Michael Bartolomei (piano), Graham Jesse (sax), Brett Hirst (bass) and Rodney Ford (drums) plus Clive Lendich (guitar) (Manhatten Transfer, Thelma Houston bands).
GANG OF BROTHERS FRIDAY 17 FEB
Brand new project of the four Martinez Brothers, showcasing their musicianship and love of the groove every Friday in February. Lovers of LIVE New Jack Swing, R&B and funk, this is an awesome band. Guest vocalist is Buddy Siono, also very awesome!
BLAXPLOITATION B LAXPLO OITATIO ON 2012 SATURDAY 18 FEB
A PROFESSOR GROOVE TRIBUTE TO THE MUSIC OF JAMES BROWN, ISAAC HAYES, MARVIN GAYE, CURTIS MAYFIELD & WILLIE HUTCH from classic soundtracks like SUPERFLY, BLACK CAESAR, CLEOPATRA JONES, TROUBLE MAN, ACROSS 110th ST and SHAFT. An amazing selection of these Blaxploitation soundtrack soul classics LIVE, while screening classic and rare footage from the original movies. With an expanded 12-piece Booty Affair Pimpestra (that’s a Pimp Orchestra for any honkies not hip to the jive), including the Crackhouse Horns, guest vocalists Juanita and Jonah, and Rob Edwards. The sweet sweetback sounds of the baddest movies ever made are coming to downtown ghetto Sydney! PLUS DJ STEPHEN FERRIS (FBI’S FUNK FLASHBACK) DROPPIN” OLD VINYL TIL 3AM.
SONIC S ONIC C MAYHEM O ORCHESTRA RC CHES STRA MONDAY 20 FEBRUARY AND EVERY MONDAY Launching a new Monday night gig and late night jam session, with a blasting 10-piece band + guest vocalists, followed by a free-wheeling jam session, every week. Featuring special Feb guest Dan Barnett plus James Ryan (leader, tenor, baritone, ﬂute), Aaron Michael (ﬂute, soprano, alto, tenor), Paul Cutlan (baritone, bass clarinet, clarinet), Martin Kay (alto, clarinet), Warwick Alder, Simon Ferenci and Dave Panihci (trumpets), Greg Cofﬁn (piano), James Hauptmann (drums), Andrew Atwill (bass, from March). High energy jazz rockin the room from 8.30, loud and live til very, very late.
WED MAY 9TH THE HI-FI, BRISBANE
WITH SPECIAL GUEST ANGIE HUBBARD
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DELICIOUS LATE NIGHT TAPAS Blue Beat is the perfect venue for Media, Tour and Record Launches, Functions and more. Give us a call. THE DRUM MEDIA • 29
Brownstein is currently juggling her Wild Flag responsibilities with those of her role as star, creator and writer of Portlandia – her cable TV sketch comedy with co-star and creative cohort Fred Armisen – which has recently started airing its second season in the States (and the first series of which will air on ABC2 in Australia). She’s clearly making a pretty good fist of the dual roles. “Yes it’s been surprising, I feel very fortunate,” she marvels at the response so far to Portlandia. “You never know when you put something out into the world – whether it’s music or television – whether anyone’s going to relate to it. “It definitely allows for another side of my personality which has always existed to be on display, one which embraces more of the absurd and the ridiculous – it’s nice to be able to do that. Music is a very earnest endeavour for me and Portlandia I take seriously, but it has a frivolity to it that I really enjoy. Not that music doesn’t, but I think that music is a more personal experience for people – it’s not a lighthearted thing for people, music, not even for fans.” Brownstein says some pretty funny things onstage, but has she always considered herself a ‘funny person’? “No! I never have at all. I think that I’ve always been a keen observer and I have a certain amount of wit, but I wouldn’t say that I’m naturally funny. I meet people like Fred Armisen – who I work with on the show – or we have guest stars for the second season of Portlandia, someone like Kristen Wiig who you’ve probably seen in Bridesmaids or on Saturday Night Live – that is one really funny person – but I’m not in that category at all. I get by.” And are there really that many hipsters in Portland? “Nooo! Portlandia is like a dreamy version of Portland. Not that all of my dreams are filled with hipsters! It’s like a pseudo-version of the city...”
CREATIVITY OBVIOUSLY ISN’T A PROBLEM FOR WILD FLAG FRONTWOMAN CARRIE BROWNSTEIN, WHO’S CURRENTLY JUGGLING THE INHERENT PRESSURES OF BEING IN A BAND WITH THOSE OF CREATING AND STARRING IN A HIT TV COMEDY. SHE SPEAKS TO STEVE BELL ABOUT TAKING IT ALL IN HER CONSIDERABLE STRIDE.
hen much-loved US indie rockers SleaterKinney quietly parted ways in 2006 – soft announcing an “indefinite hiatus” via their then label, Sub Pop – it seemed for a while that the music world may have seen the last of the band’s founding member, guitarist and vocalist Carrie Brownstein, in a performing capacity at any rate. Brownstein – who founded Sleater-Kinney back in 1994 with co-frontwoman Corin Tucker and drummer Janet Weiss – seemed listless for a while without her band and she busied herself with a myriad tasks in and around her adopted home in Portland. She worked for a while at an ad agency, she taught dog obedience classes at the Oregon Humane Society and even acted in a handful of indie films. She began writing a music blog for NPR (National Public Radio) and eventually began dabbling in comedy with her long-time friend Fred Armisen (of Saturday Night Live fame), with the duo releasing sketch comedy online under the name ThunderAnt. At some stage the pair realised that they were enjoying this enough to take it to the next level and hence the satirical and hipster-baiting TV show Portlandia was born. So far so awesome for her life post-band, but as it turns out Brownstein wasn’t done with creating rock music yet, not by a long shot. When she hinted in her blog in September 2010 that she had a new band in the pipeline – tentatively named Wild Flag – word spread like wildfire through the music world and before too long the concept had morphed into a reality and Wild Flag were playing shows and touring voraciously. Things progressed so quickly and smoothly that barely a year after that first tentative announcement of their existence, the band had their debut self-titled album on the shelves and its critical reception was uniformly in the affirmative. At first, Wild Flag were burdened with the inevitable SleaterKinney comparisons – the lineup also contains Weiss on drums as well as Rebecca Cole (formerly of The Minders) and ex-Helium frontwoman Mary Timony – but they’ve quickly come out from under that shadow and forged their own distinctive path and aesthetic, much to the relief of Brownstein and her new bandmates. “I think [Wild Flag’s reception] been interesting so far,” the singer reflects from her Portland home, “because of course we’re flattered by and appreciative of people who were fans of Sleater-Kinney, but we also didn’t expect them all to come along with us for this, because this is different. So you have those people who are well aware of our other bands and then you have the people didn’t like Sleater-Kinney – and that’s fine, too – but it’s just been interesting... I think the 30 • THE DRUM MEDIA
most rewarding time is happening now that we have an album out and we’ve played enough shows that Wild Flag seems to have its own identity. It doesn’t feel like an extension of Sleater-Kinney; it just seems to have its own fans and its own chemistry and its own dynamic and its own songs – and that’s nice. “I think it’s hard to ever divorce yourself from your past and history – and I don’t think that that’s necessarily a healthy thing – but at the same time you have to wake up with a sense of vitality and a sense of meaning every day and that has to be rooted in the present, otherwise that’s very disheartening. I’m very much in the present tense with Wild Flag and I think that the more people who get to see us play it becomes less about the old thing.” According to Brownstein, the time that she took off from playing in bands still played a formative role in ushering in the next phase of her music career, even if she didn’t really know it at the time. “Well, I was writing a music blog for NPR – which is our National Public Radio – and a lot of the writing was about music; it was about bands and about experiencing the way that music had changed,” she recalls. “And a lot of it was also about what it means to be a participant – what it means to be engaged in the act of making and experiencing music – and I just got
inspiration, just delve into her extensive past a little bit, having already been in a short-lived side-project called The Spells with Timony in the late-‘90s. “Well, Janet and Rebecca and I worked on a soundtrack together for a film – it was just instrumentals – but we really enjoyed working with one another. It was nice to play with Rebecca, she plays key bass and I like playing with low end – Sleater-Kinney didn’t have a bass – so it was nice to have a bass. And she also plays keyboards and synthesisers, so I was excited about playing with a new person and instrument. Then the three of us thought of Mary as another good singer and an amazing guitar player. She’s a good counterpoint to me, I think, because her guitar playing has a fluidity to it that mine doesn’t have. My guitar playing tends to be more jagged and angular. Then in terms of her singing she just has a more mysterious, understated quality to her voice. I’m a much more abrasive singer – it sounds like some sort of bark or something,” Brownstein laughs self-deprecatingly. “It’s nice to see Mary bring that down a little bit. It’s a good dynamic.” Once the Wild Flag lineup was established and gigging, it didn’t take them long to settle on their own dynamic and distinctive sound. “Well I think we didn’t want to take for granted or assume a chemistry between us. Despite the fact
I THINK IT’S HARD TO EVER DIVORCE YOURSELF FROM YOUR PAST AND HISTORY… BUT AT THE SAME TIME YOU HAVE TO WAKE UP WITH A SENSE OF VITALITY AND A SENSE OF MEANING EVERY DAY AND THAT HAS TO BE ROOTED IN THE PRESENT.”
to the point where I felt like I’d written enough, that the conversation was not over, but that I’d reached the end of what I’d wanted to say in that context. And it was through that process that I got really interested again in playing music, but it was wonderful because I felt like I was returning to it with a sense of urgency and renewal and purpose. I didn’t feel burdened by what I had done before. I didn’t feel like that was my only identity anymore, I just felt like I wanted and needed to play.” Once that drive to create rather than commentate returned, it was just a matter of finding the right team and Brownstein didn’t have to look too far for
that each of us had experience in other bands and even playing with each other, you can’t force a dynamic and you can’t manufacture a chemistry, so we sort of took things slow. We played some small shows in the US for a few different tours before we recorded, because that’s how you really find yourself as a band. That’s how you really became a band, within a live context. If you just go straight into the studio you can compartmentalise everything, you can literally be in another room and record an album and you can go back and pick apart and tweak each measure of music – each solo, each note – without
ever having to do that as a group. But onstage all you have is each other and you’re completely reliant on the communication between you and your band members, so you learn how to cohere as a band – how to communicate and how to just become something bigger than the sum of the parts. So I think it was better to do that first rather than just go in and record, because then when we recorded we were a band already. That’s how we went about it. “[The Wild Flag sound] was mostly just borne out of the natural styles that we have. Although we have learned what songs work as a band versus our individual styles – like we didn’t want it to just sound like Mary’s songs or Carrie’s songs, we wanted everything to sound eventually like a Wild Flag song. So that took a little while to figure out, but I think we knew that we wanted there to be elements that were poppier, but also – at least on the first record – the songs have a kind of celebratory nature. They’re kind of these warped pop songs in a way – there are warped undercurrents and the songs are a little bit jagged – and we wanted a forcefulness to the band, I think, but nothing that was heavy-handed. At the same time it all also reflects what we were interested in at the time, so who knows what the second record will sound like...” Given the celebratory and incendiary nature of the tunes on Wild Flag, plus Brownstein’s track record as a live performer – to say that she threw herself into Sleater-Kinney live shows with gusto is an understatement – the gigs on Wild Flag’s impending Australian sojourn should be spectacles well worth checking out. “Yeah, I can’t help it, I play with a kind of reckless abandon,” Brownstein laughs. “There are so few opportunities or moments in life where there’s a sanctioned space for chaos and messiness and being onstage is one of the only places for that and I love exploring all of those dynamics as a performer. I don’t know how to stand still when I play live. “And I think a lot of these songs lend themselves to a live context, which is nice. Because sometimes I’ve had it in the past where depending on how delicate a song is it doesn’t work live, but all of these songs work quite well live and a few of them have even expanded in the live setting – changed a little bit – because there are improvisational elements built in. And we have a few new songs now, by the time we reach Australia we’ll hopefully have five or six new songs so you guys will be the first to hear them!” WHO: Wild Flag WHAT: Wild Flag (Merge/Spunk/EMI) WHEN & WHERE: Tuesday 13 March, Manning Bar
ALFREDO MALABELLO'S 'VOICE OF ROMANCE' VALENTINES DAY SPECIAL
Popular recording artist and actor Alfredo Malabello presents an evening of tender romantic songs, perfect for lovers on Valentine's Day. Enjoy a special Valentine’s dinner, and gaze into the eyes of the one you love ...
AN EVENING WITH COLIN HAY
Colin Hay returns to The Basement as part of his Gathering Mercury tour. As frontman and principal songwriter for eighties hit machine Men at Work, Colin is responsible for one of the most identifiable sounds in pop music. Colin will perform songs from his new album in a night of side-splitting random comedy, as well as selections from his solo albums and fan favourites from the past.
EUGENE 'HIDEAWAY' BRIDGES (USA) SINGS THE SAM COOKE SONGBOOK + JENNY MARIE LANG + KARA GRAINGER
Gifted with not only a great blues voice but with a superb soul delivery Texas-based Eugene 'Hideaway' Bridges pays tribute to one of his great heroes in arguably one of the finest soul singers of all time in Sam Cooke. The song list includes 'Chain Gang', 'Cupid', 'A Change Is Gonna Come', and many more.
At last! The Basement finally again plays host to Bodacious Cowboys, the genius and exhilarating ensemble which pays tribute to the sparkling sounds of Steely Dan conceived many moons ago by uber drummer and MD Kere Buchanan. Along with Kere, back playing is a stellar line-up with the likes of familiar faces Bernie Segedin, Rex Goh, Mark Costa, Bill Risby, Craig Walters and guests Angus Gomm, and Fabian Hevia.
HORSE (SCOTLAND) + SPECIAL GUESTS
Scottish singer-songwriter Horse McDonald has a huge following in the UK and Europe, with her eight albums all charting well across the continent. Her songs are regularly covered by UK pop artists. Here with full band, this will be a must-see show! 'Careful is one of the most perfect pop songs produced in Scotland over the last 20 years . . .' The Inverness Courier
SUMMER AT MACQUARIE PLACE BAR
Join us for Happy Hour and kick back with some cool Summer sounds and drinks to match in our Bar on Macquarie Place with plenty of seating inside and out.
WORLD IN THE BASEMENT FEAT. JOHANNA ELMS + FUEGO LENTO + JAMINO & GROUP LAFAYA
Join us for our ever-popular monthly showcase of Australian world music artists. A marvelous night, curated by iHearMusic.com. A bit of jazz, some sexy Tango and the Mauritian tradition of Sega music all on offer tonight.
MARY KIANI (SCOTLAND)
Mary Kiani is one of Scotland's greatest exports of Song! Well known as the Scottish Songbird who was originally signed with Mercury Records, she has had many international hits in the dance and pop music genre throughout the 90s, in Scotland, England, Europe and Australia. Kiani has always had a passion for the "songbook" style of classic standards which she has been singing throughout her illustrious career.
TANGLED UP IN BOB
Some of Australia's finest live musicians come together for a full-tilt celebration of the songs of Bob Dylan. Led by accomplished singer songwriter Dave Debs, expect the classics: Like A Rolling Stone, Lay Lady Lay, Desolation Row, Just Like A Woman and Tangled Up In Blue among many great Dylan songs performed in a compelling show.
VAN THE MAN
Close your eyes at The Australian Van Morrision Show and it's hard to believe the Irishman is not on stage. The success of this show is attributed to the uncanny vocals Steve Hogan. Expect to hear alltime favourites such as Moondance, Bright Side Of The Road, Brown-Eyed Girl, Gloria, Domino, Baby Please Don't Go and Have I Told You Lately That I Love You.
:fd`e^Jffe9ffbEfn0),().0. J8 K LI;8P),K? - NATIVOSOUL K L<J;8P)/K? - ROOTS CARAVAN FEAT DAN HOPKINS + CARL STEWART + INICIATE K? LIJ;8P(JK - MARK WILKINSON + LISSA =I@;8P)E ; - JAMES MORRISON
THE DRUM MEDIA • 31
IN THE STILL OF THE HYPE YOUTH LAGOON AKA TREVOR POWERS TALKS ANXIETY, ADULATION AND THE CREATION OF A CRITICALLY-ACCLAIMED, PARTIALLY THERAPEUTIC ALBUM RECORDED IN A GARAGE. ANDY HAZEL LEANS IN A LITTLE CLOSER.
still find it strange answering questions about my mind,” Trevor Powers says carefully. “But you do start to get used to it after a while. It’s still strange to me mainly because I don’t know how to explain things. I’ve never been good with words. I’m better at singing than talking.” It’s worth pointing out that Powers is actually very good with lyrics, as emails from empathetic fans around the world attest. His gentle warmth and quiet enthusiasm throughout this interview seem slightly at odds with the fragile lost soul haunting the songs of his album, The Year Of Hibernation. In the case of writing such personal music and seeking an audience for it, most performers have a line dividing what they feel comfortable expressing and what is off
limits. For Powers, a singer who identifies to an unusually strong degree with the acutely honest songwriting of Daniel Johnston, deciding where to draw that line is tricky. “I don’t know if I have decided yet,” he laughs loudly. “I write songs that I feel and ideas that I want to express, the way that I’m interpreting things around me and life I guess, so as far as that goes I don’t really analyse what I can or cannot say or should and shouldn’t say. I’m just writing and I haven’t been analysing that much, not until someone asks me about it anyway,” he explains, lapsing into another easy laugh. Since the release of The Year Of Hibernation, Powers’ life has been taken over by his role as Youth Lagoon. Previously a student at Boise State University who recorded and wrote music in his spare time, in 2010 Powers had to choose between continuing to pay for counselling sessions that had been helping him to manage his chronic anxiety or to record an album. So it was that the album became a vehicle to help him organise his thoughts. “When I write, part of what is going on stems from personal experiences, but also from analysing what’s going on around me. I’d say that process is partially therapeutic.” Though the album revels in intimate beauty, using a garage as a studio, small synths and old pianos – and boasts poetic snapshots of emotional times and places – Powers is still unsure whether the album was ‘successful’ in helping him deal with the issues that prompted its creation. “I think so, but I still have a weird mind,” he admits with another laugh. “It is always therapeutic dealing with things, growing and learning. I don’t think you put something on paper and it’s dealt with just like that; you’re constantly learning and constantly growing and you’re just getting better or wiser about managing. Being busy helps; it helps to keep my mind on other things, when you’re put in different circumstances, you have different anxieties,” he laughs. “It’s always one of those things you’re dealing with, but a lot of people don’t talk about it so much. I actually think it’s really common, but isn’t spoken about very often.” To a certain extent, Powers has found that his music has had similar beneficial effects on other people dealing with severe anxiety, though he’s hesitant to take on the role of a teacher or example of success. “People do write to me and say, ‘I’ve heard you write stuff about anxiety and dealing with your mind,’ but really everyone is so different and people’s minds are structured so differently, it really comes down to that person figuring out their own way. I don’t know much help I can be to them directly, but I’m really glad that my music meant something to them.” Playing his music in a live setting is something that has only recently been considered by Powers. “For the most part I went into recording the album with the mindset of making exactly what I wanted it to be, without thinking about how I’d play it live. Once it was done I was like, ‘Now what? How do I make it happen?’” he pauses. “It was a big process for about four months as far as getting everything together and figuring things out. Like how to use my beat machine and make all the beats happen away from me on stage. I have one person playing with me live, Logan [Hyde], who does the guitar, so with just two people on stage we have to figure out ways to do things. I‘m happy with how it’s been interpreted live; how the songs are expressed. It has a different feel than the album because that was made in such a specific environment. The vocals were recorded dry, without any effects, then played through these two monitors in my friend’s parents’ four-car garage and we captured the natural reverb, then they were recorded in order to get that feeling. On stage, there are different things I’ve done with my voice as far as pedals and effects go.” Fortunately, Powers finds that revisiting the songs so often doesn’t lessen their emotional impact – an impact that many live reviews find compelling. “That’s the only way I know how to play. Music to me takes me back to certain places and events. As for when a show starts, it’s almost impossible for me not to think about when it was written and what was going on – it’s just as emotional if not more so. Playing them over and over, reliving that over and over, I don’t mind that. I don’t know why,” he pauses. “Maybe it’s just because I really enjoy it but then… Man, I don’t know if there is even an answer to that question!” he laughs again. Despite writing the album alone – and having spent very little time by himself since the glowing reviews arrived and incessant touring began – Powers has found inspiration to write a new batch of songs in his now constantly shifting environment. “I’m just always writing and working on ideas. A lot of the time I’m interpreting things around me. I can’t say if it’s more personal than what I’ve done, but the songs definitely act as time capsules. All my music is like that, especially now that I’m going on tour and working on songs in hotel rooms. They come across in a totally different way than if I’m writing at home and these are times I want to remember.” One environment that is a constant for him is his hometown of Boise, a place he mentions at every opportunity and the importance of which is underlined by a tattoo of Idaho on his arm, next to the words ‘Be still’. “I think Idaho is one of the most underrated places in the world,” he says keenly. “The other night I went for a drive into the mountains and… they’re always amazing to me. I’ve always loved camping and exploring the state but recently a friend and I have gotten more into hiking. Some of the Sawtooth Mountains and parts of Idaho National Park are so beautiful. It’s very much a part of who I am.” Here’s hoping he doesn’t lose this connection anytime soon. WHO: Youth Lagoon WHAT: The Year Of Hibernation (Spunk/EMI) WHEN & WHERE: Thursday 16 February, Oxford Art Factory
32 • THE DRUM MEDIA
THE STORY OF THE HURRICANE SYDNEY MUSO PLUTO JONZE HAS AN OBSESSION WITH SHINY THINGS, BUT NOT NECESSARILY SHINY AND NEW. GEARING UP FOR A TOUR WITH CUB SCOUTS, HE TALKS MUSIC, MAINTAINING HIS COOL DESPITE A DESPERATE WANT TO SHOW OFF HIS TUNES AND VINTAGE TELEVISIONS WITH LIZ GIUFFRE.
SOME WOULD CALL IT A FETISH... I JUST LIKE [OLD TV SETS] AND THERE’S SOMETHING ALMOST MORE MAGICAL ABOUT THEM THAN FLATSCREENS OR PROJECTIONS.”
ou’ll know Pluto Jonze from single, Plastic Bag In A Hurricane. And if you don’t know you know, when you hear it, you’ll get it. From the Bowie, Beck and now Gotye school of mixing pop, dance and a love of the slightly raw, the Bondi boy is enjoying mucking around with lots of different types of composition. “Plastic bag… That one was probably just a slight anomaly from the way I normally create, because that one came from a drum loop and so I had this list and the drum loop first, then I came up with the melody and words and title around that. Whereas normally I’d have the idea for the melody or hook before that and then delve into my library and try and produce around that, but with that one the production almost came first and inspired the melody and lyrics. Every song comes out differently, but as a general rule I’d go the other way around,” Jonze explains. Don’t be fooled into thinking that the result will be vaguely contemplative or sedate, a little like the other famous ‘plastic bag in the wind’ moment, the haunting mind trip that was Alan Ball’s American Beauty. Here Jonze goes right for the jugular, driving the drum and overdrawn guitar with a very singable chorus and strange little string sample for good measure. “I think with my music, it’s that tension or mixture between the really clean and the really rough. They sort of complement each other, I guess, like the strings versus the guitar in Plastic Bag In A Hurricane. It just sets up a nice tension for me and then yeah, it just pushes my buttons.” Pausing, then laughing, he adds, “I’m not giving very good answers here, it’s just that I like stuff. I can’t explain it.” One of the things that falls into the “I like stuff” category for Jonze is a strange, but endearing, love of old TV sets, as shown in the Plastic Bag… video and promo material. It’s real, friends, not a style thing. “Yes, some would call it a fetish. I don’t know, I just like them and there’s something almost more magical about them than flatscreens or projections. And it’s sort of like there’s something in the box, whatever’s being shown, it’s literally in the box. It seems less magical when it’s on a flatscreen. I think I’d even prefer retro TVs to holograms when they come along,” he laughs. “And they’re all round edges and the dials on there, it’s got that Jetsons-y, sort of thing going on. I just like them, I guess, the VHS sort of static-y thing going on. It’s one of those things that reminds me of growing up, as I was growing up when it was still all VHS. And so a bit of nostalgia, all that sort of analogue tape-y stuff reminds me of a lot of the music that influenced me. That sixties, seventies stuff that was all analogue tape stuff that would get chewed up if you played it wrong. And it’s something that’s pretty much totally obsolete now and I guess that’s why I like it – you just don’t see it anymore.” Along with previous single, Meet You Under Neon, Jonze is certainly carving a name for himself as someone who likes to explore the stuff he likes. However he’s also keen to try and get the best out of it. The previous track is a little more understated, but still with a mishmash of styles and ideas – and that’ something that he’s aware needs to be carefully managed. The delicate dance over getting the right approach, the right mix and the right timing for launching an album is one that seems to be more and more important for new artists these days and one that Jonze manages – if not with a little (healthy) impatience. “I think we’ll do one more single about March or something like that and depending on how that goes, I think, we were possibly thinking of making another EP first to basically just get in a really good position to release an album. We just want to make sure that when we do drop the album we’re all in a really good place.” When prompted, ever so gently, about whether or not he just wants to get it all out there sooner rather than later, he chimes sweetly like an excited pup. “Yep! I’m really excited about a lot of these songs and I pretty much have enough material for an album now, but you know, it’s a big learning curve this year. You’ve gotta have your one song to announce yourself and that’s gotta get around the traps and get into people’s minds, to get you in a certain space. So that takes a long time to happen in the first place; that’s got to take a while to get going. Whereas if I were doing it, if I were managing and labelling myself, I would have released over twenty songs by now [laughs], but you know, you’ve gotta get them all mixed well and all that, so it’s worth the wait.” Jonze’s enthusiasm will be a live audience’s gain, however, as his upcoming tour will be a place where we can get to hear great previews of tomorrow’s tunes rather than a debut set with padding and covers fodder. Taking to the road on a double-header bill with Brissie kids Cub Scouts called the Hurricane Evie Tour, the two outfits will help give lovers of new music lots to get their teeth into and plenty to look forward to for the rest of the year. “There are a lot of the songs that we’re doing live and have pretty down live, they’re still a few months away from being released, so yeah, bragging rights of hearing them first,” Jonze confirms. “I think the basic idea is that we’re two acts that are at the same level, having just made a little drop in the ocean and we can use each other. Perhaps if we were headlining on our own, maybe less people would come in different places, so it’s about getting people more excited in more places... and there are supports as well, so you’re getting four bands for the price of one.” WHO: Pluto Jonze WHEN & WHERE: Friday 17 February, The Standard; Saturday 18, Yours & Owls, Wollongong; Sunday 4 March, Playground Weekender, Del Rio Riverside Resort; Thursday 8, Wollongong University
34 • THE DRUM MEDIA
JUST ONE OF THOSE DAYS WHATEVER YOU THINK OF HIM YOU CAN’T IGNORE THE HUMAN HEADLINE THAT IS FRED DURST. ON THE EVE OF LIMP BIZKIT’S FIRST AUSTRALIAN TOUR IN ALMOST A DECADE, MARK HEBBLEWHITE CAUGHT UP WITH THE MAN HIMSELF. READ ON – YOU KNOW YOU CAN’T HELP YOURSELF.
t’s hard to believe that the humble, quietly-spoken voice that comes down the phone line belongs to what many people think is one of rock’s most egotistical blowhards. Could it be that Limp Bizkit frontman Fred Durst has learnt from the self-inflicted dramas stemming from his somewhat unfortunate habit of ramming both his feet down his own throat every time he found himself in front of a microphone or camera? There’s no doubt that the Fred Durst of 2012 is a far different man than the red-capped devil who polarised the music world back in the heyday of nu metal, a genre Durst himself helped create. Instead, hard experience seems to have tempered Durst’s cavalier attitude and nowhere is this seen more than in the tragic death of teenager Jessica Michalik during Limp Bizkit’s set at the 2001 Sydney Big Day Out. On being told organisers of the Big Day Out this year chose not to use the ‘D barriers’ (installed to control crowds more effectively following the tragedy) at a number of the smaller events, Durst is almost lost for words. Unaware that this had occurred his words are laced with hesitation and shock. “Oh my gosh, I can’t believe that. Are you serious? I would think that, you know… after all that… I would hope they would learn. We’ve all learned – that whole day of arguing with them before we went on. I can’t imagine that that would happen again. I don’t even know what to say about that.”
I DON’T HAVE TIME TO CHANGE PEOPLE’S OPINIONS ONE BY ONE AND ONCE SOMETHING IS OUT THERE, IT JUST TAKES ON A LIFE OF ITS OWN.”
It’s obvious that the event still weighs heavily on Durst’s mind and he makes it clear that Michalik remains in his mind and he plans to meet her father George when he returns to Australia. “Every time I think of that terrible tragedy I think of my daughter and my son. The loss he’s [George Michalik] had, it breaks my heart; it just really tortures me inside. The fact he can continue to get up every day and breathe and live and remain positive is unbelievably powerful.” For a long time following the tragedy Durst and his bandmates made it clear they could not see themselves ever returning to Australia. So what changed their minds? “You know, for one thing the security measures that are taken now and the awareness displayed by promoters with regards to safety has greatly improved. We’re also neurotic about safety and the environment we create for people to enjoy the Limp Bizkit experience – so that’s a positive as well. We always used to have a great time in Australia, but when all this happened it created a burden that was so heavy we thought it would never leave us. It was a scar we thought we’d always carry. But now, we want to come back to honour Jessica, to make sure everyone at our show has a great experience – and a safe experience.” Limp Bizkit’s return has of course been shrouded in drama. In October last year, before the announcement that the band would play Soundwave, Durst tweeted that the band would be playing Australia in February. This set off a firestorm of speculation that only ended with the official announcement of the band’s inclusion on the Soundwave roster. Was Durst’s tweet a cunning pre-emptive marketing ploy? Or was it just a big misunderstanding? “No, I had no idea that it caused such a ruckus,” he laughs. “Really I was just so excited that we were coming back and I love using social media to connect with our friends and fans to spread the word. I’m just glad everything fell into place this time and that we’ll be finally playing Australia again.” When the Soundwav news broke, it wasn’t just the punters who had something to say. Courtney Love, herself something of a divisive figure, promptly announced that because of Limp Bizkit’s inclusion Hole, also scheduled to perform at the festival, would be dropping off the bill. Asked about Love’s rather blunt statement that she would never agree to open for Limp Bizkit, Durst quickly turns from sober elder statesman back into insult-spitting rock star. “Man that girl’s crazy. She’s full of shit. She’ll see me out here in Hollywood and be so nice and just claim to be ‘stirring up some shit’ for a laugh. But when I hear what she said I just think, ‘Man give me a break’ – she probably just didn’t want to come or had some other reasons. As far as I’m concerned she’s just using us a scapegoat.” Durst is fully aware of the fact that his reputation precedes him and admits it can be tiring being a larger than life caricature instead of just an everyday artist. “I just try and tune all the nonsense out. I try not to read all the stuff that’s out there about me because I don’t see the point. Really I don’t have any choice because for a while there it got bigger than me and so crazy that there was nothing I could do to stop it. I’ll still run into people who hate me because of something they think I’ve done or said and after they spend some time with me, they realise I’m not a bad guy. Unfortunately I don’t have time to change people’s opinions one by one and once something is out there, it just takes on a life of its own. I don’t expect it to change anytime soon”. Despite living in the shadow of his own persona, Durst is confident the future will bring good things for himself and Limp Bizkit. “The Gold Cobra record has been doing really well, which is great, because really it was just our golden ticket to get off Interscope Records and away from that whole broken business model employed by record companies. That was our goodbye – a fun little record that collected a whole bunch of things we’d been working on in the one spot. Now we’re free to do things for ourselves – no dealing with people who don’t understand Limp Bizkit and don’t know what to do with us. There will be some news on what we’re doing next really, really soon. I can’t spill it yet, but it’s going to be really exciting. And of course most exciting of all is the fact we’ll be down in Australia playing some shows. It’s going to be wild. We never settle on a setlist more than a few minutes before we go on stage – we don’t want things to feel contrived and we just go by the way we feel that day. It all depends on what tempo journey we want to go on and what the vibe is backstage. So beyond the fact that we’ll be playing Break Stuff, I have no idea what we’ll be playing.” WHO: Limp Bizkit WHEN & WHERE: Sunday 26 February, Soundwave, Sydney Showground
THE DRUM MEDIA • 35
GROUP THERAPY CASS MCCOMBS DROPPED TWO RECORDS IN QUICK SUCCESSION LAST YEAR AND DOUG WALLEN DISCOVERS THE PROLIFIC ARTIST PREFERS HIS RECORDS “TO SOUND LIKE THEY’RE VERY HAPHAZARD AND ALMOST AN INSULT TO THE RECORDING PROFESSION”.
ass McCombs is the kind of iconoclast that seem all but extinct in the music industry today. Not that you’d accuse him of operating comfortably in said industry: the mercurial American songwriter with six unique albums under his belt seems to exist in a universe all his own. But with two of those albums released last year and his longawaited debut Australian tour finally upon us, McCombs’ profile here has never been higher. Still, he’s hardly a rockstar. In fact, when asked about his touring set-up, McCombs points out that he never really performs all by himself. He always has a band, though the line-up shifts with each tour. “I have a huge cast of players,” he demurs. “But it’s definitely a band. You could hardly even say I’m the leader, because we have a group mentality. We improvise a lot, and try to take it as far out as we possibly can.”
That means fans waiting to see him ever since his first album back in 2003 shouldn’t expect faithful renditions of the man’s back catalogue, which already varies quite unpredictably from song to song and album to album. Just last year McCombs casually showed off his range by following up April’s soft, thoughtful Wit’s End with November’s harder, harsher Humor Risk. The former could be the lost opus of some poetic crooner, while the latter bristles with restless edges. But considering the aforementioned improvisation between McCombs and band, just how different will the live versions be? “Totally different,” he assures. “We don’t even listen to the recordings as a guide. They might be in a different key.” Is that mainly to keep things interesting on their end? “Yeah,” he answers. “It also keeps us connected. Rather than be anchored down to a recording from the distant past, it helps the camaraderie and creativity in the group to come up with our own language and interpretation of what are pretty simple songs.” The one time I’ve seen McCombs live, he was touring the US with Ariel Pink while sharing a backing band. It was quite the double bill of uncompromising eccentrics; like Pink, McCombs has been known to say things in interviews that aren’t part of the typical white-
washed PR cycle. For example, when asked about the way his two latest albums were recorded piecemeal across homes and studios in California, New York, New Jersey and Chicago, his response is a corker. “I don’t put a lot of thought into my records,” he asserts. “I put most of my time into the writing of songs and the contemplating of ideas. Just studying, really. Recording is not my forte. I like the recording to sound disastrous: I don’t like squeaky, polished, clean recordings. I like them to sound like they’re very haphazard and almost an insult to the recording profession.” The funny thing is, the recording quality on both Wit’s End and Humor Risk is top-notch. That’s thanks in part to co-producer Ariel Rechtshaid, who’s also done great work with recent Laneway visitors Glasser and Active Child. And when it comes down to it, the opening one-two of ballads County Line and The Lonely Doll on Wit’s End are so gorgeously rendered that fans wouldn’t likely change a single thing. Even the brasher Kinks-isms of Humor Risk tunes such as Love Thine Enemy and Mystery Mail aren’t as “disastrous”-sounding as they are faintly scuffed. But it’s not recording as a whole that McCombs reacts against. It’s more the time-honoured tradition of paying good money for studio time and then being stuck with the results. That’s why it’s preferable to mess around with casual collaborators like JR White from Girls, who revealed in a recent interview that he’s done recordings with McCombs, if not quite “anything fit for release”. “It’s a fun thing to do, just to hang out with musicians,” says McCombs. “If you’re not spending a lot of money, then it’s really fun. The times that I’ve gone into the studio and wasted thousands of dollars, the recording turns out awful and everyone sounds uptight and very conservative and self-conscious. I can trash it because of that reason. I feel like I got scammed, y’know? So I just don’t care.” While it’s tempting to keep comparing his latest two albums, he points out that they were recorded several years apart. Wit’s End was cut around the same time as 2009’s Catacombs and worked on periodically since,
whereas Humor Risk “we just punched out real quick last year”. Both just happened to come out in 2011, because McCombs wanted them released as soon as possible. “There’s nothing worse than sitting on songs that you want people to know about,” he observes.
including those of Wit’s End – two friends do the translations. And no, not because McCombs speaks the language or has some disproportionately large following in Germany, quite the opposite: he hasn’t toured there much at all. Rather, he’s simply intrigued by the process.
Still, there are certain constants between many of his records. One is utilising the artwork of his close friend Albert Herter, who also handles the visual side of McCombs’ merchandise and film clips. “He’s the eyes of the organisation,” he confirms. “A lot of the songs are a result of our friendship and our creative relationship.” Laughing, he shares: “I’m coming from his house now, where he just covered my face with make-up and paint and stuck me in a box of mirrors.”
“When [I’m asked] certain questions about their translation,” he recounts, “I then realise the possibilities there are within a translation: How one little word can change the meaning. I don’t speak any other language, but I find it fascinating.”
Herter’s work takes as many shapes as McCombs’. “We both work in a similar way,” notes McCombs, “where we’re doing our thing and they reveal themselves as something else. I don’t write songs for albums, and he doesn’t make drawings for exhibits. I don’t know why we do it: we just do it, kind of as a daily ritual.” In another interesting tradition, McCombs has had the lyrics of several of his albums translated into German,
Between his band’s freedom live and the potential altered meaning of those translated lyrics, one can imagine the songs of Cass McCombs existing ever in flux. “I would agree with that,” he grants. “I think there needs to be more risk-taking in general,” he continues. “And I think part of taking risks is just trying everything you can to provoke people. And not being afraid to be wrong.” WHO: Cass McCombs WHEN & WHERE: Saturday 18 February, The Standard
DRILL JUST WHEN YOU THOUGHT THE THERAPY HAD PAID FOR ITSELF...
ZEAHORSE TOYDEATH MANIC SLEEPER CELL
Friday 24th February The Sandringham Hotel, Newtown www.zombiedogentertainment.com
36 • THE DRUM MEDIA
THE CREEPY SPECIAL-NEEDS EAR-DAMAGE RETURNS.
BACK IN BLACK NORWAY’S NEW AGE ROCK-PUNK-METAL HYBRIDS KVELERTAK ARE THANKFUL TO BE COMING TO AUSTRALIA THIS MONTH FOLLOWING THE CANCELLATION OF THEIR INITIALLY PROPOSED SOUNDWAVE REVOLUTION APPEARANCE LAST YEAR. GUITARIST VIDAR LANDA SPEAKS WITH LOCHLAN WATT. TWICE.
s a musical entity, Kvelertak is a breath of fresh air that came out of nowhere. Their self-titled debut album, recorded by none other than Kurt Ballou of Converge and released on vintage Norwegian metal label Indie Recordings in June 2010, saw the band rise from complete obscurity to high international praise in a matter of months. Last year the six-piece toured the USA with Skeletonwitch and were scheduled to appear at the ill-fated Soundwave Revolution, plus nailed their first headlining European tour with bands as legendary as Doomriders and Toxic Holocaust in tow. Having only released a prior demo back in 2007, Vidar Landa, who is one of the band’s three guitarists, explains the gradual formation of Kvelertak in his initial pre-Revolution chat. “We started in 2006. Erlend [Hjelvik] our singer and Bjarte [Rolland] our guitarist kind of started the band off. They lived in the countryside, well not the countryside, but the countryside of Stavanger and they wanted to form a band. They found Marvin [Nygaard], our bass player, who was a friend of mine and then we all got together and started to rehearse and make some songs. That was the beginning of the band. And then some line-up changes in 2008: we got a new drummer. In the beginning Marvin, our bass player was playing drums and I wanted to play guitar, but then I was playing bass. So we did some changes, we got a new drummer Kjetil [Gjermundrød] and then Maciek [Ofstad], our last guitar player, also came into the band. So yeah, I would say from 2008 is from when the band started to be really serious and had like, the second coming.” He insists that the band’s sound, which has pulled various comparisons to a ‘black’n’roll’ mixture of groups like Turbonegro, Mayhem, AC/DC, Black Flag, Satyricon and The Stooges – as well as their eventual success – was never a part of any plan or greater vision. “In the beginning everything was going really slow. When we started we didn’t have any ambitions at all. Well at least I didn’t. For me, Kvelertak was just friends playing together. I was in another band before and we always had all these ambitions. But I was tired of that and it
was cool to just be in a band with a bunch of friends and just have fun. About two years after, the songs were getting better and I think all of us just realised that this band actually could record an album and do something more. That’s also when we changed the line-up a bit. We wanted to wait. We wanted the album to be really good.” Not only was a Kvelertak a secret to the world before their debut dropped, the rest of Europe was also fairly oblivious to their presence. “We did a lot of touring and playing shows in Norway, but we didn’t really tour Europe before the album came out. With Kurt, we just sent him a message on MySpace, with some of our demos and songs. We didn’t really think that he would respond or anything, but we thought that we might as well give it a shot, because he was on like our dream list of producers. I think he took half a day and then he responded and said he really liked the songs and that we should come over and record with him. So that kind of really was a kickstart.” What’s also surprising about the band’s success is that the band’s lyrics are written and sung completely in their native tongue.
cancelled. So yeah, for us it turned out pretty good actually. I don’t really know... I don’t know if there’s any difference between Soundwave and Soundwave Revolution, but I understood that Soundwave was pretty good as well and I think the weather is also warmer and better at this time of year. Right now it’s freezing cold here, with snow everywhere, so... “I’m always excited about seeing Mastodon,” he says in response to Soundwave’s epic line-up. “I saw them last week here in Oslo. We’re doing some sideshows with Mastodon and Gojira as well. I’m looking at the lineup right now,” he says, eyes clearly scanning a computer screen, “Watain, I’m looking forward to see and I guess it’d be cool to see CroMags if I get the opportunity. But there is a lot of bands I don’t really know about here. Slipknot is always cool to see live, even though I’m not a huge fan.”
“Erlend said that if he ever starts singing in English, everyone can come punch him in the face,” laughs Landa with a hint of seriousness. “I don’t think it’s going to happen. Singing in Norwegian is a part of the band’s identity. I think we would feel really stupid to change that.” Bringing it forward to 2012, the guitarist reveals (with a noticeably more internationally balanced accent than the first time) their sadness at the cancellation of Soundwave Revolution.
In his initial interview, Landa claimed the band would start work on their new album over the Christmas break. To what extent did that eventuate?
“That was shortly after we did all those interviews I think. I was sitting at home almost a whole day talking with Australians about how stoked we were to be coming to Australia and then two days later it was cancelled. It was a total bummer.”
“Yeah well, we made two new songs,” he says with a hint of a grin. “But yeah, everything has been a little delayed because we’ve been so busy. But the plan now is – and I think we’re going to stick to that – is we’re going to record a new album in September. So we
Continuing, he reveals that “we got an offer about that maybe a couple of weeks after Revolution was
will use this spring just to rehearse, make a bunch of awesome songs and then record in September. So, yeah, hopefully we’ll have an album out by the end of the year.” He goes on to reveal that they will be returning to God City Studios in the USA to work with producer Kurt Ballou once more, stating that “we still sound the same so it makes sense to just do it all over again. I don’t really know anybody that can produce a sound that’s so heavy and so good right now. It fits us so good”. With Australia their first tour of the year, where does Kvelertak take it from here? “Hopefully a lot of the places we haven’t been yet,” says Landa. “There’s a lot of cities and countries we haven’t been to in Europe, like Spain and Portugal. Then we’re going back to the US again and cities and countries we haven’t been to. We’re doing cities we haven’t done before. A few festivals. But just rehearse and make a new record is kind of the first priority.” WHO: Kvelertak WHEN & WHERE: Sunday 26 February, Soundwave Festival, Sydney Showground; Thursday 1 March, The Hi-Fi
HAPPY HOUSE LCD SOUNDSYSTEM MAY BE DONE, BUT DFA IS STRONGER THAN EVER AND MOST OF THE GANG ARE HEADED OUR WAY FOR FUTURE MUSIC FESTIVAL. TROY MUTTON TALKS NEW ALBUMS, PROJECTS AND DJING WITH FAMILY MEMBER THE JUAN MACLEAN.
n affable, relaxed voice comes down the line from New York, where John MacLean, the brains behind the operation, The Juan Maclean, is at home having a ‘break’ from his relentless touring and DJing schedule. “Yeah,” he starts, laughing, “I have had a break in that I haven’t played since Saturday night. And then I leave again on Friday for two months.” It’s been pretty much par for the course for MacLean, who over the past couple of years since the release of his critically successful second album, The Future Will Come, featuring the much-adored disco-house epic, Happy House, has spent much of his time manning the ones and twos all over the world. While the live show has cooled down (drummer Jerry Fuchs sadly passed away late 2009), he’s been kept insanely busy DJing, producing, remixing, forming new projects, releasing 12”s, hanging out with good friend James Murphy (LCD Soundsystem and DFA Records founder) and, well, not really getting to work on album number three. “That’s what ends up happening. When I have an album come out I go and tour with my live band for the course of an album campaign, then I just go right back to DJing again, you know? I just DJ so much I end up out on the road and when I wasn’t paying attention a couple years have gone by. And also doing a lot of remixes as well, it just doesn’t leave time to make music, which is actually good for me because it kinda clears my head and when it’s time to make an album again, I’m really excited to do it.” MacLean did take the time last year to release the oddsand-ends album, Everybody Get Close, full of rarities and other tricks and treats, mainly just to remind everyone he’s not just a happy house DJ and clear out any existing cobwebs. “It was just something to get back on the radar, releasing stuff and just a chance to release a bunch of things that I wanted to release properly that for whatever reason didn’t get released before – kinda clear the slate for getting ready for the new album.” He insists, much like the name of his 2009 album, that the future is coming though and he’s been working a lot 38 • THE DRUM MEDIA
with partner in crime Nancy Whang (also a member of the late LCD Soundsystem) getting the record together. “Well the new album is a lot like my last album in that it’s the direction of sort of synth-pop tracks with proper verses and choruses as opposed to loopier, impressionistic electronic tracks. So in that way it’s a lot like The Future Will Come; there’s definitely paying a lot of attention to vocal hooks and melodies and things like that, instead of just longer, loopier things.” The loopier things he refers to is his penchant of producing really deep, long house tracks more suited to MacLean’s DJ sets than any potential live setting. He’s even created an entirely different project for it. “Peach Melba is always totally different. The Nancy stuff is gonna be proper Juan MacLean records with Nancy singing… [but] if I wanna release just pure house music, no concern for home listening or something, it’s just stuff that’s meant for DJing essentially.” It’s a separation he not only enjoys, but finds important. “Yeah with Juan Maclean stuff it will always be with Nancy, like I would never do anything with anyone else. With Peach Melba it gave me a chance to do stuff with other vocalists or whatever. Also Juan MacLean stuff will always be a bit more song oriented.” Even given that, he’s still working on some other 12”s with Whang, again different to the traditional Juan MacLean sound. It’s all feeding his DJ desires, which rather than use for ideas when it comes to the traditional Juan MacLean sound, form an independent inspiration of sorts. “When you’re DJing that much you get a real sense of what works in clubs and what doesn’t. In terms of album material, it’s just more all the other stuff that goes along with being a travelling DJ, living life on the road and all those experiences… It’s a lot of what becomes the inspiration for making music, being exposed to stuff all over the world.” And when asked if the constant DJing lifestyle affects the Juan MacLean live show, MacLean actually feels the opposite, drawing on his past live experiences to help him read crowds down in the club. “I think
coming from a live music background definitely makes people better DJs in a sense. I’m definitely pretty attuned to what’s going on in a room in a club, what people are responding to, what they’re not responding to and being able to feel out what to do from that, as opposed to just standing up there and playing a series of tracks with no concern for what’s going on. And it just gives you an ear for the flow and dynamics of music over the course of a couple of hours.” And so this is what we have to look forward to come Future Music Festival, where he’ll be joined by a fair chunk of the DFA family, on a DFA-freaking-stage! James Murphy and friend/LCD drummer Pat Mahoney are also manning the decks, plus labelmates Holy Ghost! and The Rapture will be there, albeit on a different stage. It means MacLean doesn’t necessarily have to worry about the typical festival crowd hankering for the bangers. “For festivals I normally change it up quite a bit. For one thing you’re usually playing for like an hour – it’s not a long time – and you’ve really gotta play – just because of what sound systems are like outdoors – you
have to play more minimal, harder-hitting things. And to keep people’s attention in that setting as well because it’s not that intimate obviously, you kinda just have to play much bigger tracks. But with the Future Music Festival, since it’s all DFA acts on the stage, it actually gives me a bit more leeway to be a little bit deeper. I don’t feel like I have to just go and bang it out.” Plus he gets to tour Australia with his second family. “More than anything DFA… you know it started as a group of friends getting together and it’s more or less remained that way. You know, like LCD, me, Holy Ghost!, Shit Robot, The Rapture… We were just all friends that make music together. More than a label, it’s just more like a close-knit group of friends who make this music together.” WHO: The Juan MacLean WHEN & WHERE: Saturday 10 March, Future Music Festival, Royal Randwick Racecourse
THE DRUM MEDIA • 39
SONGS FOR A SOUL MAN
ENGLISH SINGER/SONGWRITER, MUSICIAN, PRODUCER AND GO-TO SIDEMAN NICK LOWE IS LOOKING BACK ON HIS NEW ALBUM, THE OLD MAGIC, AS HE TELLS MICHAEL SMITH.
HE MAY BE THE QUINTESSENTIAL SOUL BLUESMAN, BUT EUGENE ‘HIDEAWAY’ BRIDGES CAN HONESTLY SAY A PIECE OF HIS HEART BELONGS TO AUSTRALIA, AS MICHAEL SMITH DISCOVERS.
retty much every international artist or band that comes to Australia will tell you they love the place, but very few can say that they’ve been so warmly embraced by us that they’ve chalked up at least 27 visits in just over a decade. Eugene ‘Hideaway’ Bridges can proudly boast just that. “Just last year I’ve been to Australia three times,” Bridges admits. “I circled the globe three times, straight from LA to Sydney over to New York, LA-Sydney-London, LA-Sydney-London, three times in a row just last year alone.” So you have to wonder when he gets the chance to write, because as well as pretty much constantly touring, he’s been able to pump out five albums over that decade or so, with the most recent being 2011’s Rock & A Hard Place. “Matter of fact, I’m writing almost every day,” he explains. “I’m writing when I’m driving, I’m writing when I’m sitting; I have time off in Bangkok in between the [forthcoming] Asian shows and we’re writing two new albums right now – a solo blues album with a few special guests and an Americana album, which is more like a bluesy, countryish but kinda regular Americana folk music, which will be recorded soon.” And while he might be perceived as a Texas soul blues singer and guitarist, that’s selling short his extraordinarily broad musical palette, as anyone who’s seen Bridges perform or only listened to Rock & A Hard Place will be well aware. “Rock & A Hard Place is a potion of doo-wop, be-bop, swing, blues, country, gospel, rock, heavy rock… Yeah, quite a bit of the stuff I do. Not everything I do, but quite a bit.” Rather than showcasing that album, the first headline show of this latest Australian tour will see Bridges celebrating the musical legacy of the late, great Sam Cooke, with local guests Jenny Marie Lang and Kara Grainger. “The man who invented soul,” Bridges emphasises. “It’s dedicated to the memory of Sam Cooke, who would have celebrated his 81st birthday this
past January 22nd and his work has been overlooked – not forgotten – but we’re here to remind people who he is and bring back the Sam Cooke songbook and keep that vibe alive and never let it die out. “On all my albums you’ll hear a Sam Cooke style in there, so we’ll let people know where some of the basis of my style comes from. Every chance I get I record a Sam Cooke track. You hear some Sam Cooke in the early [group in which Bridges performed] Mighty Clouds Of Joy gospel; you hear some country music, you hear some Sam Cooke in there. When you hear The Temptations, anything from Stax or anything from Motown, you definitely will hear a lot of Sam Cooke in there. “I was a year old when Sam died, but I met his brother, LC. When I was with The New Chosen gospel singers I met The Soul Stirrers – the group Sam used to sing with – and the lead singer, Willie Rogers, he introduced me to LC Cooke who was not only Sam’s closest friend but also closest brother and they wrote songs together back in the day.” This first show Bridges will be presenting on this tour is at The Basement, which was the first Australian venue he ever played, back in 1999 when he was invited to showcase his then latest album, Born To Be Blue. “That made me fall in love,” he admits, “with Australia.” WHO: Eugene ‘Hideaway’ Bridges WHAT: Rock & A Hard Place (Armadillo) WHEN & WHERE: Friday 17 February, The Basement; Saturday 18, Brass Monkey; Friday 2 March, Lizotte’s, Kincumber; Saturday 3, Lizotte’s, Dee Why; Sunday 4, Lizotte’s, Newcastle; Friday 6 and Sunday 8 April, Bluesfest, Tyagarah Tea Tree Farm
“Aztec ran a series of concerts [in Melbourne], the Rock Of Ages concerts they called them,” Keays explains, “getting together some of the bands they’d released on the label and doing a concert. That included the Masters and that’s where Ted saw me performing and actually what had happened is that one of my guitarists that I was using in the band for those gigs couldn’t make it at the last minute and Ted suggested Davey and that’s when the nucleus of the idea came about. Davey’s not only an inspired choice but he looks like somebody that’s stepped off the cover of a Masters Apprentices album in 1968.” The Davey in question was Davey Lane, best known these days as guitarist with You Am I, but also a member of The Pictures. It was The Pictures’ drummer, Brett Wolfenden, who Lane then suggested for the sessions for what became the Dirty Dirty album, with Lethborg not only producing, mixing and mastering but also on bass duties. “I didn’t expect to get it recorded let alone get a record deal,” Keays admits. “Ted drove the whole project really. He had the idea of me doing a sort of garage punk album and, as it turns out, it’s not really garage punk. I suppose the early Masters stuff – Undecided, Buried & Dead, those sorts of things – they call it garage punk now, but it was just rock’n’roll to us. There are some garage-y songs on it, but when we started recording it, we sort of realised we couldn’t make them be garage songs; we just had to let them take their own course – and they did.” 40 • THE DRUM MEDIA
“Yes, I suppose so,” Lowe admits, on the line from London. “It’s a curious thing about getting older in this business that there actually wasn’t a job available of my age [he turns 63 during his Australian tour] until fairly recently. Now they’re four a penny, you know – Bob Dylan and Paul Simon – I mean they’re all doing very good work. It’s not like they’re just still grinding ‘round the circuit on their past glories; they’re still serious artists and their records are considered. “One of the perks of being lucky enough to still have a career in your sixties and to still be writing is that you lose a lot of the youthful snobbery, I think, that certainly my generation had. It wasn’t all our fault, but our generation rejected our parents’ music when rock’n’roll came along. It was like, ‘We don’t need your stuff.’ Nowadays of course that’s not the case, kids and their parents all like the same stuff in many cases. When you get older, a lot of that sort of nonsense all goes by the board and suddenly you start to see how great Peggy Lee is or someone who my folks used to listen to and I always liked it back then, but when I became a teenager it was, ‘Ooh no, no, no.’ It took me to the age of about forty to actually figure it out, but I’m glad I finally did,” he laughs. The advantage Lowe had in coming to terms with his parents’ music was that he’s a songwriter and ultimately heard the incredible craft behind
that music, in the songwriting of people like Cole Porter, Johnny Mercer and Irving Berlin. “I always loved American music of any stripe, be it straight pop or country and western, blues or gospel, but also Broadway and film music and things like that. I always loved that stuff and I love what happened to that music when it came across the Atlantic to us and to Europe, so I also love French and Italian pop music, which is sort of a joke but there’s something in there that is sort of cool. If you mix it up – mix and match – you can come up with something really interesting and kinda hip. “I’m not trying to take the old masters on [with The Old Magic] – I am trying to make pop music, which is fairly disposable – but I like the skill and the craft of songwriting, which I think is kind of dying out now,” Lowe laughs again, “but I still enjoy it.” WHO: Nick Lowe WHAT: The Old Magic (Proper/The Planet Company) WHEN & WHERE: Thursday 29 March, Sydney Opera House Concert Hall; Thursday 5 April, Bluesfest, Tyagarah Tea Tree Farm
ALL ABOUT THE SONG
BACK IN ’65, JIM KEAYS FRONTED ONE OF THE MOST EXCITING AND ULTIMATELY SUCCESSFUL R&B/BLUESBASED “GARAGE BANDS” IN THE COUNTRY. NOW HE’S 65 AND JUST CUT A SURPRISINGLY YOUTHFUL “GARAGE ROCK” ALBUM. MICHAEL SMITH INVESTIGATES. he story actually begins in 2009 when Melbournebased Australian classic rock album reissue specialists decided it was time the self-titled debut album from the originally Adelaide-based “mod” blues rockers The Masters Apprentices was given the Aztec makeover. That’s how the band’s singer and only real constant across the years, Jim Keays, met Aztec’s in-house mastering engineer and producer, Ted Lethborg.
ick Lowe is probably best known for singles like Cruel To Be Kind and I Love The Sound Of Breaking Glass, as well as (What’s So Funny ‘Bout) Peace, Love & Understanding, a hit for Elvis Costello, whose first few albums he produced. He is one of the UK’s great punk/ new wave survivors, a musical artisan rather than a pop star, as happy being in back of the likes of Costello and Ry Cooder or just part of the band, as he’s been with Brinsley Schwarz and Rockpile. Last year he released his 13th solo album, The Old Magic, an album that digs back, stylistically, to the kind of music popular when he was a kid.
FOR THE WIDOWBIRDS, IT WAS ALWAYS GOING TO BE ABOUT THE SONG, EVEN BEFORE THERE WAS A BAND, AS MICHAEL SMITH DISCOVERS FROM VOCALIST SIMON MELI.
Lethborg put together a compilation of “one-hit wonders, garage and freak-beat” tracks from the ‘60s from the likes of obscurities like Wimple Winch and better known acts like The Move, Them and, stretching the envelope out of the ‘60s, Crazy Horse and The Flaming Groovies, from which Keays then chose songs that he felt he could do justice and imbue something of himself. Initially though, it was just meant to be a bit of fun rather than a recording project. “I only knew probably ten percent of them, you know – and about eight of the songs from that ended up on the CD. Midnight Bus was one of my choices and that’s the black sheep of the family I think, but people liked it and said keep it there. The best-known version here was Betty McQuade [who had a hit with it in Melbourne in 1963] – she died a couple of months ago. I didn’t know her but I always remembered that song. It was originally done by an American – John D Loudermilk – and I’ve always liked it. And another one I knew was Mystic Eyes by Them and Do Ya, by The Move. I wanted to do a Move song because The Masters used to do a couple of Move songs on stage – they were really sort of a mod band. “But I was mindful of making all these songs my own rather than karaoke versions, you know? But initially it was done as a bit of fun and then thought let’s record a couple of these tracks, so I put up the money, recorded six tracks and they came up so well. My voice still sounds youthful! I’m lucky.” WHO: Jim Keays WHAT: Dirty Dirty (Shock) WHEN & WHERE: Thursday 16 February, Lizotte’s, Newcastle; Friday 17, Lizotte’s, Dee Why; Sunday 19, Lizotte’s, Kincumber
t took us two years to write and record it,” Simon Meli, one half of the songwriting team with Tony Kvesic that is the core of The Widowbirds, explains the genesis of and diversity in their debut album, Shenandoah. “I was at the time living in the [Blue] Mountains, so maybe my pace of life was laidback and a little more countrified to an extent, but it was always something that I’d wanted to portray in some of my songwriting, especially this being the first sort of bite of the cherry to give people an insight into all different ‘slash’ genres ‘slash’ this that I liked.” And diverse Shenandoah is, ranging as it does from acoustic guitar and “countrified” block harmonies, through to epic rock soundscapes and all points, referencing the likes of Rod Stewart & The Faces through Crosby, Stills & Nash to Led Zeppelin and in between. Some of you might have even heard Meli performing the odd Zep song around town the past couple of years, but you might also remember him and fellow guitarist Kvesic in their previous band Ooh La La, to which, in a lot of ways, The Widowbirds is a reaction. “I think we felt a little bit trapped under the rock’n’roll banner in the previous band and, as we’re maturing – not only as songwriters but also in the stories that we’ve experienced in getting them to record is what we were attracted to – and just discovered that, wow, there’s another way to write and portray music. And that was just stripping it right back and building from there again. So it was a trust thing between Tony and I, trusting that we know each other so well and we’re allowed to provide opinions on each other’s songwriting. I think the result is a new direction for the two of us and then I suppose The Widowbirds as a whole. The band was “invented” from this duo project. As Meli and Kvesic were writing they were “layering up the record”. “Just through the natural writing and mixing process, I’d often be adding another harmony here or some slide guitar or whatever and then it became necessary for us to build a band around it if
we wanted to do it live or resemble the record,” Meli says. “But, you know, we get around playing as a three-piece at times with just a percussionist [Shane O’Neill] and us two on guitars and vocal – that’s for the more intimate setting and we still manage to create the same sort of light and shade of the record as we do with the full electric band we’re touring now.” Lachy Doley contributes piano and Hammond organ to several tracks on the album and is now part of the touring band, as is new bass player, Simon Wiltshire, but as far as Meli is concerned, all things Widowbirds are a lot more fluid than that. “We started with this idea of wanting to be able to invite musicians to the stage at different times. If it means there is no bass or piano on a particular track, so be it, but the band definitely allows me to know that I do have the ears, the heart and the pair of hands to really lay into that if I need it behind me on my left shoulder on stage, you know? So it’s really the song that decides the form it’ll take.” WHO: The Widowbirds WHAT: Shenandoah (Laughing Outlaw) WHEN & WHERE: Thursday 16 February, The Vanguard; Friday 17, The Junkyard, Maitland; Sunday 19, Brass Monkey
ROCK’N’ROLL PROPHETS ARE THE LOSTPROPHETS REALLY HERE TO SAVE ROCK’N’ROLL? MARK HEBBLEWHITE CORNERS GUITARIST MIKE LEWIS FOR THE ANSWER.
elsh alt-rockers Lostprophets have caused quite the stir of late with their proclamation that there’s a distinct lack of good rock’n’roll in the charts and that the band’s latest LP Weapons (due April) will redress the balance. “Yeah that one’s been following us around a bit,” laughs a sheepish Lostprophets guitarist Mike Lewis. “That was something that I think Ian [Watkins – vocals] said in a recent interview. I certainly don’t want to put words in his mouth, but I do have my own take on it. These things go in cycles. When I was a kid Metallica were selling millions but were still considered an underground band. Now you look at the charts and it’s dominated by that Pop Idol – whatever it’s called – nonsense. So I think Ian is right in saying that there’s little good rock’n’roll in the charts at the moment. “But at the same time there are so many great bands out there doing their own thing on their own terms. I can relate to that. When we started this band we didn’t give a shit about the charts – and quite frankly none of us do to this day. All we wanted to do was record an album and play in front of as many people as possible. In my mind that has to be the ethos of any real rock’n’roll band. Achieving chart success is cool and all, but the mainstream flip flops about what’s ‘in’ and what’s not and if you rely solely on that type of support you’re finished.” As for the aforementioned album that’s going to bring good rock’n’roll back into the light, Lewis promises that it will offer something for all fans of the band. “I’m not going to go into hyperbole about Weapons because really it’s just a very solid Lostprophets album,” he explains. “It has the same diversity as our older stuff – there’s some poppier material, some really heavy tunes and some leftfield stuff that we always enjoying chucking in. There’s something for all fans of the band. Whether you’re a fan of Start Something  or Liberation Transmission  – or any other album for that matter – you’ll find something to like here.”
While Lostprophets can hold their own in the heavy department, they’ll be lining up with some true titans of metal and punk worlds at the upcoming Soundwave festival. But when asked if the thought of striding out onto stage in front of thousands of rabid Lamb Of God fans worries him, Lewis just takes it all in his stride. “We’re really looking forward to playing with all these great bands,” he says. “Sure, we’re not a straight out metal band, but I actually grew up listening to Biohazard and the Cro-Mags so I understand what heavy music is all about. Festivals are a great opportunity to reach new people and that’s what we’ll try and do at Soundwave. When you look at the line-up it’s not exactly like Wacken – it’s really diverse and I think the audience is going to the festival for that very reason, because they can appreciate different styles of music. I’m confident we’ll hold our own.”
Fu llll u F lin e up p li nte ut ou Noo wu! w
And will Australian audiences get a sneak preview of the Weapons material live? “For the festivals we’re planning on doing a couple of new songs but mainly we’ll be sticking to the material that’s already out there,” says Lewis. “But we’re also doing some sideshows and for that audience – who obviously are already fans of the band – we’ll give them a little more of the new record. We always have a great time in Australia and this tour with the festivals and our own shows is going to be amazing. Our fans are some of the loyalist in the world and we look forward to giving them a great set.” WHO: Lostprophets WHEN & WHERE: Sunday 26 February, Soundwave, Sydney Showground; Tuesday 28, Metro Theatre
FUNGAL INFECTION INFECTED MUSHROOM’S EREZ EISEN TELLS CYCLONE HE DOESN’T CARE WHAT FOO FIGHTERS’ MANAGEMENT THINK.
sy-trance pioneers Infected Mushroom are mounting a comeback in 2012 with an eighth album – and a bold new direction. And the Israeli duo’s Australian fans will hear a preview when they tour this month. Erez Eisen and Amit ‘Duvdev’ Duvdevani, will both play live for 90 minutes and DJ on the night. “We’re gonna do a lot of our upcoming album, which will be called Army Of Mushrooms,” Eisen announces. “We’re gonna have lots of new tracks and some crazy remixes of old stuff which we did – [by] old, I mean like maybe stuff from five years ago. We have so much new music we already played in the US for quite a while and we’re excited to see what the reaction will be in Australia.” Infected Mushroom emerged in the late-‘90s with The Gathering, containing their early classic, Psycho. They’ve since done much to bring the once countercultural psy-trance into the global mainstream by building a grassroots fanbase, rather than courting powerful media tastemakers. Psy-trance is huge in Israel and, there, Infected Mushroom are superstars akin to The Chemical Brothers. They even performed a special gig in Jerusalem last year at the Mayor’s invitation. But, like The Chemicals, Infected Mushroom have experimented with different styles, from nu metal to breakbeat. In 2005 Infected Mushroom relocated to Los Angeles, which Eisen describes as “heaven for musicians” with its industry professionalism, facilities and networks. “We have our families over here – and we both have kids. It’s really a great life.” California’s surging dance scene has exerted a big influence on Army Of Mushrooms, with Infected Mushroom currently enamoured with Skrillex-mode dubstep. “It involves many genres, from our take on dubstep to electro a little bit and we have some glitch-hop,” Eisen notes of the record. “It’s very electronic – [something] that we haven’t done for a few albums. The last two were kind of heavy metal-influenced a little bit – lots of guitars and stuff – but this one is really crazy electronic [music] that we both really like.” Still, Army Of Mushrooms will sound like Infected Mushroom with their trad psy elements. “We cannot
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get rid of our sound that we’re always trying to get rid of – it’s always there,” he says dryly. The album will also include Infected Mushroom’s buzzworthy drum‘n’bass cover (not remix) of Foo Fighters’ The Pretender that Eisen likens to Pendulum. Have they had any feedback from Dave Grohl’s camp? “Not directly. You know, I don’t believe the feedback I get from managers and stuff – sorry to say that, but, if I don’t hear directly from them, then I don’t believe shit [laughs].” Unexpectedly, Infected Mushroom have signed to Steve Aoki’s Dim Mak, identified more with electrohouse than anything neo-Goa. The pair enjoyed the experience of being on Paul Oakenfold’s Perfecto Records for 2009’s Legend Of The Black Shawarma but, says Eisen, that label is “really busy” with other releases. Infected Mushroom were impressed by Aoki’s energy – and Dim Mak’s fervent following. Above all, its staff have “open minds”. “They let us do whatever we want – nobody tells us what to do.” Infected Mushroom declined overtures from larger labels as, again, they didn’t want to be sidelined. Infected Mushroom are “massive foodies”, with feasting a reoccurring theme in their work (remember the provocative Converting Vegetarians?). They highly rate Australian tucker. “The food in Australia is really great,” Eisen salivates. “First of all, we love meat, so the meat in Australia is top-notch – you have really good meat. And we rate Australian coffee as the number one in the world... The coffee in the US is pretty shit, so, yeah, we miss that... I can’t complain.”
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WHO: Infected Mushroom WHEN & WHERE: Saturday 18 February, Metro Theatre
THE DRUM MEDIA • 41
SINGLES/EPS WITH ROSS CLELLAND
ON THE RECORD
Chains Of Love Sony There are friends of mine who pronounce him a genius. Others convinced he’s a douche. And my favourite: “He’s a genius and a douche”. The video of this second single from an album which, oddly, has neither caused critical drooling nor complete loathing, perhaps gives some clue. It features fireworks – in the daytime. Thus: there may have been a great idea here, but there’s not quite enough thought or effort put into it. Sometimes Adams appears to think all he has to do is turn up. It actually takes a bit more.
BAND OF SKULLS
Band Of Skulls describe themselves as the ‘Swiss Army Knife’ of musicians and their second album Sweet Sour is a perfect example of their selfproclaimed diversity. This British trio have more than one trick up their sleeve and that is what delivers a good, solid, consistent second release, which could have easily fallen into the ‘uninspiring’ category if they hadn’t played to their strengths.
British art-folk rockers Field Music offer a crowded tasting plate for their fourth album Plumb. At less than 40 minutes long they’ve squeezed in 15 tracks all designed to complement each other, some being more accentuated than others. It’s an impressive logistical feat considering each song probably contains more notes than entire albums from other contemporaries. Their taste for rambling scales and complex time signatures, which has steadily become their trademark, is deployed with a little more grace this time round and considering the level of detail in the production, control and discipline are paramount.
The Maccabees are a band that deserve to be much bigger than they are. The winning formula of five talented young Londoners releasing their third collection of genuinely clever indie tracks should have them propelled to the levels of English indie greats such as The Wombats and Kasabian, but they continue to fly relatively low under the radar. Given To The Wild may change that.
Needing/Getting Paracadute And then you can take the balance too far. OK Go’s videos have become awaited events – you know, like albums used to be – but when did it change from being clever with a bunch of treadmills, to announcing a partnership with ‘Chevrolet’s new model Sonic’ and a production something akin to a bad episode of Mythbusters? It’s a car commercial. With a band and a song. Oh yeah, the song. Didn’t actually notice it the first couple of times. Then did, found a typically competent bit of pop and promptly forgot all about it.
DEEP SEA ARCADE Steam Ivy League/Liberation Already top of many ‘band most likely’ lists, the second offering of the upcoming album suggests that if it’s 2012’s first big thing, it’s also around 1968 around their place. Handclaps, echo-y vocals, rhythm section that happily chugs along like a clockwork Thomas on its way to a chocolate shop at the beach. It’s old-fashioned inasmuch as it sounds like a bunch of guys actually playing their instruments and having fun doing so. It probably should sadden many that such a thing is regarded as some sort of novelty.
The album title is the real key and perhaps is what makes Band Of Skulls so listenable. There are many ‘70sinfluenced and heavy guitar moments like the incredibly catchy yet sufficiently dirty sound of their first single The Devil Takes Care Of His Own. Other standout heavier moments include the opening title track that ends with a very flamboyant solo outro, as well as Lies, which is equally as indulgent. However, the other element of Sweet Sour is its lighter, mellow and intensely beautiful side. Much of the success of these softer moments can be attributed to the talents of bass player Emma Richardson, whose gorgeous vocals combine so naturally with that of lead singer Russell Marsden’s more roughly edged vocal offerings. It works particularly well on songs like Bruises, the extremely sweet Lay My Head Down and the delicate album closer Close To Nowhere.
Instead of making the mistake of so many bands and approaching the second album with overly-ambitious ideas, Band Of Skulls are smart enough to use the tried and true formula of alternating between light and dark from one track to another. The songs, like the impressive vocalists, sit in perfect harmony next to one another, which will see Sweet Sour appeal to a much wider audience than the average indie rock offering.
After a few listens it actually comes across like the soundtrack to an off-off-off Broadway stage production. There’s a theatricality and charming artificiality to the arrangements and the way they neatly segue each technicolour passage. Opening track Start The Day Right begins with a soft glittering intro, that moves into a pop number before finally breaking into a sunny piano riff straight out of West Side Story. Some of the more “traditional” indie rock elements are there; A New Town has a fairly straightforward structure and features only a simple sinewy riff at its core. Nice harmonies abound throughout the record and the musicianship is solid as always. The production favours a retro aesthetic with heavily reverbed vocals and drums. Sgt Pepper’s… has a lot to answer for even after 40 years.
Given To The Wild
Following the 2009 release of Wall Of Arms, the band went their separate ways to individually write tracks that they would later pull together when they regrouped to record Given To The Wild. This latest release is an absolute corker of edgy, frantic beats topped with a voice that only Orlando Weeks could own. Any serious Maccabees fan will be delighted with it. But what gives this album the ‘we’ve gone away for two years and really found our musical groove’ feeling is the introduction of some more uplifting, adventurous, dancy tracks that really show the band’s growth into what is a seamless collection of songs. The album starts with a soft, ethereal intro that melts gracefully into first track Child; a comforting, mellow song with a funky bass and brass accompaniment. Ayla harks back to Wall Of Arms territory with more traditional Maccabees fast beats and raspy trademark vocals, while Forever I’ve Known’s deep and melancholic lyrics are complemented beautifully by moody guitar riffs that lift the song to anthem status.
The distinct separation of audience and performer is something Field Music have embraced and Plumb is case in point – it’s not an immersive experience, it’s a band performing for us, the audience, who listen from their seats. It’s a fun exercise, but that level of disconnect is just a little too pronounced.
Tracks like Unknow show a new side to the band that successfully pulls off poppy U2-esque driving guitar and the addition of guest vocals by Catherine Pockson of Alpines completes a blow-away track. Grew Up At Midnight is the perfect end to a great record that is undoubtedly The Maccabees’ best work yet and promises a great future.
The Inherited Repression
Queen Of The Wave
This is what the future sounds like, eh? It could’ve been much worse. From the Hendrix-ish title to the mid-’90s trip hop tributes, this is tongue-in-cheek irony par excellence. Or maybe not. Irony implies silliness; that being smart is more important than sounding good. That’s not the case here. Purple Naked Ladies is a very good album. While it is packed to the gills with echoes of times past – and suggestions about times to come – excellent songs are always the priority.
After Alchemist’s sudden demise, there isn’t anyone left to challenge Psycroptic for the mantle of Australia’s premier extreme metal band. A critical success and fan favourite worldwide, the Tasmanian technical death metallers almost seem to have taken their “promotion” as motivation to continue excelling by taking their brutal sounds to intriguing new places.
Finnish duo James Spectrum and Paul Malmstrom have come a long way since their funky late-’90s beginnings. With Spectrum being the only constant in the group’s line-up, he has steered their sound in weirder, wilder directions and their fourth album Queen Of The Wave sees them on the move once again. Rooted in ‘60s folkrock-pop, this latest set is somewhat of a concept album, described as a pop opera loosely based on an obscure late 19th century sci-fi novel. And much like the book, this is a set that will only appeal to certain tastes.
Universal Considered edgy enough for Madonna to give her a spot alongside herself at the Superbowl and then finding the power of outrage one middle finger can engender in middle America – ensuring they’ll remember her name until the album comes out. Here under her own power, Ms Arulpragasam again throws together Eastern noises and that attitude somewhere between juvenile delinquent and faux urban terrorist to make something again not quite as good as Paper Planes. Which will do until the next one.
DZ DEATHRAYS No Sleep I Oh You/Illusive Does being named a ‘band to watch’ by NME still mean anything? Well, it’s got a couple of boys from Brisbane some airplay on BBC1. Did they deserve it? Apparently, yelling over a martial rattling drumbeat and including ‘motherfucker!’ in your lyrics still counts for something in the ‘Yeah, we’re young and rebellious and troubled!’ stakes. It clatters along, will have some namechecking an echo of punk somewhere in it and an audience of young blokes down front who will shout along with the noise. Best of luck to them.
IOWA Panic Attack Aerial Mines In keeping with the 20-year cycle of fashion, grunge and shoegaze both make an appearance in their list of influences, along with the timeless overflowing noise of Mogwai. This howls and fuzzes along as the above playbooks would advise and there is an overall feeling of them actually putting in to a sweat through the stubble level of commitment. This has the nervous restraint the title hints at and a feeling that if they really let themselves go, there may well be some drips of blood spatter on the floor.
Purple Naked Ladies
Cocaine is a clear example. It’s the most immediate track on the album, the one you can imagine reaching number three on the top 40 charts in 1999 and spawning a generation of imitators. Excellent pop, then, but punctuated with Left Brain’s straightforward verse: “I’m high on coke. She’s high on coke... Let’s snort.” Hardly Sunday morning fare, the track packs a punch concealed by its playful bounciness. Fastlane could’ve been on a Rebirth Of Cool compilation but for its subtlety and the how-deep-does-the-rabbithole-go? complexity of its arrangement. And Lincoln is a great way to start an album. The rebirth of funk, it’s fun and it’s also (after a few relistens) a story about how this OFWGKTA album came together. If this is where we are, what 2012 is going to sound like, then we can rest easy. Syd Tha Kid has proved she has a great ear for what’s popular. Here we get a sense of what she has in store for us in years to come. James d’Apice
The band have already achieved what so few in extreme metal have during the past decade – crafting a distinctive sound. Not content there though, album number five takes those foundations and creates a thoughtful album that’s often more focused on groove and feel than riff soup. That’s not implying the spidery guitars, complex rhythms and stop-on-a-dime tempo changes have left the building, or they’ve dumbed down ala lowest common denominator deathcore. Not the case. Jason Peppiatt’s bark still reeks of fury too. It’s a more measured effort though, but retaining their memorable songwriting. Opener Carriers Of The Plague combines the crushingly heavy moments with enhanced melodic sensibilities and striking ambience that carries over to following track, Forward To Submission. Ominous The Throne Of Kings and Unmasking The Traitors are absolute monsters; the latter’s riffing more frantic than Harrison Ford. Closer The Sleepers Have Awoken is probably their most grandiose composition yet, while Euphorinasia is among their most atmospheric, aided by a lush acoustic guitar intro. Psycroptic have already perfected the art of tossing countless riffs into a single song and somehow making it work. Although there are many familiar elements, surely even the extreme music scene police will allow them the luxury of letting the songs breathe? Let’s hope so. Brendan Crabb
42 • THE DRUM MEDIA
Opening track Queenswave is a fair indication of what is around, birdcall punctuated folk-cum-psych funk rock and A Night & A Day keeps the vibe going with a rougher Brian Wilson and Jim Morrison do prog-rock lean. The shouty girl-rock of Go Supersonic imagines Santigold out front of Josie & The Pussycats while Hesperus Garden is guitar fuzz with tinges of surf, Bond and Russ Meyer. In possibly the most ambitious two minutes of music ever made, the duo construct a piece using the world’s biggest musical instrument, a cave in Virginia, USA, in which stalactites are hit with mallets to produce chimes. In The Cave took six years to make and the result is as cavernous and haunting as it sounds. The final two tracks close out the album in style; The Storm is a tidal wave smash of aggressive choral rises, more Bond and ‘60s rock noodle, while the epic Riders Of The First Ark is brat pack-gone-psych magnificence. Though taking influence from many familiar styles of music, Queen Of The Wave remains a totally unique and impossible to classify piece of work. Darren Collins
and it’s as prevalent here as ever; Amen is an epic piece centred on a discussion with a higher being. The instrumental interplay in the song is gorgeous, each instrument – cornet, banjo, piano, violin – completely autonomous yet married together in a strange and wonderful way.
But these are two mere highlights on a record that will stand as another proud achievement on this man’s considerable score sheet. One imagines Leonard Cohen wouldn’t bother releasing a record unless it was unflappable; it’s an aura he’s projected forever and, by the looks of things, one he’ll one day take to the grave.
Pennsylvania’s The Menzingers deliver their third record, but their first through Epitaph and it’s on the top shelf as far as pop/punk albums for 2012 so far go.
Victory! is eclectic yet coherent and sees The Smoking Hearts taking a very different approach from their debut Pride Of Nowhere. The band have ditched a lot of their street-punk vibe, thrown a tad of glam into the mix and have taken on board vocalist Ben Mills (formerly of The Takeover), who sounds like The Bronx’s Matt Caughthram; that is, if he were told to do a better job hacking out bits of his throat whilst recording vocals.
Sure, they’re roughly pop/punk, but there’s a fairly significant folk influence and a respect for words here (they list Billy Bragg and The Mountain Goats as influences) and nary a joke about farting or screwing animals.
The Menzingers do a lot of things well, but their ability to build a simple song into a blockbusting, anthemic chorus stands out. There are chord progressions you’ve heard ample times here, but there’s just something about the way it has been put together that lifts it up a few notches. They don’t try and blow you away with blisteringly fast tempos, or try and grab your attention by yelling naughty words into a microphone. But the simple, honest storytelling, intelligent use of dynamics and catchy vocal melodies combine to make this a very good record by a young band that’ll hopefully be around a lot longer.
This is a good record for people who want to experience glam rock meets punk, which is done with a little more intensity than you normally hear. And there’s a lot of big, dumb fun to be had before the sameness sets in and you reach for something else. Brent Balinski
Old Ideas Sony Music Anyone who thought, at 77-years-old, Leonard Cohen couldn’t possibly have more to offer, be ready to feast on your words, because Old Ideas is another triumph. Firstly, and strikingly, this is distinctly a Leonard Cohen record; his weathered baritone voice scratches up against the gorgeous vocals of the Webb Sisters and longtime collaborator Sharon Robinson, as intricate, melodic horn lines, plucked guitars and gently rolling pianos provide an exceptional instrumental bed. Lyrically, there are too many masterful lines to pinpoint; as usual Cohen goes for the literal, the fanciful and the enigmatic all at once. He sounds as if he has as much personal baggage to get off his chest at 77 than he ever has before and while he still toys heavily with the concepts of sex and resentment, Cohen isn’t trying to be a young man. Indeed on Darkness he mutters, “I’ve got no future, I know my days are few” up against a big, meaty and powerful riff played with such a light touch it’s as if it’s being whispered. Spirituality is a theme Cohen has long explored
Length: Ten tracks, 41 minutes Moods: Ethereal, reflective, soulful
DID YOU KNOW?
• Cohen began his career as a poet and novelist, VD before moving to the United States to pursue a career as songwriter, with his first album Songs Of Leonard Cohen, being released in 1967.
There’s a generous amount of nostalgia to the album, with the band keen to dwell on what came before they set out to make it as professional minstrels five years ago. The title track eerily remembers what a car crash may have meant, Sculptors & Vandals features the words “I remember” about a dozen times and opener Good Things reasons that it’s all a bit doomed and the narrator will go on suffering his “old, familiar failures”.
The Smoking Hearts sound a little like Adelaide’s Dangerous! in the way of dirty guitar riffs a la Zeke, albeit with coarser vocals. These young Limey brutes do a fine job keeping everything sounding polished yet intense and, just like Charlie Sheen, they have one speed and one gear labelled “go”. This doesn’t make for a bland listen, but you could also say things get a little repetitive. You may also tire from the repetitive pumpyour-fist-in-the-air-to-this-chunky-riff and singalongto-these-gang-vocals shtick that gets trotted out song after song. Or you might go for that sort of thing and feel pleased over and over again during the album.
On The Impossible Past
THE SMOKING HEARTS
• Cohen is mentioned in Nirvana’s Pennyroyal Tea – “Give me a Leonard Cohen afterword/ So I can sigh eternally”. Cohen was later quoted as saying that, “I’m sorry I couldn’t have spoken to the young man. I see a lot of people at the Zen Centre, who have gone through drugs and found a way out that is not just Sunday school. There are always alternatives and I might have been able to lay something on him.” • During the Sydney date of his 2008-2009 world tour, Cohen donated $200,000 to the Victorian Bushfire Appeal after hearing about the events of the Black Saturday Bushfires. • The lyrics for the first track of the album Going Home were first published as a poem in The New Yorker, prior to the album’s release.
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THE DRUM MEDIA • 43
New England metal band Killswitch Engage have been sans a lead vocalist for some time now. However, seems they’ve found a new vocalist — or rather, an old one. “After much deliberation… we are pleased to announce that Jesse Leech has rejoined Killswitch Engage.” Leech was the band’s original vocalist and recorded with them on their landmark album, Alive Or Just Breathing. Now he’s returned to the group to continue writing, recording and performing live with them for this year. Leech said, “I’m very blessed and very thankful to be back in the Killswitch Engage family.”
SUMBIT TO 4ARM
Australian metal outfit 4ARM have just released their newest video clip, Submission For Liberty, from their 2011 album of the same name. The album was mixed with the help of Matt Hyde, alumnus of metal royalty like Machine Head, Slipknot and Trivium. The video, filmed over five torturous hours in scorching Australian summer heat, was shot out of Melbourne amongst salt lakes and wheat grass in an attempt to capture themes and concepts from the song itself.
MESHUGGAH TRACK LEAKED
With just over a month until the release of their new album, Koloss, a track from the new Meshuggah album has appeared online at the website Iamaleak.com. Rumours are circulating that the band’s manager, Ronnie Backlund, is responsible for the leak on the website, after it was revealed that the domain is registered to him. The release of the track, Break These Bones Whose Sinews Gave It Motion, is believed to be a marketing stunt to confirm the band’s description of the album as “organic brutality, viscera and groove all crammed into a 54-minute metalicious treat…” during an interview on the MSN Music blog, Headbang. Listeners have responded positively to the track, heightening anticipation for the album’s release on 27 March.
Drummer Lee Vincent from Pulled Apart By Horses chats to us about their new record, Tough Love, and how it took fuck-all time to record – despite its taking twice as long as the last one. How did having someone like Gil Norton at the helm help in the making of the record? It helped on so many different levels. Having someone as talented and as experienced as Gil guiding us helped us in terms of songwriting, performance and even confidence in our own abilities. You’ve mentioned that your debut was done in no time at all. How much time did you take to record Tough Love and how did having more time affect the end result? Well, the first record was done in eight days, Tough Love was done in sixteen! That’s still fuck-all time compared to how long most bands take to record an album. We seem to thrive on the pressure. I don’t think we’re the kind of band who can take weeks to hone a certain guitar tone; we’d just get bored! Your shows are known for chaos and physical injuries. What’s the worst injury any of you have sustained from a gig and how did it happen? Dunno, there’s always cracked heads and assorted injuries. James [Brown, guitar] nearly lost his leg once; that was pretty bad! What are you hoping Tough Love will do for Pulled Apart By Horses? We just want to continue progressing as a band and Tough Love feels like a progression for us. Hopefully it will open us up to new audiences and will take us to more places. You’ve got a reputation for amazing live shows. Is that something you take into consideration when crafting new songs? Unfortunately we don’t have that much foresight! We’ve started playing these new songs live and they’re tough [laughs]. We were like, “Fuck, I thought we were going to write some slow songs on this album!”
PULLED APART BY HORSES 44 • THE DRUM MEDIA
THE HEAVY SHIT
METAL AND HARD ROCK WITH CHRIS MARIC
COREY TAYLOR two stages at The Basement in Belconnen. They’ve even got showbags full of band merch and bar tab vouchers! The ultra-hard-working Our Last Enemy are leading the charge with the equally busy Recoil VOR along with Melbourne’s Voltera, Tonk, Barrel Of Monkeys, Inside The Exterior, Escape Syndrome, Na Maza, another Mexican band in Australian Kingswood Factory, Variodivers and the one-man band Leisure Suit Larry. Funny shit is courtesy of Sam Marzden, who also sings in Penguin.
Welcome to the Valentine’s issue. Be cool to see something like Type O or Cradle in the ‘For That Special Someone’ CD bin at the shops along with Tony Bennett and KD eh? Tour announcement of the week goes to Arch Enemy. The Swedish melodic death metal heavyweights will be bringing their fearsome noise to the Manning Bar Monday 30 April. Okay, mostly Swedish as we all know vocalist Angela Gossow iss Cherman. Just as I was about to hit send and flick this issue off to Thee Ed, this came in: Corey Taylor (if you need me to list the bands he is in, please just turn the page now) is the latest rock star to have written a book. It’s called Seven Deadly Sins and he will sign your purchased copy of it at Dymocks on George Street in Sydney from noon on Tuesday 28 February. Don’t be a prick and bring every album for him to sign either! Want some albums? A truckload of new albums have just been unleashed onto the shelves of your local metal emporium. Psycroptic’s newie hit last Friday and this weekend you should go get your hands on new stuff from Biohazard, Destroyer 666 and Goatwhore. Norwegian label Indie Recordings has finally got some decent distro here and is playing catch up – Godseed’s Live At Wacken is basically Gorgoroth under a different name, Nekromantheon sounds like South Of Heaven and very early Seps doing battle and El Caco is the best stoner rock out of the North ever! Season Of Mist have got some good stuff too – Dodecahedron sounds like the most demented underground stuff ever - Dave Slave would love it. Terrorizer, the band that basically gave birth to Morbid Angel, are back with a new one called Hordes Of Zombies and yes Dave Vincent and Pete Sandoval are in there! Speaking of old school death, Autopsy have got All Tomorrows Funerals, featuring new and re-recorded stuff. And for fans of total pure heavy \m/ metal, the new Primal Fear album, Unbreakable, will satisfy your need to hear something as close to Painkiller as you can get. Dragonforce’s new one will hit the shelves on Friday 13 April, is called The Power Within and features new vocalist Marc Hudson. Friday 20 will see the release of the Cancer Bats newie, Dead Set On Living, and also the debut self-titled from Storm Corrosion, a
collaboration between Mikael Akerfeldt from Opeth and Steve Wilson from Porcupine Tree, which means it’s gonna sound pretty rad. And Kreator are gearing up for a new one with Phantom Antichrist due in June. Adelaide’s Double Dragon have been a little quiet of late. Having seemingly been the support band du jour on every international tour for ages, things went silent. They have of course been flat chat writing their new album, Sons Of Asena, which you can download for free by putting a dot com at the end of the album title in your browser there. They will be touring through South-East Asia in April and will return to rejoin the circuit here soon after. This week around the Premier State:
Perth dudes Devour The Martyr are over on their second national tour and will be on display at The Stag with their buds in Deprivation and Datura Curse. No Life Till Leather are celebrating one of the greatest hard rock albums of the ‘80s - Whitesnake’s 1987 tonight at Hermann’s Bar. There’ll be Whitesnake videos and tunes along with all the other crankin’ ‘80s glam, hard rock and metal tunes you could hope for. The first ten payers through the door will get a copy of Van Halen’s killer new album! Spray-on pants optional. The Shananigans Festival is celebrating its fifth year in style by featuring 11 bands and one stand-up comic over
WAKE THE DEAD
Bird’s Robe Records are a great label that has a great knack for finding talent that’s not your standard fare. Their latest signing in Dumbsaint, an instrumental trio in the vein of Isis, Russian Circles and Tool and they feature Adrift For Days guitarist Ron Prince. You can grab their debut single for free at the Bird’s Robe website or you can head to The Gaelic for its launch. You can also catch the brilliant sleepmakeswaves, Solkyri and Kasha. Speaking of Adrift For Days, the guys recently returned to Studios 301 to continue working on Come Midnight, the highly anticipated follow-up to their 2010 debut, The Lunar Maria.
Death to all but metal… Venom are playing tribute to the Spinal Tap of the new millennium, Steel Panther, ahead of Soundwave as well as pretty much every other band on the bill too. They’re launching the monster new album from Psycroptic, The Inherited Repression, and have snared Absolution, Hunt The Hunted and Elegist to play live for you too. If you’ve spent the day meandering around the Mountains in search of roadside homemade jams and organic apples while giving the car stereo a workout (or am I alone here in doing that?), you should drop into the Hotel Gearin in Katoomba before heading home. It looks to be a pretty heavy night with Norse up from the Southern Highlands to headline along with Nobody Knew They Were Robots, Festering Drippage, Lower Back Problems and Infested Entrails. In Byron this weekend, you can catch Parkway Drive (they are as metal as KSE, so shut up haters), as they play a hometown show at the YAC Amphitheatre. They roll into town down here next week. Details then. email@example.com
PUNK AND HARDCORE WITH SARAH PETCHELL
Another week and another column. Soundwave is getting inevitably closer and the timetable for the Sydney leg of the festival has been made public. Personally, I’m okay with it. There aren’t too many clashes and between the festival and Sidewaves I should be able to see everyone I’m hanging out for. I hope it’s the same for all the rest of you. Just prior to Brisbane’s Fires Of Waco making their exit from the scene, the band were in the process of writing and recording a new EP of completely new and original material. The six tracks (including the two tracks from The Journey Slow 7” released earlier this year) make up an EP titled Currents And Undertow and is arguably the band’s finest work to date. As I’ve said previously, there were a few lineup shuffles just prior to the break-up announcement that seemed to indicate that FoW were taking a new and exciting turn. The release will still see the light of day through a digital release via iTunes and is available for download now. It’s not clear yet whether there will be a physical release of some description. For all you New York hardcore punk fans out there, how’s this for a lineup? Sick Of It All and Agnostic Front. One word: AWESOME! The two bands will be hitting the dusty roads of Australia this May as part of the New York United Tour. Rounding out the lineup are Sydney’s own Toe To Toe. These are some of the most influential and prolific bands in the history of hardcore, with Sick Of It All celebrating their 25th year together this year, and in honour of the event, they’ve released a record titled Non-Stop, a collection of re-recordings of their classic hits. But that’s nothing on the 30 years that Agnostic Front have been together… ANYWAY… Newcastle, see you at the Cambridge on Friday 4 May, Sydney at the Manning Bar on Saturday 5 and Canberra, yours is on Sunday 6 at Zierholz at University of Canberra. While we’re on the subject of touring, following a successful run on the Falls and Southbound Festivals, the fantastic indie-punk band An Horse will be heading back home this April in continuing support of their 2011 full-length, Walls. The band has made quite a name for itself, vocalist Kate Cooper even making a guest vocal appearance on the soon to be released fourth Cancer Bats album. Tickets go on sale this Wednesday and you can catch the duo at the Oxford Art Factory on Saturday 28 April.
SICK OF IT ALL While Sydney’s Between The Devil & The Deep have continued to play the odd show, they have finally emerged from the wilderness of songwriting, lineup changes and childbirth to FINALLY unleash the first taste of their forthcoming album, Paper Spine, with the release of the digital track, The Bridgeburners, on Friday. This single release will be packaged with the bonus non-album track, Marks On The Pavement. The track is a strong indication of the approach the band has taken for the album as a whole: caustic vocals, guitars that dart between heavy riffs and intertwining melodies and a cathartic, driven sound. The album itself is set for release on Friday 2 March and to celebrate, Between The Devil & The Deep will be hitting the road for a short string of capital city shows, including one on Saturday 10 March at the Roxbury Hotel Glebe. There’s a pretty awesome all ages show happening at Chatswood Youth Centre on Friday 16 March. It’s a while away, but chuck it in your diaries now. The lineup includes Melbourne’s Hopeless, hometown heroes Endless Heights, Distant Wreck, Transitions and hardcore up-and-comers Legions. This should be a really fun night with a whole bunch of great bands so head on down and check it out. While we’re still talking Sydney hardcore, Phantoms have finally released their 2010 debut album, As Above So Below, on vinyl with some of the best colour-ways that I have ever heard of! It’s available for pre-order now
through the band’s Big Cartel and it has been completely repackaged with new artwork by Rohan from Extortion. The release is extremely limited to 300 copies and the colour-way you get is determined by which number preorder you are: the first 100 get the Neopolitan colour, the next 100 Spearmint Splatter (which will also be available for sale when the band plays with Trapped Under Ice next month) and finally a Swamp Green. Orders will be posted out on Friday 24 February, so get ordering! Just a reminder that the punk rock flea market will be happening this weekend. Kicking off at 1pm, upstairs at the Sandringham Hotel, it’s free admission and is the perfect opportunity to grab a bargain on a particular 7” you were after or some cheap merch. Or perhaps a limited edition skate deck? I can’t wait to check it all out and hopefully this turns out to be a semi-regular event. Also that night, Adelaide and Melbourne’s first national tour hits town at the Roxbury Hotel with Surprise Wasp and Firearms. If you haven’t caught a Coerce live show before, definitely go and see them because they are honestly one of the best bands in Australia at the moment and seeing them live just confirms that. If you miss the Sydney show, they’re playing at The Patch in Wollongong with The Brave on Sunday 19 February and then in Canberra the following night (Monday 20) at Bar 32. firstname.lastname@example.org
GET IT TOGETHER Oh, Drake. Drake, Drake, Drake. 2011 was probably yours. Well, it was either yours or your close friend The Weeknd’s. But that doesn’t mean that now, in 2012, you’re not saying and doing the silliest things. While we have all enjoyed the frisson of seeing our (surprisingly ugly. Right ladies?) favourite Canadian pop up in old Degrassi Junior High episodes, it’s still tough to forgive this incredible flight of fancy. Drake reckons – get this – that if there were to be a movie made about America’s first black president that he would be perfect for the part: “I hope somebody makes a movie about Obama’s life soon because I could play him... That’s the goal. I watch all the addresses. Any time I see him on TV, I don’t change the channel. I definitely pay attention and listen to the inflections of his voice. If you ask anyone who knows me, I’m pretty good at impressions.” Well, yeah, acting is different to doing impressions, Drake. And being good at one thing (rapping about girls) is different to being good at another thing (pretending you are one of the most important political figures of the past couple of decades). Who knows, though? Maybe you’re a Hollywood big wig? Maybe you were just trying to figure out which Canadian rapper could star in your Obama movie? If so, your long search is over. While we’re on the Drakelulz, he played Headlines at a big deal ice hockey match. While he cried about how much he loved hockey, the hockey players were checking their smartphones. Silly Drake. You should have just shown them your Obama impression! While we’re not afraid to admit it when we’re wrong, we’re even less afraid to jump up and down about it when we’re right. On 10 January 2012 in this column we referred to the strange Heatwave Festival and its odd lineup. We said: “How ha(s) 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…?” Though we were cautious about jumping to conclusions (in that same column we said “it may be the promoters who have the last laugh”) we shouldn’t’ve worried. We didn’t attend the show, but can rely on ozhiphop.com veteran Capt.Bind who attended the Melbourne leg of the tour and posted a brilliant, searing review. We’ll reproduce a couple of moments here, but the original post is a gem. We suggest you follow it up. At the end it turns out that Kid Cudi was the people’s hero all along.
HIP HOP WITH VIKTOR KRUM
“By embracing the tenets of confusion and formative thought, Aux.Out. will avoid the principles of binary thought and strive to exist on a multi-dimensional plane without centre or hierarchical integration,” Larson wrote. “In other words, we’re just trying to make sense of all this shit in the same way you are.” In a fortnight when grand statements were made in attempts to define the states of everything from MIA’s politics to Lana del Rey’s significance to Western culture and the relevance of the Australian Music Prize, they were relieving words indeed. Because I am also confused (though fast approaching the wrong side of ‘young’) and the accumulative load of these statements was beginning to quash the idea that such a position was legitimate. I didn’t have an answer to what was going on. I had no ‘right’ to counter any ‘wrongs’. What the hell was wrong with me? The examples of MIA, Lana del Rey and the AMP aren’t accidental. These are conversations that have each been ongoing for lengthy periods of time and have drawn many attempts at ‘the final say’. In the case of Maya Arulpragasam, her musical project has encountered both misguided criticism for its perceived lack of ongoing vision for social change and patronising shrug-offs as the work of a moneyhungry ‘pop star’. Her ‘bird-flip’ during the half-time entertainment at the Super Bowl predictably drew the ire of conservative groups in America but also attempts to decipher what it meant (or didn’t mean) as an artistic statement. MIA was now against America, Pitchfork’s Ryan Schreiber seemed to decide. The New Yorker’s Sasha Frere-Jones had, as always, a more considered
ALL AGES WITH DAVE DRAYTON
It’s very nearly Mardi Gras time and the team at twenty10 are working hard to ensure under 18s get a place to party too. Enter Queer Prom, being run as part of the Mardi Gras Youth Festival Events. It’s an alcoholfree event open to all people under 26 years of age and is being held this Thursday at Red Rattler. Organisers have asked and answered their own rhetorical question: What is Queer Prom? It’s what you always dreamed your year ten or year 12 School Formal could be! Now, for the Canberrans amongst you, a little bit of action. Friday night sees the Broken Stone Records family roll into town for an all ages gig at the Street Theatre. It’ll set you back ten bones but in return you get to witness live performances from Sister Jane, Magnetic Heads, Caitlin Park and The Maple Trail set to projections of artworks and their videoclips.
WILEY “Any attempts by Crazy Town to engage in crowd participation were just embarrassing… Towards the end the singer of Crazy Town started yelling at his DJ very angrily. We couldn’t hear because it wasn’t into the microphones, but the DJ said something along the lines of, ‘It’s not my fault.’ The singer and the DJ then stormed over and yelled at him. His response wasn’t what they wanted because the singer then said into the microphone, ‘whatever. Butterfly.’” MIA, the heroine always about a year behind the vanguard and two years ahead of the masses, has a new single called Bad Girls. The cover art is garbage. The track is insane though. There’s that sub-continental snake-charming motif we MIA fans have come to love. More important, there’s an embrace of the immediate, the immense, the accessible that has been noticeably absent since 2007’s Kala. Get into this jam as you cry into your cappuccino about the execrable collaboration MIA’s put together with the Terminatrix herself, Madonna. Here she implores, “Live fast, die young bad girls. Do it well.” It’s your girlfriend’s new anthem. Believe. email@example.com
POP CULTURE THERAPY WITH ADAM CURLEY
“I am young. I am confused.” Those are the opening words of the first missive by Jeremy D Larson, editor of Aux.Out, the newly unveiled section on the Consequence Of Sound website that will be dedicated to longform music columns. It was with surprising relief that I read them and the editorial that followed, titled On The Forthcoming Columns Of Aux. Out, when it was passed onto me a week after it was published on 3 February. Here was an editor – nay, a music listener – not claiming a definitive position on popular culture in 2012.
YOUNG & RESTLESS
MIA FLIPPING THE BIRD view but appeared to come to the conclusion that the action wasn’t worth talking about at all. The backlash to the backlash against Lana del Rey is also grappling for solid platforms on which to stand. A comedy sketch on Saturday Night Live on 4 February featuring Kristin Wiig as del Rey defended Lizzy Grant against overly dramatic and personal attacks but also portrayed her as a singer whose songs and performances should be neither taken seriously nor criticised. In the same way MIA could at convenient times be waved off as a woman with a microphone singing ditties for car rides, Wiig made del Rey a nonentity in the world of artistic statements. Responses to the announcement of the AMP shortlist were equally damning, with blogs and online message boards debating whether any attention should be paid to it. Aside from an engaging piece by Mess + Noise writer Shaun Prescott, who sought not to criticise the list of nominees but the breadth of music (or lack of) chosen by the judges, the prevailing arguments were that the AMP was irrelevant to current music or that it was the work of a select few and should be treated as such. That so many have been striving to find the ‘truth’ of these scenarios and about these musicians for so long speaks of the lack of an available defining truth. But who needs one? Culture is a conversation; it is furthered by push and by pull, by opinions and considerations and reconsiderations, by actions and reactions. The AMP seeks to engage with music listeners, so those of us who care about music should engage with it. MIA and Lana del Rey have made public statements with their music and performances, so let’s talk about the many things they could possibly mean and how they relate to culture at large. And let’s stay confused. It’s far more interesting. firstname.lastname@example.org
The kind folk at the Lucky Australian Tavern are recovering from their pop/punk party last weekend with some metal madness. On Saturday from 4pm you can catch City Lit Skies, To The Grave, Where’s Rachel, Districts, SkulDugory and headliners Lakeside. Then from 2pm on Sunday you can catch Exist Within, The Dark Gift, Born Of Chaos, Justice For The Damned, Abacination and Queensland’s State Of Integrity. Saturday evening at Blackwire you can catch the house band Epics playing, with Ashes, Sexy Kids, Crime Nights and an all too infrequent special appearance from Brave The Burrito. At the same venue on Sunday things get a little softer from 3pm with Farmer Barrett, N. Martin from Sweet Teeth, Billy from Yes I’m Leaving and The E.L.F from Gerling/Betty Airs, who was kind enough to get nostalgic with us and answer a few questions. You’ve played/are playing in a bunch of different musical projects over the years – Gerling/Betty Airs – how does your solo stuff differ? The solo new version of E.L.F is just me and an acoustic guitar, totally folk-influenced. Although my last album had influences of dance and electro I was so bored of touring with a laptop I decided to completely get rid of all electronic devices and go back to the way the folk musicians like Woodie Guthrie and Bob Dylan first performed and wrote songs. It is a lot more mobile as well; I can play on a train or a ferry – a beach or a highway… Anywhere. I just need a guitar with strings.
E.L.F. How is E.L.F album the second coming along? It’s coming along really well. At the moment I have put two songs online – the latest song is a duet with my girlfriend Jep. The song’s called Stay With Me While We’re Breaking Up! I can’t wait to get on the road and play in all weird and wonderful venues. Why do you think it’s important to play all ages shows? It’s totally cool for people to check out all types of music live and age shouldn’t be a barrier! What’s the best A.A show you went to as a young ’un? Probably a place where I grew up called the Cowshed – behind the swimming pools in Wentworthville. It was a community centre run by this awesome guy called John Jablonka – where Gerling had our first gig. Although the first Big Day Out when I saw Nirvana and The Hard-Ons for the first time was amazing! Do you have a favourite all ages venue? I like parties and gigs run by your friends anywhere is always awesome! Glebe hockey sheds are rad! Metro Theatre and Enmore Theatre have great sound systems. The floor is yours, sell us Sunday’s gig at Blackwire… Blackwire is more of a punk rock vibe so it’s awesome a bunch of punk folk musicians will be welcomed! The guys running the show are so enthusiastic so I think it’s gonna be a real hoot! Good times, I cant wait! email@example.com
URBAN AND R&B NEWS BY CYCLONE
Those ‘90s R&B kids will remember K-Ci Hailey’s rousing cover of Bobby Womack’s If You Think You’re Lonely Now off the Jason’s Lyric OST. Now Womack himself is on the comeback, cutting an electro-soul album with Blur’s Damon Albarn and Richard Russell (who facilitated Gil ScottHeron’s brief return and is Adele’s XL Records’ boss). But, more curiously, Womack will be joined by guest vocalists, among them Lana del Rey. The ol’ skooler has praised her as “one of a kind” to NME: “I’ve never sung with a girl like that. We were like two people in a church.” The backlash to del Rey is unfathomable, Saturday Night Live performance or no. Much of the cynicism – and antagonism – surrounding the sometime Elizabeth “Lizzy” Grant relates to her status as an ‘indie’ artist. Yet her debut, Born To Die, is actually arty hip hop soul. Del Rey, who’s declared herself a “gangsta Nancy Sinatra”, is the illwave Mary J Blige to Solange Knowles’ Aaliyah, not Cat Power II... or a Paris Hilton. The Interscope signing even told Q about her hip hop epiphany. “People talking about their real lives – it gave me the freedom to write about whatever I felt over whatever strange melody I wanted.” The Lake Placid, New York State native has recorded Born To Die with hip hop producers Robopop, the mystery figure behind the shoegazey ballad, Video Games, and MIA. There’s Emile Haynie, one of the architects of illwave through his work with KiD CuDi. He co-produced Kanye West’s Runaway with Jeff Bhasker, also on board Born To Die. Bhasker had a hand in ‘Ye’s 808s & Heartbreak (including Love Lockdown and, aptly here, Coldest Winter) and several highlights on the cinematic My Beautiful Dark Twisted Fantasy. It’s odd that indie, urban and electronica are all suddenly referencing ‘90s shoegaze – are The xx responsible? However, if del Rey were to identify herself more with urban-pop, blog boffins might be less fixated on the issue of authenticity – millionaire papa-cum-patron aside. Sure, in the ‘90s hip hop was preoccupied with ‘keepin’ it real’ but today, like pop, it’s about construction, reinvention and self-mythologising. The post-GaGa Nicki Minaj is all selfconscious artifice, from her roleplay to the nail art. Gangsta rapper Rick Ross wasn’t greatly hurt by the revelation that he once worked as a prison guard. If del Rey is Grant’s avatar, so what? It’s meta-cool. Drake may be an emo-rapper, but del Rey is an emo soulstress, exposing the underside of the American Dream, as David Lynch did in Mulholland Drive. The ex-metaphysics student creates Black Dahlia R&B, aka
LANA DEL RAY “Hollywood sadcore” – less ghetto gothic than seedy glam. Scottish diva Emeli Sandé has cited Sylvia Plath as an inspiration, but del Rey delivers the darker postfeminist pop. Trip hop has always been concerned with the psyche, compared to the street-oriented – and outward – hip hop. And it’s in keeping with the times that epic – or melodramatic – trip hop should be making a resurgence, Sandé’s Heaven evoking Massive Attack’s Unfinished Sympathy. This influence permeates the Born To Die title track, which is almost Wagnerian trip hop. Off To The Races is slammin’ hip hop, albeit with Stevie J strings, del Rey singing a bit like Erykah Badu, a bit like Amy Winehouse (Million Dollar Man is jazzier again, but grungy). More hip hop comes on Diet Mountain Dew and the sardonically brittle, anti-bling, anti-cheerleader National Anthem. Still, Radio could be an ‘edgy’ Rihanna number. Del Rey occasionally sounds like a wasted Belinda Carlisle (Blue Jeans) – and it’s a typically del Reyian irony that she’s hired the Californian Rick Nowels, author of the Go-Go frontwoman’s ‘80s Heaven Is A Place On Earth. Nowels co-produced Summertime Sadness, reportedly del Rey’s fave song and Dark Paradise (redolent of Madonna’s Like A Prayer). Even Nowels has a modicum of urban cred: he was involved in John Legend’s Green Light and Cee Lo Green’s fab Cry Baby. The weakest track on Born To Die is the seemingly incomplete finale, This Is What Makes Us Girls, with input from yet another hip hopper – Brit Al Shux, of Empire State Of Mind fame. Where were MIA and Ms Minaj for cameos? firstname.lastname@example.org THE DRUM MEDIA • 45
ROOTS DOWN I kicked off the year with something of a call to arms for blues fans to not just open their minds to new music but to go back and trawl through the many amazing blues recordings that are archived from the past 80-odd years. Well, unfortunately there are a few more signs of blues music being undervalued in its most prominent territory, the United States, one particularly pertaining to the music industry’s big night of nights, the Grammy Awards. There was a big, controversial reshuffle of the awards after last year’s ceremony and blues was one of the genres that was really affected by it. Basically, there are 35 genres in which Grammys are offered – including jazz, rock, historical, polka, Latin, spoken word and new age – but blues is no longer one of them. In fact the only award that was offered at the Grammy Awards on Sunday night (US time) was that of Best Blues Album, a sub category within the genre of American Roots. The fact that the Grammy organisation won’t recognise blues as its own genre deserving of more than one cursory category is pretty disturbing and the team at Blues Revue have started a petition to deliver to the Grammys to have it reinstated. Now I’m a bit cynical as to how effective these things can be, but it’s important to let them know there are a lot of blues fans around who aren’t happy about the genre being treated like this. You can read more and sign the petition at Blues Revue. The International Blues Challenge is done and dusted for another year and I’m sad to report that none of the Australian acts entered managed to take out the big
NORTHERN MAZE BLUES AND ROOTS WITH DAN CONDON
was The WIRED! Band from Washington, whose brand of rockabilly-influenced rhythm‘n’blues stood them in very good stead from all reports. As the winners they get some cash, a press kit and a bunch of other stuff that’s not very interesting but helpful for bands, but most importantly a bunch of primo spots on festivals all across the States, which will no doubt do great things for their exposure. Best of luck, WIRED!.
CHRIS HILLMAN prize, but they did us proud nonetheless. There were 226 bands involved in the competition this year, including Australians the Mojo Webb Band from Brisbane, Buddy Knox Blues Band from Sydney and Dreamboogie from Melbourne (who have posted some very entertaining YouTube videos outlining their Memphis experience). But the best Australian showing through the entire competition was that of the Sydney Blues Society’s Dr Don’s Double Dose who took out second place in the solo/duo category (the winner, coincidentally enough, was recent Australian visitor Texas bluesman Ray Bonneville). The big prize, awarded to the artist/s judges considered to be the best out of the entire competition
The Byrds are one of the finest bands to come out of the 1960s and, yes, I’m aware what a massive call that is, but the songs and records they released speak for themselves. Another great American band of that time – and for many, myself included, even better than The Byrds, was the Flying Burrito Brothers, who formed in 1968 and released one of the truly great country rock records of all time in The Gilded Palace Of Sin mere months later. The late ‘60s and early ‘70s were such a vital time in music and, as a member of both of those bands, Chris Hillman was right amongst it. It was announced recently that Hillman would be on his way to Australia with his friend and collaborator Herb Pedersen, who has played alongside Emmylou Harris, Linda Ronstadt and John Denver (to name but a few) as well being a member of bands such as The Dillards, The Desert Rose Band. You can catch these two masters of music when they’re in this part of the world, playing Canberra’s Southern Cross Club Thursday 22 March, Brass Monkey, Saturday 24 and Notes, Sunday 25.
Renowned as much for their delightfully British wit as their compelling vocal talents, The King’s Singers take to the Sydney Opera House Thursday night in an evening dubbed simply A Cappella.
THURSDAY Declan Kelly – 505 Feel The Manouche – Colbourne Ave Glebe Steve Davis with Clive Lendich & Band – Blue Beat
FRIDAY Eon Beats – 505 The Michelle Nicolle Quartet – Live At The Village, Leura ARON OTTIGNON
Full Swing Quartet – Lane Cove Country Club
TUESDAY Mike Rivett Quartet + Andy Fiddes’ LIVEWIRE – 505 James Valentine Quartet + Robert Susz – Golden Sheaf
46 • THE DRUM MEDIA
Michelle Nicole & Tina Harrod – 505 Monsieur Camembert – Camelot Lounge John Mackie & Yuki Kumagai – Well Connected Café
Jill Player & Steve Flack – RockSalt Menai
Susan Gai Dowling – Jazushi
Julien Wilson’s Coat Hangers – 505
The Swinging Blades – Marrickville Golf Club
Greg Poppleton’s Bakelite Broadcasters – Blue Beat
Michael Griffin Quintet – Summer Hill Hotel
Deva Permana Trio – Jazushi
ROCKABILLY/PSYCOBILLY/ALT.COUNTRY WITH PEDRO MANOY
Britton rocks the Bald Faced Stag. The Dead Marines Brendan Gallagher, Bow Campbell and Bernie Hayes - play the street level bar of the Sandringham Hotel.
Congratulations to our own Don Hopkins and Rob Grosser who as Dr Don’s Double Dose took out the silver in the solo/duo categorythis year’s International Blues Challenge in Memphis. Considering the strength of talent assembled each year this is a fantastic accomplishment and due recognition for two of the most respected musicians this country has produced.
In 2011 the crew from 2MBS-FM’s Stormy Monday program got together to stage a number of successful themed events with Dave Hibbert from Marrickville Bowling Club. I’m glad to report the first “Fais Do Do” for this year takes place this Saturday with a distinct Louisiana zydeco and blues theme. The night starts with a rare screening of a film about the legendary New Orleans Mardi Gras, followed by the showcase combo Louisiana Roadshow, featuring members of the Chris Mawer Band, Psycho Zydeco and Petulant Frenzy, with Stormy Monday presenters Austin Harrison and Garth Sundberg on hand to dispense the “bon temps” and mardi gras beads.
Paul Sun Trio – Manly Market Place (morning)
Alfredo Malabello – The Basement
THE SWAMP SHACK
DJs and dance maestros Limpin’ Jimmy and the Swingin’ Kitten have done more to get this city on the dancefloor than just about anybody else I can think of. Now the platter party that is popular Jump, Jive & Wail is reborn at the Lansdowne Hotel with the shindig kicking off this Friday on a monthly basis with the added bonus of free entry.
Has a little of Australia’s surf culture infiltrated the music The April Maze makes? I grew up surfing the east coast of Australia and when I first met [singer/cellist] Sivan we did a road trip together along the coast road from Cairns to Melbourne, so our songwriting has definitely been influenced by the incredible beauty of Australia’s east coast and surf beaches. One song in particular on our first EP, Counting Stars, was inspired by a young man that lost his life in the surf in Tasmania. The chorus says, “If you’re not living on the edge, you’re taking up too much space” and that’s how we aspire to live our lives.
QLD JAZZ STYLE JAZZ/WORLD WITH MICHAEL SMITH
Valentine’s Day was the obviously perfect day for Adelaide-born, Perth-based actor and singer Alfredo Malabello to launch his debut album, Ciao Bella (SBS/ Universal), a collection of romantic Italian and English songs from the ‘60s and ‘70s along with three of his own, at the Basement Circular Quay. Camelot Lounge in Marrickville is also offering a romantic Valentine’s evening in the form of the inimitable Kamahl, while Newcastle siren Emma Hamilton is the Valentine on the Lizotte’s Dee Why menu.
Sydney-raised London-based pianist Aron Ottignon and collaborator The Cat Empire’s pianist, Ollie McGill, will be trading licks in the Sound Lounge Friday night, the evening naturally billed Duelling Pianos. Saturday night, the Sound Lounge hosts an evening with the Sandy Evans Sextet.
You’re bringing contemporary folk, with added cello, to the bastion of Sydney’s surf scene. Is The April Maze and surf a natural mix? Although we don’t play surf rock or punk, a lot of surfers seem to like acoustic music and dig what we do. Last time we played a show on Sydney’s Northern Beaches, Lindsay Bjerre of late-‘60s psychedelic surf rock band Tamam Shud (they played on the soundtrack of classic Aussie surf film, Morning Of The Earth) came up afterwards and bought a CD. Lindsey is an avid surfer and there was this instant respect and connection between us. We told him how we had based The April Maze T-Shirt design on the Morning Of The Earth T-shirt... I asked if he would sign my Morning Of The Earth T-shirt and he asked us to sign his April Maze T-shirt! What a spinout!
Thursday night, Notes Live in Enmore, just across the road from the Enmore Theatre, hosts an evening with the multi-award-winning Armenian jazz diva, Shushan Petrosyan, performing some of her signature tunes, as well as some of much-loved jazz standards with a dash of Armenian folk. Her special guest on the night is Australian cabaret artist Marcus Rivera.
Folk popsters The April Maze are just one of a stack of bands playing the Northern Beaches Music Festival this Friday through Sunday at the Tramshed and Berry Reserve in Narrabeen. Drum asked guitarist/banjo player Todd Mayhew about it all.
Eugene “Hideaway” Bridges sings the Sam Cooke songbook at the Basement with Jenny Marie Lang, Kara Grainger and the Soul Twist Horns. There’s a big night at the Empire Hotel with Jim Conway’s Big Wheel and Terry Serio & The Ministry Of Truth while the Jive Bombers play the Eastern Suburbs Legion Club.
ROSIE LEDET And speaking of all things Louisiana, the original zydeco sweetheart Rosie Ledet has just announced a Sydney show at Notes Thursday 5 April with her all-star outfit The Zydeco Playboys. Ledet is an artist right at the forefront of the modern zydeco movement, renowned for her wild hip-shaking stage antics, raunchy lyrics and a unique female perspective that sets her apart from the normally male-dominated zydeco scene. Rosie will also play two shows at Bluesfest in Byron over the Easter long weekend.
Kristina Olsen along with Anatoli Torjinski and Spike Flynn play the Brass Monkey in Cronulla. Mark Easton plays the Fitzroy Hotel in Windsor promoting his new CD and the Musos Club Jam Night hosted by Jim Finn & Al
2MBS-FM presents the The Louisiana Roadshow at the Marrickville Bowling Club. Eugene “Hideaway” Bridges moves to the Brass Monkey and the Jive Bombers join DJ Grizzly Adams for a big dance night at the Ashfield RSL Club. Kristina Olsen, Anatoli Torjinski and Spike Flynn play Notes. Ward’s Xpress play Club Cronulla and the Continental Blues Party play the Mac in Surry Hills.
The Jive Bombers swing the Cronulla RSL from 12.30pm. The Charlie Harper Band let rip at the Towradgi Beach Hotel and EC & The Voodoo Train play the Five Islands Brewing Company at the WIN Entertainment Centre, both shows from 3pm. email@example.com
The Queensland Music Festival Board has confirmed that internationally renowned jazz trumpeter and multi-instrumentalist, James Morrison, has been appointed the Artistic Director of the 2013 and 2015 Queensland Music Festivals. The festival is a state-wide celebration of music that brings the best of local, national and international acts together to preform all genres in order to “transform lives through unforgettable music”. The Chair of the Board, Kate Farrar, has described Morrison as “an inspiring and highly experienced music educator who will champion the community development aspects so important to the Festival.”
The 10th Annual Australian Jazz Bell Awards close this Wednesday. Nominations are free, so if you haven’t already, get your entries in quick. The awards are to be held at Melbourne on 3 May, with eight category winners to receive $5,000 to put towards their career. Last year’s winners included Eugene Bell, Johannes Luebbers and Tony Gould.
Renowned American jazz guitarist, John Scofield has cancelled his Australian masterclass tour set for next month. Thump Music announced via their Facebook page that the cancellation was beyond their control. Thump Music have confirmed all tickets will be refunded over the next two weeks and are also offering 10 per cent off all products from their online store to inconvenienced customers.
COUNTRIFYIN’ THE BEACHFEST
Kevin Bennett & The Flood will be joining the huge lineup of acts taking to the Tramshed and Berry Reserve stages in Narrabeen over the weekend for the Northern Beaches Music Festival. Drum caught up with Bennett for his thoughts. You’re bringing your very Australian take on alt. country to the bastion of Sydney’s surf scene. Is country and surf actually a natural mix? Like seafood and steak (Surf n’Turf) we’ll create a phenomenon that will become part of the great Australian culture… Like The Atlantics crossed with The Dingoes, the Oils mixed with Slim Dusty, the waves will meet the plains and a new form will arise and it shall be known forever as… “salt.country”. Is there a Flood favourite stretch among the Northern Beaches Our fave stretch is from Manly to Palmie – the whole bloody thing! But we have a soft spot for Narrabeen, home of “The Antler” – iconic gig from days gone by and scene of many epic performances over its lifetime. The fact that the Northern Beaches Music Festival is being held in Narrabeen is one of the main reasons we took the gig! It even gets name-checked in Surfin’ USA by The Beach Boys and soon will be renowned as the birthplace of salt.country! It’s been a while between albums. Are you going to be showcasing some new songs along with old favourites? We’ll be doing exactly that, our usual mix of Flood faves, some songs from my acoustic “solo” record, the odd cover and some new stuff – bringing salt. country to the masses!
DANCE MOVES Around the middle of last year, lots of people – whose taste I trust – started raving about a hyperactive, uplifting vocal house track they’d discovered. Nothing odd about that, really, the only unusual part of the tale being the tardiness of this explosion of excitement; Seany Mac’s One Of These Days (Organ Mix) actually dates from 2009 and yet its joyous, dewy-eyed, pianoriffing, cut-up vocal charms seem to have escaped the attention of the known world until now. It seems to captivate everyone who hears it though and I suspect its reputation will only grow.
NEW CURRENTS WITH TIM FINNEY
KORG M1: THE ORGAN IN “ORGAN”
The sound is what you’d expect from a genre built almost entirely from Robin S’ signature hit: strident house beats, cheerful piano chords and cheesy choruses giving way to absurdly overdone, sometimes grandiose organ bass solos – for particularly fine recent examples, check DJ K & DJ Hasan’s take on Usher’s Oh My Gosh or Hasan’s You Make Me Feel So. Organ may be the most ridiculously plastic and anti-deep dance music style since handbag house, with all allusions to seriousness or darkness unceremoniously rejected in favour of a good-time all-the-time insistence as lurid and exhausting as ten flickering fluorescent cathode tubes;
ONLINE MUSICAL WIN WITH DCR
It’s late at night and a low mist has settled in the backstreets where you wander, aimless. It’s been two hours since the sun set; two hours since you heard the news; two hours since you decided to skip town. You’ll never be seen again. The revelation hit you hard. The only way to deal with it was to leave, without announcement. Where you will go, you’ve no idea. Hadn’t thought that far ahead. There’s a chill in the air. You pass an old brick building and you think you see something move. My reflection, you think. It’s only my reflection. The stillness is isolating, the silence deafening.
The secret to One Of These Days is in the “Organ Mix” addendum: this doesn’t refer to an actual organ, but the bouncy, rippling synthetic Korg M1 “Organ 1” bass line popularised by Robin S’ Show Me Love in the early ‘90s. One Of These Days even sounds a bit like Show Me Love crossed with Pete Heller’s Big Love, souped up with the helium shivers of speed garage and 2-step. In fact One Of These Days is a particularly likeable example of “organ”, one of the more resolutely unheralded sub-genres to emerge from Britain’s postgarage hinterlands. It’s barely a sub-genre – with no stars, no hits, no official compilations and no journalistic write-ups, organ has the kind of fitful musical half-life I expect will become increasingly common in this brave new Web 2.0 world, characterised by unofficial YouTube channels (check anything uploaded by “StrictlyOrgan”), free DJ mixes and a host of made-in-two-minutes cash-in cover songs of recent R&B and pop songs. If we can talk with a straight face about “tumblr-rap”, then organ is like all those YouTube videos of people performing choreographed routines to pop songs, hitting the right buttons for just enough people to eke out an unacknowledged existence of sorts.
You reach into your pocket and grab the one material possession you brought with you – your iPod. No charger. There’s 24 per cent battery life left. You’ll get a couple of hours max out of it. You feel the wind break through your jumper. A shiver reverberates down your spine.
the anti-dubstep, if you will, for all that they share many of the same musical ancestors. Organ technically is or was a subset of the UK’s Bassline scene, which shares its snappy 4X4 rhythms and embrace of sickly-sweet pop songcraft. In Bassline’s beginnings in the early-to-mid ‘00s, back when it was mostly called Niche, the organ impulse was simply one end of a high-speed house continuum running through to the kind of booming low-end characterised by T2’s 1997 hit, Heartbroken. But as Bassline has increasingly flirted with a more muscular syncopated sound (drawing from 2-step and grime primarily), organ has started to become its own thing, a singalong-friendly safe harbour for those alienated by the testosterone-creep. This is a dynamic that has haunted British dance music since the first wave of speed garage, like a neverending circular argument between those rushing back to the arms of pleasure-centred house comfort and those who would turn their hideaway retreat into a realm of rhythmically dangerous drug noise. It’s hard to imagine what kind of rhythmic danger organ might one day give birth to; until then it remains a fabulously efficient (albeit diabetes-inducing) source for all your pop-dance sugar-high needs. firstname.lastname@example.org
You scroll through the albums on your iPod. You come across the Happy Trendy EP you found last week; new band from Edmonton, Canada. Found them on Bandcamp. Die Young, it’s called. Five tracks. Pay what you want – even nothing. You tap ‘play’ and Satan’s Tape begins. A warm feeling of nostalgia sets in. You hear echoes of Balearic chill and witch house and lo-fi indie pop, which works better than it sounds. It’s SALEM in a good mood meets Shocking Pinks. Blissful, delicate piano lines trickle like raindrops on January 6, providing the coda to a sweet four minutes of mid-2000s blog-pop of the sort you used to read about on You Ain’t No Picasso when the site’s background was that horrendous shade of green, but the writing not so esoteric. It reminds you of the time you were heavily into We Are Scientists and trying to figure out what the deal was with Bishop Allen. The title track comes on. Potential to read into its lyrical content too easy. Too obvious. It repeats its mantra over and over to disinterested ears. Cheap? you think. It does remind you of Labyrinth, however – and you start to think of Jennifer Connolly. Sleep Now For A While comes on. “Night time stresses me out”. You don’t say. You’ve hit the edge of town; a lone road, unpaved. The mist is low, lapping your feet like an eager puppy. The road appears endless. No one will miss you. Move forward. You open your eyes; drowsy. The sunshine hits your face with the subtlety of a fist. You must’ve passed out from
BAHAMAS exhaustion. The mist is now gone, the road still endless. Get up. Continue sans regret. There’s five per cent left on your iPod. You switch to “Bahamas”. Former guitarist for Feist, you’ve heard. Be My Witness the lone song you possess. Afie Jurvanen, you think, sounds like M. Ward traversing the world of The Fitzgerald-era Richmond Fontaine. Perfect accompaniment for a stroll, or heavy drinking session – utterly devastating and romantic at once, makes your wandering feel like it’s going somewhere, even if you’re on a straight path to nowhere. “I’m on the edge of something,” he croons. Ain’t that the truth. iPod dies. You’re alone with only your thoughts and the road ahead. You begin to whistle, a smile forms, you continue along… Away from self-indulgent stream of consciousness wank for a final moment, for fans of Jamie Lidell and Eli “Paperboy” Reed and other modern-day soul revivalists, get yourselves acquainted with Nick Waterhouse, a Californian guy in his mid-20s making music that sounds like long-lost relics of days gone by. Up on Rcrdlbl there’s Some Place, a raucous slice of 1950s, featuring baritone sax stabs, stomping piano accompaniments, a quasi-surf rock percussion section and Waterhouse’s wail. It’s utterly infectious and pure class. His album, Time’s All Gone, comes out through the super-cool label Innovative Leisure – home to recent visitor Hanni El Khatib – in May. Happy Valentine’s Day.
THE DRUM MEDIA • 47
THIS WEEK IN
THIS WEEK AT STARLIGHT CINEMA DRUM MEDIA PICK OF THE WEEK: We Need To Talk About Kevin, an adaptation of Lionel Shriver’s bestselling novel starring Tilda Swinton, John C. Reilly and Ezra Miller (Friday 17). Other films screening this week include a Valentine’s Day screening of The Notebook, one of the most adored love stories of a generation, starring Ryan Gosling and Rachel McAdams (Tuesday 14); Albert Nobbs, about a women struggling to survive in late 19th Century Ireland and so poses as a man (Wednesday 15); War Horse, the 2011 Spielberg film adaption of the play of the same name that will be coming down under at the end of the year, a tale of loyalty, hope and tenacity set against a sweeping canvas of rural England and Europe during the First World War (Thursday 16); We Bought A Zoo, directed by Cameron Crowe and based on a true story of a family who buy a zoo for a life change (Saturday 18). All films begin at Sundown, around 7pm, at the open-air Starlight Cinema, North Sydney Oval. See starlightcinema. com.au for more details.
TUESDAY 14 Jurassic Lounge – winner of Remix The City at the 2011 FBi SMAC Awards, Jurassic Lounge has returned for its third season bringing with it the best this city has to offer in arts across the board as well as late-night romps through the Australian Museum. Tonight’s Anti-Valentine’s Day entertainment includes, live, music from Young Romantics and Fanny Lumsden; burlesque from Frankie Faux; a DJ set from Acid Stag; jazz jamming to your heartbeats via I Heart Jazz; Break Up Stories with comedians Rhys Nicholson, Pretty Plain, Damian Smith and Nina Oyama; Speed Hating; the ace Yiwarra Kuju: The Canning Stock Route and Wildlife Photographer of the Year exhibitions; video games and board games; karaoke and Silent Disco; a worm display, and more, more, more! Australian Museum from 5:30pm. Welcome To The Brightside Extravaganza – the exhibition is an insight to the world of artist BrightSide (Katie Bright) and showcases works that are screenprinted onto mirrors, lighting installations and in live performance. The opening night will include poledancing by Bobbi’s Pole Dancing Studio, contortions by Bendy Em, roaming cupids by Dwarf Your Party, and live music by Erskine Brown, Mr Bamboo and The Cope Street Parade. Complimentary ice cold XXXX Summer Bright Beer and Green Fairy Absinth cocktails will be served by ‘muscled-up’ topless waiters. aMBUSH Gallery, Waterloo, 6pm.
SATURDAY 18 Leonardo Live – a cinematic event giving you the opportunity to experience the sold-out exhibition Leonardo da Vinci: Painter at the Court of Milan, which will never tour due to the fragility of the paintings, captured in the National Gallery, London. Presented by international art historians Tim Marlow and Mariella Frostrup, who will give detailed examinations of the works. Chauvel Cinema, 11.30am. That Pretty Pretty, or The Rape Play – written by Sheila Callaghan, directed by Netta Yashchin; an Australian premiere. A fast-paced darkly comic tale that shows how we sensationalise war, treat women in media and deal with society’s ideals. The play follows four characters, Agnes and Valerie – two 48 • THE DRUM MEDIA
ex-strippers – Owen, who is writing a screenplay using the women’s blog as inspiration, and his uncensored right-hand man, Rodney. Closing night, Tap Gallery, 8pm.
A LOAD OF WANK
WHILE THE YEAR OF MAGICAL WANKING MAY SOUND LIKE ONE OF MARDI GRAS’ FUNNIEST SHOWS, TROY MUTTON LEARNS FROM STAR NEIL WATKINS THAT THERE’S A LOT MORE TO IT THAN JUST FUN FOR ONE.
SUNDAY 19 Thyestes – directed by Simon Stone and co-written by Simon Stone, Thomas Henning, Chris Ryan and Mark Winter after Seneca. In the charnel house of Greek legends one room is forever reserved for that most ferocious of tales, that of Thyestes, a deposed king whose sons are slaughtered and served up as a feast to their ignorant father. Mythological atrocity is treated as contemporary reality in this exploration of the mundanity of violence in a dark legend that is savagely comic, constantly surprising and gutwrenchingly shocking. Closing night, CarriageWorks, 8pm.
ONGOING Babyteeth – written by Rita Kalnejais, directed by Eamon Flack, it’s a comedy about how good it is not to be dead yet. A group of ordinary(ish) Sydneysiders who go about their lives until the sobering moment when they realise Milla will die before her 15th birthday; an exploration into the ‘violent sweetness of life’. Upstairs, Belvoir St Theatre until 18 March. Midsummer (a play with songs) – a festival hit from Edinburgh’s Traverse Theatre, this rough and tumble romantic comedy features Helena, a divorce lawyer, and Bob, a petty criminal, strangers until only a few hours ago. Now they stumble to Helena’s apartment where they share a drunken but surprisingly enjoyable one-night stand. Then they say goodbye. After all, these two romantic failures agree that ‘love is just another word for need’. The Berocca has yet to kick in when chance reunites the pair and, through the hangover haze, they make the wildly impulsive decision to spend the 25 grand in hot cash that Bob is en route to deliver to a low-level gangster. Drama Theatre, Sydney Opera House until 10 March. Pygmalion – taking its name from the Greek myth about the sculptor who fell in love with a statue he has carved, George Bernard Shaw’s enduringly popular play has inspired interpretations as diverse as My Fair Lady, Pretty Woman and Educating Rita. Shaw’s story is one of rags to relative riches but his Eliza is no Cinderella and Higgins is certainly no Prince Charming. In Peter Evans’ new production Andrea Demetriades plays the original feisty flower-girl. Sydney Theatre until 3 March. Songs For Nobodies – written by Joanna Murray–Smith and directed by Simon Phillips, this one-woman show stars singer and actress Bernadette Robinson, who plays five ordinary women and five iconic singers – Judy Garland, Patsy Cline, Billie Holiday, Edith Piaf and Maria Callas. Each “nobody” recounts an intimate tale of how her life was transformed by an encounter with one of these icons. Playhouse, Sydney Opera House until 4 March.
WE NEED TO TALK ABOUT KEVIN
Skimming through the massive Mardi Gras programme for this year no doubt The Year Of Magical Wanking jumped out at you, especially with its description: “Neil Watkins is a force of nature… a 33 year old homosexual with a Jesus complex.” And so you can imagine it was with great intrigue this scribe waited for Watkins to answer the phone from Melbourne, where he’s currently running the one-man show of verse and poetry, digging into the depths of subjects like porn addiction and destructive sexual behaviour. The purposeful Irish lilt that comes back down the line is considered when it comes to detailing just how and why Magical Wanking came about. After working with production company (and friends) This Is Pop Baby on an “avant garde performance nightclub in Ireland,”
C U LT U R A L
they asked him to produce a new show for a festival of queer works they were curating, and so it was born: “I really wanted to make something that was ultra true to my artistic vision, but also something that could be universal, that could resonate around the world,” Watkins begins. “The first thing I came up with was the title because the posters had to go to print so I just boldly chose the title The Year Of Magical Wanking, because the last solo show that I’d seen that had left an impression on me was The Year Of Magical Thinking with Vanessa Redgrave.” And while he “didn’t necessarily love it,” Magical Thinking made Watkins realise that although he couldn’t really identify with going through losing a loved one or close relative, he did have a lot of grief around his own issues and pain. “What I was going through in therapy was
WITH JAMELLE WELLS An American cinematographer and Australian writer killed in a helicopter crash on the New South Wales south coast last week were reportedly scouting locations for a documentary. Mike deGruy from Santa Barbara, California, and 51 year old Andrew Wight from Victoria, died when their chopper crashed as it was taking off near Berry. DeGruy won several BAFTA and Emmy awards for cinematography. Wight was the writer/producer of the 3D film, Sanctum, which was made on the Gold Coast and reaped $100m worldwide at the box office last year. It’s reported to have been based on his near-death experience in an underwater cave. Members of Sydney’s theatre community turned out for Wednesday’s memorial service for theatre producer Diana Bliss, who was found in the pool of husband Allan Bond’s Perth mansion in January.
Performers including Carmen Duncan, John Diedrich, Maria Venuti and Judi Connelli came to the West Epping church to pay tribute to the 57 year old. That followed a funeral in Perth earlier in the week. You Am I frontman Tim Rogers is performing live on stage with actress Bojana Novakovic and a band every night in Griffin Theatre Company’s upcoming season of The Story Of Mary MacLane By Herself. The show is based on a famous memoir by a 19 year old girl written 100 years ago. Director Tanya Goldberg tells us the writer was a visionary, seeing people’s need to connect long before Facebook, Twitter and blogs. Rogers also composed the soundtrack. Actor Rhoda Roberts has been made the first head of Indigenous programming at Sydney Opera House. The newly-created job is for two years. Roberts is also artistic director of the Message Sticks Festival, now in its 13th year.
counselling for sex addiction and I was going to fellowship meetings for that and I was just bored of the shame that I felt. Really it was a case of life or death with me to vent all this stuff. And because sex addiction is misunderstood and porn addiction is such a taboo, I needed to present that in as beautiful way as I could. So hence the decision again to use poetry. And for people who may shy away from poetry, well I felt that if I’m talking about porn, I’m gonna hold their attention.” The show itself has really proven to be a cathartic experience for the actor/writer, to the point where it can almost be too much and he needs to to find a means of gathering himself like constant yoga. “I think essentially it’s like a mediation of sitting with yourself and sitting with your own shit and making peace with it. And each day I felt like I was drilling deeper and Another actor is about to leave Channel Seven’s Packed To The Rafters. Angus McLaren, who plays the third Rafter sibling, Nathan, will leave halfway through the next series. He follows Jessica Marais, who left her role as eldest daughter Rachel last season. There are reports Hugh Sheridan, who plays Ben Rafter, will also leave during the next series. Cirque du Soleil is returning to Australia with its critically-acclaimed big top production, OVO. A national tour will include Brisbane, Sydney, Adelaide, Melbourne and Perth. The show will be presented in Sydney in The Showring at The Entertainment
deeper into that journey of accepting of stuff. I find I really have to be careful while I’m performing this play that I don’t go over the edge so I stay balanced… Ultimately it’s healing.” And healing for others as well, with a common occurance being people coming up to him after the show to thank him. “It’s happened where [people will] share some very intimate things with me, and people will be very grateful, you’ll get a sense of people just saying thank you, thank you for getting up there and doing that. Which is great, and its sincere you know? I just feel like it’s a conversation that really needs to be had.” WHAT: The Year Of Magical Wanking WHERE & WHEN: Sydney Theatre tonight to Saturday 18 as part of Mardi Gras Quarter from September. Since its world premiere in Montreal in 2009, OVO has visited more than 15 cities in Canada, the US and Mexico. Six dancers are in the running to take home The Australian Ballet’s highest honour, the 2012 Telstra Ballet Dancer Award. They are Dimity Azoury from Queanbeyan, Calvin Hannaford and Amy Harris from Victoria, Ako Kondo from Japan, Jarryd Madden from Wauchope, and Jake Mangakahia from the Sunshine Coast. Real-life ballet couple Amy Harris and Jarryd Madden are competing against each other – a first for the Award.
SIMPLY THE BEST BRITISH FAMILIAR-FACE KEVIN BISHOP TALKS TO GUY DAVIS ABOUT WORKING IN AUSTRALIA, HAVING A FACE “LIKE A CIRCUS”, AND HIS NEW FILM, A FEW BEST MEN. So, Kevin Bishop, as an actor who has worked alongside both Kermit the Frog and Rebel Wilson, who’s easier to work with: Muppets or Australians? “There’s not a huge difference, is there?” replies the star of A Few Best Men, the raucous and ribald new comedy from director Stephan Elliott, the maker of The Adventures Of Priscilla, Queen Of The Desert. Ooh, you cheeky bugger, Kevin. But don’t take umbrage, Aussies, because Bishop is merely taking what’s known as the piss. He’s a big fan of many things from Down Under – his director, his co-stars (who include Twilight hunk Xavier Samuel and living ray of sunshine Olivia Newton-John), Kings Cross (where he and fellow Brit Kris Marshall were initially put up by A Few Best Men’s producers – “I don’t know what they were thinking!”) and, of course, his new movie, a Death At A Funeral/Hangover-style romp in which nice young Englishman David (Samuel) sees his Blue Mountains wedding to lovely Australian gal Mia (Laura Brent) turned into a drug-fucked, sheepmolesting debacle by his bumbling trio of best men, lovelorn Luke (Tim Draxl), self-styled alpha male Tom (Marshall), and the easily-led Graham, played by Bishop. “Graham is likeable but he’s neurotic. He’s constantly wrong-footed by Kris’ character, and he’s not a natural leader, which is why he falls for things like being persuaded that doing a lot of coke before making a big wedding speech is a good idea.” Even though he’s in his early 30s, Bishop is something of a showbiz veteran, having kicked off his acting career in his early teens with a gig on the UK schoolyard saga, Grange Hill, and a lead role in Muppet Treasure Island. He’s worked consistently ever since, appearing in films and TV shows and headlining his own eponymous
sketch comedy series. And when the opportunity arose to meet with Elliott to discuss a role in A Few Best Men, he jumped at the chance. “I think they saw everyone in the UK for these roles and there was a bit of a buzz about this amazing film of Stephan’s,” he explains. “When I went in for an audition he had me read Graham’s best man speech, which had made me laugh out loud when I first read the script, and secretly I thought I’d probably do this for free if there was even only this scene in the entire film.” Bishop and Elliott bonded over a shared penchant for outrageous humour, though the actor admits he was initially taken aback by the director’s comment after his reading. “He went ‘Do me a favour, Kevin, don’t ever have Botox. Your face is like a circus,’” he recalls laughing. “I walked out wondering if that was a compliment... or was he saying I was an over-actor? I guess it must have been a compliment because I got the job!” Already mates with Marshall – the two had worked together on the sitcom My Family – Bishop quickly bonded with Australian co-stars Samuel and Draxl when he relocated to NSW for the A Few Best Men shoot. “You can see by the end of the film that it’s like me and Xavier and Kris and Tim have known each other all our lives. It was very much like I’ve got these new best mates. Of course, alcohol plays a huge part in that. It reduces us all to nothing!” A Few Best Men closes the current season of Starlight Cinema. In addition to the film screening there will be live jazz and blues from the Lana Nesnas Ensemble. WHERE & WHEN: Closing Night Film at Starlight Cinema, North Sydney Oval Sunday 4 March from 7pm
THE END OF THE WORLD (NOT AS WE KNOW IT)
HAVING THRILLED AUDIENCES WITH THE FREAK AND THE SHOWGIRL LAST YEAR, CABARET-BURLESQUE-FREAKSHOW PERFORMERS MAT FRASER AND JULIE ATLAS MUZ ARE BACK IN AUSTRALIA WITH THEIR NEW SHOW, APOCRASTRIP WOW. ALEKSIA BARRON CAUGHT UP WITH FRASER.
Barely a year ago, Mat Fraser and Julie Atlas Muz were making their way across Australia with their show, The Freak And The Showgirl, leaving a trail of boggled minds and goggled eyeballs in their wake. As The Showgirl, former Miss Exotic World winner Muz is a sight to behold – all blonde hair, crazy eyes and a distinct predilection for taking off her clothes in new and innovative ways. And then there’s Fraser, the self-branded
freak, who was born with phocomelia due to his mother being prescribed thalidomide during her pregnancy, and who has carved out a performance career in which he has thrust the realities of disability in his audience’s faces – all the while pointing out the funny side, to boot. For a pair of less-than-conventional performers, they sure are busy. “This year it’s been mostly cabaret and nightclub work,” Fraser explains from his hotel in Dublin. “Mostly I’ve been
TALKIN’ ABOUT LOVE
PLAYWRIGHT RITA KALNEJAIS TALKS TO DAVE DRAYTON ABOUT LETTING THE WORLD LOVE YOU AND WHY SHE’S BETTER AT PUTTING WORDS ON THE PAGE THAN DELIVERING THEM ON STAGE.
Cradling a glass bottle of sparkling water in the Belvoir St Theatre foyer Rita Kalnejais jokingly suggests the liquid is part of her version of the boozeand smoke-addled writing cliché, “I feel like I’ve become the hardcore writer I’ve always wanted to be when I drink this. And with the honey rose cigarettes.” Songs from the upcoming production of her new play, Babyteeth, filter downstairs as the tech crew check sound levels. Despite carving out a career as an actor – on the very stages we sit between in the likes of The Kiss, Disco Pigs, A Midsummer Night’s Dream and elsewhere too – she explains that she is much more content creating the script than performing it, if not equally anxious. “The idea of performing in this is so unappealing to me. I already feel way too exposed writing. And part of the reason I went into writing, apart from the fact that it always felt better for me, was that I got very shy – I suddenly got very shy about being on stage. The idea of being exposed to that level just honestly makes me want to run into a toilet and throw up into every cubicle. It’s just horrible to me! It would consume me too much. And there are better actors than me as well, who I would prefer to be in my work than me. There are people who can do it better, I’m a bit schticky, you know?” Modesty aside, her written output is now growing to match that of her performances, including stints writing for Melbourne-based The Hayloft Project (B.C) and Sydney Theatre Company as part of last year’s Next Stage collection of five new short works about money, Money Shots. Like How To Get Very Clean, the piece she provided for Money Shots, Babyteeth sees love and death in close proximity,
a proximity that heightens the sense of both. “At the time of Money Shots I’d started dreaming myself into Babyteeth, so that world was the one I was moving through. But when I wrote How To Get Very Clean, thank God something meaningful – a scene – fell out of that time. It was like I was kind of moving around bumping into bits of furniture, not sure of the world. I felt like I’d asked the question and little offering of answers were coming out at me, but nothing...” Kalnejais grasps at thin air, lost for words, revealing how things wouldn’t quite stick. “So that scene was as far as I could see into that question at that time.” That question: How do you love like you’ve got nothing to lose? “Some of the love stories are less obvious – because of the circumstances and maybe because of who they are – but often it’s the circumstances, it’s in extreme circumstances, where the world just makes love to you. Because you are in such need you let it love you, you let whatever language the world can speak to you make love to you. So it might be music,” – her lilting responses to the tunes floating downstairs suggest as much – “or it might be a moment of profound intimacy where suddenly you’re understood, or you’re seen, or you see someone or suddenly there’s a focus and it’s like that kind of love story. There’s the dizziness of first love – that kind of intensity, that ‘I would die for you’ feeling – but then there’s also falling in love with someone because you have no choice at that moment. Because you have to hold something or someone when you’re falling like that.” WHAT: Babyteeth WHERE & WHEN: Upstairs, Belvoir St Theatre until Sunday 18 March
working at this club in London called The Box, which is a swanky club for rich people, like millionaires and royals. I’m part of the floor show, doing my freaky striptease, only I do it down to naked because they like it very rude there.”
I’m disabled – and I’m also the first disabled actor that’s ever been on Irish drama with a regular character. It’s quite novel, really. Now I can’t move in Dublin for old ladies stopping me in the street, telling me what to do with [my on-screen partner].” Somehow, in all the hubbub, Fraser and Muz found the time to work on a sequel to their cabaret-sideshow hit, The Freak And The Showgirl. Inspired by the 2012 prophecies and Mayan calendar, Apocrastrip Wow was developed over a few visits snatched during breaks in the pair’s schedules. They even did their research: “We went to Mexico, where the ancient Mayan ruins are, where it’s said that the aliens visited them and where they created the famous Mayan calendar.” However, they’re hardly looking to turn their freakish cabaret style into an academic experience. “It’s The Freak and The Showgirl dealing with the potential end of the world… and of course, we’re slightly irreverent about the whole thing,” he laughs, before promising acts featuring drum’n’bass, martial arts, radioactivity-inspired stripteases… and, of course, the allimportant element of surprise.
Meanwhile, Muz has signed a two-year contract with Cabaret New Burlesque. Factor in Fraser’s work with the National Theatre of Wales and Muz’s history of playing a mermaid at the New York Aquarium and you have a schedule most performance artists could only dream of commanding. A recent project has been particularly important to Fraser. Having campaigned for years to see more disabled actors on screen (as opposed to able-bodied actors playing disabled characters), Fraser was particularly thrilled to be cast as a recurring character in Fair City (Ireland’s answer to Neighbours). His character impregnated another before disappearing into the sunset/ Kosovo, only to turn up eight months later to cause trouble. “Classic soap stuff,” Fraser chuckles. “Well, it is in one way, but not in another, because
PLAYWRIGHT DAVID GREIG TELLS DAVE DRAYTON HOW STALKING AND A ‘STOLEN IDEA’ LED TO HIS INDIE MUSICAL, MIDSUMMER (A PLAY WITH SONGS). Still buzzing from his first visit to the Opera House just hours earlier David Greig sits down at Sydney Theatre Company before a staff meeting. However the Scottish playwright has more reason to celebrate than your average backpacker; the hit lo-fi indie musical he wrote and will direct, Midsummer (a play with songs), is about to commence an extensive tour of Australia’s east coast. “I’m an oldfashioned Scottish indie music nerd – from the 1980s, the ’90s – so I’ve always listened to indie music and Scottish indie music, that was always my thing. But I never thought of it as anything to do with work and then someone said to me about ten years ago, ‘There’s this band called Ballboy and they’ve done a song that is just like one of your plays.’ The song is called Let’s Fall In Love And Run Away From Here, so I listened to it and it had a plot that was like one of my plays, but that was irrelevant, I just really liked it. I was just playing their music a lot, and I secretly was wondering if I could make a work with him, but I didn’t know him at that point.” So the seed was planted and the ‘stalking’ of Ballboy’s songwriter (and soon to be co-playwright with Greig) Gordon McIntyre could commence. “I was doing a project. Someone had asked me to edit a book of essays about Scotland’s relationship with England and I wanted writers to write about what they liked – I wanted a Scottish writer to write about what they like about England, because obviously we expect people to write what they don’t like. I thought, ‘I’m going to ask Gordon to write one.’ He had done this song called I Hate Scotland, and it was quite funny. But, really, asking him to do that I was thinking, ‘I’ll see what this guy is like and maybe…’ I was a bit stalkerish, I was in pursuit,” Greig jokingly concedes. The stalking worked and soon Greig and McIntyre were back-and-forthing,
building a story from one of McIntyre’s songs, which told the story of two people having a one-night stand, then accidentally meeting the next day only for the woman to be run over. Their mutual love of all things ‘indie’ prevented the production from getting the Broadway treatment, the duo going so far as to set strict rules against such ‘flare’. “We were thinking when a musical normally has a hundred actors – or even just twenty – we’re going to have two. Where a musical would have a chorus line, we’ll just have, I don’t know, glasses,” he picks up a water bottle and shakes it back and forth on the table, “and make the glasses dance like that. Where a musical would have an orchestra, we’d have just the actors with two acoustic guitars. And we got very rigorous about the rules originally. There’d just be a bed, only a bed - that would be the set. And it’s not far off that.” As for the parenthetic title, “We didn’t want to call it a ‘musical’ and then I heard from my friend, another playwright, Simon Stevens, that he was working with American Music Club songwriter Mark Eitzel and he said they were working on a play with songs and I thought, ‘I like that idea,’ and asked him, ‘Do you mind if I use that?’ thinking that – because he had told me this and it was happening – thinking that I’d be after him; he’ll have done this play with songs and then I will. But in fact, by sheer luck, his thing was delayed for a couple of years and Midsummer came out, then was a big hit at the Edinburgh Festival and I had to say to him, ‘I’m really sorry, because now people think you copied ‘play with songs’ and you copied ‘indie musical’ off me.’” WHAT: Midsummer (a play with songs) WHERE & WHEN: Drama Theatre, Sydney Opera House until Saturday 10 March
After a brilliant but all-too-brief run last year, Fraser and Muz are excited to be heading back to Australia. “Australian audiences are brilliant,” Fraser says fondly. “Some of the stuff they find shocking, but they stick with it. They’re very game.” It’s just the first step in what will be an incredibly important year for Fraser and Muz:
“We’re getting married on May 6,” he says proudly. There really is no rest for the wicked – not that they’d want it, anyway. WHAT: Apocastrip Wow WHERE & WHEN: The Gaelic Wednesday 29 February and Thursday 1 March
THE DRUM MEDIA • 49
WITH BETHANY SMALL You guys! Art Month! Their website is up now and I am superexcited and lost a whole afternoon to poring my way through the thing and registering to attend public talks because if there is aught I love it is surely public talks. There are new precinct divisions where the galleries are zoned into around the city and the open-at-night plus Art Bar things will be happening on Fridays as well as Thursdays. This is time for you to either thank your lucky stars if you are not one of the people I drag eternally to art
things or, if you are one of those unfortunates, to get fucking limber because it will be ON. Yeah fine, it is still like half a month away but we need to be working out our logistics and supply-chain management and how to not hyperventilate. Their ‘What is Art Month’ explains it as “300 Artists, 200 events, 100 galleries and You.” I get for design reasons how the Artists and the You have been capitalised, but that still kind of annoys me, but I also like to see that people who are putting on an actual thing with a proper, like, budget
and visual identity and buy-in from important people also like to do that thing where you put numbers of things in to make it seem important, because I totally am a fan of that. It’s interesting too that this approach is handled in order to come across as an exciting! variety! there will be something you like! thing rather
than an overwhelming one, given that they’re really pushing the “Everyone’s invited” idea. I mean, to me it is a provocation. ‘Can I really see and go to all of those things?’ I ask myself, and the answer is no, I cannot, because some of them (but only like two, to be fair) cost money and that is not a thing that I have. And one of them not only costs money but makes me die of envy in that How Come Andrew Frost Is Allowed To Lecture People About Contemporary Art In Public, I Want To Do That. But otherwise, I sort of feel like there should be a scorecard and I should be given points for attendance at events and scores for the style and efficiency with which I manage to look at ALL OF THE ART. But that is just for me and my unfortunate relay of people who dress nicely and have pretty opinions and thus are dragged along to more things than they might perhaps wish to be at. I am in general very much in favour of the ‘show up to some stuff it should be fun’ vibes of getting people other than the people who already go to art at the art. And not just because: hey, fresh meat! either, although that obviously is a consideration. I genuinely think that many people could have way more fun and interest via art than they would ever have expected.
SATRIANI 3D CONCERT FILM FOR ONE NIGHT ONLY Joe Satriani fans are in for a treat come Wednesday 7 March, as the concert film, Satchurated: Live in Montreal, is screening nationally in Australia for one night only – and it’s in 3D. Shot with ten 2D and 3D cameras, the concert was filmed live in Montreal, Canada in December 2010 during Satriani’s The Wormhole Tour, supporting his studio album Black Swans And Wormhole Wizards. Showing in various cinemas, head to cinemalive.com to find the nearest to you.
THEATRE MIDSUMMER (A PLAY WITH SONGS) Drama Theatre, Sydney Opera House Co-creators of Midsummer, playwright David Greig and musician (frontman of Scottish indie band Ballboy) Gordon McIntyre, have successfully created what the parenthetic title of this production suggests. Far from the razzle-dazzle of a ‘musical’, Midsummer is just that, a play with songs. And therein lies its charm. Cora Bissett and Matthew Pidgeon look more than comfortable on stage each armed with an acoustic guitar and both retain a lovely sense of character whether singing, narrating or in the heat of the dreary, foggy, Edinburgh moment. And those characters are brilliantly crafted by Greig. At first chalk and cheese – Helena a divorce lawyer, ‘Medium’ Bob the sorriest of small-time crims with no defining features – the two are quickly drawn together by booze, loneliness and the acute cynicism that comes with almost-middle age. Though not even half as bleak as the relentless Scottish rain or the few dark things they at first share in common, this story has resilient optimism and undeniable feel-good allure. It is a rom-com – albeit offkilter, sure, and featuring a Japanese rope bondage scene – through and through. The melancholy soundtrack, the lo-fi staging and props, the rugged tongue-in-cheek storytelling, the crowd interaction - you can’t help but smile. Until 10 March DAVE DRAYTON
THYESTES Carriageworks Theatre doesn’t get any more satisfying, exciting and terrifying than Simon Stone’s Thyestes. The Greek tragedy to end all Greek tragedies, during its 90-plus minutes we are witness to fratricide, forced incest and – in surely one of the most horrifying scenes ever depicted on stage – the unwitting consumption of one’s own children via a seemingly delicious plate of spaghetti and meatballs. Stone’s love of cinema is apparent, from the use of implied horror (Hitchcock) to the pop-culture dialogue (Tarantino), and the genius curtains-as-strobe effect at the play’s climax (which reminded me of the most notorious scene in the awesome and overlooked The House Of The Devil), enhancing the terror to the soundtrack of Queen. At its darkest Thyestes is also horrifyingly hilarious, Mark Winter’s Atreus an even more deranged Patrick Bateman. Meanwhile Chris Ryan does a wonderful job in the unglamorous roles of murdered brother, abused (and seduced) wife, and raped daughter; the suicide scene depicted through song the most tender scene in the whole play. The set and staging is minimal – a stark contrast to the plot and order of the scenes (which begins in chronological order before jumping into the future and running backwards). The audience positioning, too, enhances the horror unfolding as you’re able to see reactions to the events on stage. Thyestes is tumultuous and brutal, passionate and unflinching, completely consuming must-see theatre. Just make sure you eat before you see it. Until 19 February
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50 • THE DRUM MEDIA
TOUR GUIDE FEATURE TOUR
PLUTO JONZE AND CUB SCOUTS
The Hurricane Evie Tour sees Pluto Jonze and Cub Scouts join forces to embark on a national co-headline tour. Armed with a recently released debut EP and tour supports alongside the likes of The Jezabels, Buck 65, Guineafowl and Dappled Cities, Pluto Jonze will perform utilising his signature Theremin sound. Co-headliners Cub Scouts are an energetic, Brisbane-based five-piece that have been crafting their own style of indie pop music over the past year. Their latest single, Evie, is an exploration into new sounds and stories and is the first single from an upcoming album recorded with Melbourne producer John Castle (The Boat People, Dan Parsons, Washington, The Cat Empire). The Hurricane Evie Tour blows into The Standard on Friday and Yours & Owls on Saturday.
THE DRUMS @ METRO THEATRE. PIC: JOSH GROOM
THE DRUMS CULTS, DUNE RATS METRO THEATRE 08/02/12
This was an evening for devil-may-care music and dancing, a kind of fuzzy, nostalgic throwback to the youthful, more carefree beginnings of audience and musicians alike. Dune Rats have gained some casual notoriety in the past few months. The band has a bright, bubbly sound that recalls the exploding surf scene of the 1970s. Playing to a sizeable audience and apparently loving every minute of it, these boys have charisma and a sound that renders them different from other acts. Despite the fact that they were playing under a backdrop for The Drums, Cults were no second-rate support act. They drew a huge crowd of their own fans, who knew all the words to their songs and seemed to relish the band’s first Australian tour. Opening their slot with a slow, mellifluous instrumental build-up – delicate synth notes, cymbals, chunky bass riff – Cults had their audience entranced from the very beginning. Maddie Follin’s voice is simply gorgeous and so much more
versatile that the band’s best-known track Go Outside would suggest; she is a chanteuse, skipping neatly between husky jazz songstress and indie pop starlet. The Drums took to the stage with a grungy bit of bass reverb and opened the show with their signature cleancut indie rock. The largely under-age crowd welcomed the band back to Australia with loud screams and cheers; here they were, The Drums, at the forefront of the whole indie scene, in the flesh. Vocalist Jonathan Pierce suggested to the crowd, “Let’s have a fun time tonight, eh?” And that they most certainly did. The truth is, The Drums aren’t necessarily doing anything innovative or groundbreaking with their music. Yet if they can make a horde of excited adolescents shout “I wanted to buy you something/ But I don’t have any money!” with gleeful abandon, they must be doing something right. Jessie Hunt
YOUTH LAGOON: Feb 16 Oxford Art Factory PLUTO JONZE: Feb 17 The Standard, Feb 18 Yours & Owls 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 APHEX TWIN: Mar 2 Enmore Theatre MANCHESTER ORCHESTRA: Mar 4 The Hi-Fi CHIC feat. NILE RODGERS: Mar 5 The Metro TINIE TEMPAH: Mar 6 Hordern Pavilion NEW ORDER: Mar 7 Hordern Pavilion JESSIE J: Mar 8 Hordern Pavilion THE RAPTURE: Mar 8 The Metro DIE ANTWOORD: Mar 9 Enmore Theatre FUTURE MUSIC: Mar 10 Royal Randwick Racecourse WILD FLAG: Mar 13 Manning Bar I, A MAN: Mar 15 Kings Cross Hotel BLUE MOUNTAINS MUSIC FESTIVAL: Mar 16 – 18 Katoomba MICHAEL ROTHER: Mar 17 Oxford Art Factory JAMES WALSH: Mar 24 The Standard THE BON SCOTTS: Mar 29 Manly Boat Shed, Mar 30 The Vanguard, Mar 31 Grand Junction Hotel, Apr 1 Brass Monkey 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 BLITZEN TRAPPER: Apr 5 Oxford Art Factory FABULOUS THUNDERBIRDS: Apr 7 Factory Theatre ALABAMA 3: Apr 7 Manning Bar THE BEARDS: Apr 18 Great Northern Newcastle, Apr 19 ANU Bar, Apr 20 Manning Bar JAY & SILENT BOB: Apr 20 & 23 Enmore Theatre PASSENGER: Apr 21 Factory Theatre DIG IT UP!: Apr 22 Enmore Theatre, Notes Live, The Green Room SYDNEY COMEDY FESTIVAL: Apr 24 – May 12 various venues THE GUM BALL: Apr 27 & 28 Dashville BIG SCARY: Apr 27 Oxford Art Factory ANDREW WK: May 10 The Standard BOY & BEAR: May 30 State Theatre, May 31 Newcastle Uni, Jun 1 ANU Bar, Jun 2 Waves, Jun 17 Entrance Leagues Club GROOVIN’ THE MOO: May 12 Maitland Showground, May 13 University Of Canberra
NATIONAL JACK CARTY: Feb 14 Café Lounge MATT FINISH: Feb 16 Lizotte’s Kincumber, Feb 17 Burning Log Dural, Feb 19 Lizotte’s Dee Why THE WIDOWBIRDS: Feb 16 The Vanguard, Feb 17 The Junkyard, Feb 19 Brass Monkey THE RAY MANN THREE: Feb 16 Goodgod SISTER JANE, MAGNETIC HEADS, CAITLIN PARK,
THE MAPLE TRAIL: Feb 17 The Street Theatre Canberra, Feb 22 The Lass O’Gowrie Newcastle, Feb 23 The Standard, Feb 24 The Clifton School Of Arts, Feb 25 The Baroque Bar PEAR & THE AWKWARD ORCHESTRA: Feb 17 Great Northern Hotel Newcastle, Feb 22 Kings Cross Hotel, Feb 23 Yours & Owls SLEEPMAKESWAVES: Feb 17 Gaelic Theatre, Feb 18 Great Northern Hotel Newcastle PLUTO JONZE: Feb 17 The Standard, Feb 18 Yours & Owls UNDERGROUND LOVERS: Feb 17 Oxford Art Factory THE KILLGIRLS: Feb 17 Fitzroy Hotel, Feb 18 Upstairs at The Beresford SAN CISCO, THE JUNGLE GIANTS: Feb 18 Spectrum, Feb 19 Great Northern Hotel Newcastle THE LIVING END: Feb 18 Manly Beach THE NECKS: Feb 19 Street Theatre, Mar 18 Sydney Opera House Opera Theatre RICK PRICE: Feb 22 Notes, Feb 23 Brass Monkey, Mar 1 The Vault, Mar 3 Clarendon Hotel, Mar 29 Lizotte’s Kincumber, Mar 30 Lizotte’s Dee Why, Apr 1 Lizotte’s Newcastle JOHN WILLIAMSON: Feb 22 99 On York, Apr 21 Nelson’s Bay Diggers, May 4 Campbelltown RSL, May 5 North Sydney Leagues Club, May 6 Castle Hill RSL, May 23 99 On York THE CAIROS: Feb 22 Beach Road Hotel, Feb 24 Chino’s Newcastle, Feb 25 Spectrum STICKY FINGERS: Feb 23 Crows Nest Hotel, Feb 24 Annandale Hotel, Mar 11 Front Bar Canberra ELIZABETH ROSE: Feb 23 Goodgod Small Club JEREMY EDWARDS & THE DUST RADIO BAND*: Feb 23 Beaches Hotel, Feb 24 Empire 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 360: Feb 24 & 25 The Standard ANTISKEPTIC: Feb 25 The Lair STEP-PANTHER: Feb 25 Cambridge Hotel MATT CORBY: Feb 27, Mar 1, 4, 5 Oxford Art Factory FUSHIA*: Feb 29 Rock Lily, Mar 1 Oxford Art Factory Gallery Bar, Mar 2 Hamilton Station Hotel, Mar 3 The Lansdowne ALEKS & THE RAMPS: Mar 1 ANU Bar, Mar 2 The Patch, Mar 3 Goodgod, Mar 4 Chino’s JEN CLOHER: Mar 1 The Vanguard LAST DINOSAURS: Mar 1 Spectrum TWELVE FOOT NINJA: Mar 1 The Basement, Mar 2 The Patch, Mar 3 Annandale Hotel ELIXIR: Mar 1 Joan Sutherland Performing Arts Centre, Apr 19 Ravensthorpe Guesthouse & Restaurant, Apr 21 The Basement TROY CASSAR-DALEY: Mar 2 Lizotte’s Dee Why, Mar 3 Lizotte’s Newcastle, Mar 4 Lizotte’s Kincumber. THE DEAD LEAVES: Mar 2 Goodgod, Mar 3 Old Manly Boatshed RATTLEHAND*: Mar 2 Grand Junction Hotel, Mar 3 Phoenix Bar Canberra, Mar 4 The Lansdowne THE DRUM MEDIA • 51
and provided a polished, emotive performance, which was poles apart from the style of the previous band. Her enchantingly lush Siouxsie Sioux-style vocals in Jezebel and Spanish-inspired instrumentals were tight and refined – Calvi did not miss a single note. Her circular strumming and dramatic presence captured and maintained the audience consistently throughout her far-too-brief set.
TOUR GUIDE FEARLESS VAMPIRE KILLERS*: Mar 2 Spectrum FAIRCHILD REPUBLIC*: Mar 3 Oxford Art Factory TIM HART: Mar 3 King’s Cross Hotel, Mar 4 Yours & Owls MINX: Mar 3 Ivy, Mar 23 The Mean Fiddler, Mar 30 La La Land, Apr 13 King Street Hotel A DAY ON THE GREEN feat. NOISEWORKS, IAN MOSS: Mar 3 Bimbadgen Winery Hunter Valley LOVERS JUMP CREEK: Mar 7 Yours & Owls, Mar 21 The Great Northern Newcastle, Mar 29 Beach Rd Hotel I, A MAN: Mar 15 King’s Cross Hotel THE BEARDS: Apr 18 Great Northern Newcastle, Apr 19 ANU Bar, Apr 20 Manning Bar PASSENGER: Apr 21 Factory Theatre BIG SCARY*: Apr 27 Oxford Art Factory BOY & BEAR*: May 30 State Theatre, May 31 Newcastle Uni, Jun 1 ANU Bar, Jun 2 Waves, Jun 17 Entrance Leagues Club
ROGER WATERS: Feb 14 & 15 Allphones Arena ROD STEWART: Feb 14 & 15 Sydney Entertainment Centre I AM GIANT: Feb 15 Beach Road Hotel PIETA BROWN: Feb 15 Camelot Lounge, Feb 16 Polish Club Canberra YOUTH LAGOON: Feb 16 Oxford Art Factory ROXETTE: Feb 17 Sydney Entertainment Centre GAME: Feb 17 Enmore Theatre CUT CHEMIST: Feb 17 The Metro EUGENE ‘HIDEAWAY’ BRIDGES: Feb 17 The Basement, Mar 2 Lizotte’s Kincumber, Mar 3 Lizotte’s Dee Why, Mar 4 Lizotte’s Newcastle CASS MCCOMBS: Feb 18 The Standard INFECTED MUSHROOM: Feb 18 The Metro ERYKAH BADU: Feb 19 Sydney Opera House Concert Hall MADISON VIOLET: Feb 22 Brass Monkey, Feb 23 Notes, Feb 24 Clarendon Guesthouse, Feb 25 The Vault, Feb 29 Lizotte’s Kincumber DAN MANGAN: Feb 23 Steyne Hotel, Feb 24 Notes MURDER BY DEATH: Feb 24 Hermann’s Bar DEATH CAB FOR CUTIE: Feb 24 & 25 Enmore Theatre LUKE ABBOT: Feb 24 Chinese Laundry HUDSON MOHAWKE: Feb 25 Manning Bar LEE BURRIDGE: Feb 25 AGWA013 Yacht Party JONATHAN BUTLER: Feb 25 Seymour Centre THE ORB, BOMB THE BASS: Feb 25 Metro Theatre MAYER HAWTHORNE: Feb 26 The Metro DANNY DAZE: Feb 26 World Bar SOUL II SOUL FEAT. JAZZIE B: Feb 26 The Ivy DASHBOARD CONFESSIONAL: Feb 27 Manning Bar BUSH: Feb 27 Enmore Theatre THURSDAY: Feb 27 The Metro SLIPKNOT: Feb 27 Sydney Entertainment Centre SWITCHFOOT: Feb 27 Factory Theatre HYRO DA HERO: Feb 27 Candy’s Apartment THE PRETTY RECKLESS*: Feb 27 The Wall ANGELS & AIRWAVES: Feb 27 UNSW Roundhouse BLACK VEIL BRIDES: Feb 28 The Wall A DAY TO REMEMBER: Feb 28 UNSW Roundhouse HATEBREED: Feb 28 Newcastle Panthers ALTER BRIDGE: Feb 28 Enmore Theatre RYAN ADAMS: Feb 28 Sydney Opera House Concert Hall SYSTEM OF A DOWN: Feb 28 Sydney Entertainment Centre A ROCKET TO THE MOON: Feb 28 Annandale Hotel LOSTPROPHETS: Feb 28 The Metro DEVIN TOWNSEND PROJECT: Feb 28 The Factory WILL & THE PEOPLE: Feb 29 Sandringham Hotel, Mar 7 Rock Lily, Mar 8 Lizotte’s Newcastle, Mar 9 Lizotte’s Dee Why, Mar 10 Hard Rock Café, Mar 11 The Wall ENTER SHIKARI: Feb 29 The Metro MACHINE HEAD: Feb 29 The Metro BAD RELIGION: Feb 29 Big Top Luna Park MARILYN MANSON: Feb 29 Enmore Theatre CATHEDRAL: Feb 29 The Factory BELINDA CARLISLE: Feb 29 Viking Club, Mar 2 Penrith Panthers, Mar 3 Revesby Workers Club, Mar 6 West Leagues Club, Mar 13 Castle Hill RSL ATTACK! ATTACK!: Feb 29 Annandale Hotel COBRA STARSHIP: Feb 29 The Hi-Fi 52 • THE DRUM MEDIA
CUBAN BROTHERS: Mar 1 Ivy Pool Club DJ KRUSH: Mar 1 Upstairs Beresford SPRUNG MONKEY: Mar 1 Great Northern Hotel, Mar 7 The Patch, Mar 9 Manly Fisho’s, Mar 11 Cambridge Hotel FOUR YEAR STRONG: Mar 1 Manning Bar MASTODON: Mar 1 The Hi-Fi BLACK LABEL SOCIETY: Mar 1 The Metro LAMB OF GOD: Mar 1 UC Refectory SLOW CLUB: Mar 1 Goodgod UNDEROATH: Mar 1 The Factory ICICLE*: Mar 1 Sly Fox ODDISEE*: Mar 1 Civic Underground ERIC BIBB: Mar 1 Sutherland Entertainment Centre, Mar 8 & 21 The Basement, Mar 9 Joan Sutherland PAC, Mar 20 Lizotte’s Kincumber, Mar 22 Lizotte’s Newcastle, Mar 24 Lizotte’s Dee Why ARIEL PINK’S HAUNTED GRAFFITI: Mar 2 Oxford Art Factory BONOBO: Mar 2 The Metro NEON INDIAN: Mar 2 The Standard APHEX TWIN: Mar 2 Enmore Theatre BEN KWELLER: Mar 2 The Hi-Fi SYBREED*: Mar 2 The Wall, Mar 15 Cambridge Hotel MEN: Mar 3 Entertainment Quarter Moore Park STEVE BUG: Mar 3 Chinese Laundry RUPAUL: Mar 4 The Metro BLACK LIPS: Mar 4 The Standard MANCHESTER ORCHESTRA: Mar 4 The Hi-Fi CHIC feat. NILE RODGERS: Mar 5 The Metro BONNIE ‘PRINCE’ BILLY: Mar 5 Sydney Opera House Concert Hall JUDY COLLINS: Mar 6 Lizotte’s Kincumber, Mar 7 Lizotte’s Newcastle, Mar 8 The Concourse, Mar 16 Lizotte’s Dee Why, Mar 19 & 20 The Basement DANIEL O’DONNELL: Mar 6 Newcastle Entertainment Centre, Mar 7 State Theatre, Mar 8 Royal Theatre TINIE TEMPAH: Mar 6 Hordern Pavilion NEW ORDER: Mar 7 Hordern Pavilion JESSIE J: Mar 8 Hordern Pavilion THE RAPTURE: Mar 8 The Metro DIE ANTWOORD: Mar 9 Enmore Theatre WILD FLAG: Mar 13 Manning Bar MICHAEL ROTHER: Mar 17 Oxford Art Factory JOHN HIATT: Apr 3 The Metro TROMBONE SHORTY: Apr 3 The Basement Circular Quay STEVE EARLE: Apr 4 Lizotte’s Newcastle, Apr 8 Factory Theatre, Apr 9 Concourse Chatswood BUDDY GUY: Apr 4 Enmore Theatre BLITZEN TRAPPER: Apr 5 Oxford Art Factory GREAT BIG SEA: Apr 5 The Basement Circular Quay KENNY WAYNE SHEPHERD: Apr 5 The Factory YANN TIERSEN: Apr 5 The Metro FABULOUS THUNDERBIRDS: Apr 7 Factory Theatre ALABAMA 3*: Apr 7 Manning Bar ZIGGY MARLEY: Apr 8 The Metro DAVID BROMBERG BAND: Apr 9 The Basement Circular Quay CANDI STATON: Apr 11 The Basement Circular Quay SEASICK STEVE: Apr 12 The Metro ANDREW WK*: May 10 The Standard
FESTIVALS SOUNDWAVE: Feb 26 Sydney Showground PLAYGROUND WEEKENDER: Mar 2 – 4 Del Rio Riverside Resort FUTURE MUSIC: Mar 10 Royal Randwick Racecourse KARAVAN!: Mar 10 The Standard CMC ROCKS THE HUNTER: Mar 16 – 18 Hope Estate BLUE MOUNTAINS MUSIC FESTIVAL: Mar 16 – 18 Katoomba SHIR MADNESS: Mar 25 Bondi Pavilion BLUESFEST: Apr 5 – 9 Tyagarah Tea Tree Farm DIG IT UP!: Apr 22 Enmore Theatre, Notes Live, The Green Room 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
JOHN DIGWEED, ROBBIE LOWE, BUTCH GREENWOOD HOTEL 11/02/12 FEIST @ ENMORE THEATRE. PIC: ANGELA PADOVAN
FEIST, MOUNTAIN MAN ENMORE THEATRE 07/02/12
Harking back to days gone by, Mountain Man were three beautiful female voices in spine-tingling folk-style harmony, the occasional strum of guitar their only accompaniment. Their voices had a beautiful fragility and breathiness that was solid in their tight a cappella harmonies but stunningly delicate individually. Rhythmic breathing, tight cuts and pauses, rapid tempo changes and shifting vocal layers ensured the sound didn’t get old. Their banter with the crowd was humble and relaxed and, despite the large venue, they made their set feel intimate and succeeded in drawing in the swelling crowd. After quite an extended interlude, Feist began her set with much more of a grungy feel than most fans of her music would be used to. In hindsight this was probably a good move, as she played for two hours and after the relatively serene support set, the audience thrived on some perky rock. She celebrated some new material from her recent album, Metals, and reincarnated older favourites So Sorry, My Moon My Man and I Feel It All with heavy drums, distorted guitar and thick layers of synth. Mountain Man were a beautiful addition as her backup vocalists. Though the result was a big and exciting sound, it lacked the nuance and vulnerability that is so powerful and enchanting in Feist’s simplest form – vocals and guitar. Her voice however was as impressive as ever, hanging in the air like a feather on a breeze, trembling and cascading with the see-saw of emotions. Some persistent feedback was an annoying accompaniment for most of the set, but Feist remained undaunted and carried on with a sense of humour. Towards the end a battle between the keyboard player on drums and Feist on distorted guitar ensued before Mountain Man returned for some all-female harmonies around a single mic. Sea Lion Woman and Let It Die paved the way for a second encore, where Feist returned for the highlight of the night – a solo rendition of Intuition. It had all the space, delicacy and hanging pauses that had been missing throughout the night. It was a long journey, but a sweet ending. Alex Hardy
ANNA CALVI, TWIN SHADOW OXFORD ART FACTORY 06/02/12
Mastering the reproduction of synthetic recordings in a live setting can be a tricky feat to master. The post production edits and distortions can often sound erratic and unpolished when translated to an audience. When it comes to New York new wave musician Twin Shadow, it was clear that he was not quite there yet. However he still managed to use hands-on instrumentalism to create a dynamic derivative of something you would hear on his studio albums. Introducing Twin Shadow’s melancholic aesthetic was opening track, Shooting Holes, a slick shamble of dreamy synths, rich emotive vocals and a catchy hook against a syncopated beat. Strongly evocative of ‘70s and ‘80s pop/electronica, this was an exquisite vocally and instrumentally-layered performance, which twisted the original recording but still managed to induce the same feelings. Sadly for Twin Shadow, the audience was not opening themselves up to be engaged by the band’s intimate style and failed to display any form of enthusiasm towards the live performance. Luckily, spirits were revived with the minimalistic croons of Castles In The Snow, where the audience joined in the intermittent handclaps, droned along to the catchy hook and were mesmerised by frontman George Lewis Jr’s cathartic lyricism and vocals. Following the electronic dystopian world of Twin Shadow, multi-instrumental British musician Anna Calvi showcased her dense vocal stylings as well as intensely skilful guitar work. Opening with a five-anda-half minute guitar solo, Calvi left the audience in awe, managing to keep them inspired the whole way through her performance through a variety of impressive instrumental methods. With a Western-style aesthetic, Calvi owned the crowd through owning her electric guitar
Early afternoon scattered showers were starting to clear as German tech house don Butch took the controls at the Greenwood’s massive outdoor arena, slowly coaxing the early arrivals out from undercover and onto the floor in front of him. His set was ‘functional’ house music at its groovy best, switching effortlessly between breaks and tribal flavours as he tweaked and extended build-ups with the aid of a digital delay guitar pedal. The action wasn’t confined to the outdoor area, with the S.A.S.H, Musik Matters and Bass Drop crews each running rooms inside, but sadly these felt more like afterthoughts than arenas proper, with Bass Drop bereft of much in the way of sub, though the dark and dirty vibe of the S.A.S.H room was well suited to the deepness that seeped out of the speakers as day slid into night. Still, most attention was on the rapidly filling courtyard as Robbie Lowe worked his way through the subtlest of warm-up sets for the day’s headline act. His track selection was so deep as to be almost unrecognisable – and that’s probably the point – but there was a noticeable lift in mood and melody as he set the stage perfectly over his final 25 minutes. The ever unflappable John Digweed stepped up quietly, checked his kit was properly assembled, offered a hands-in-the-air clap to his predecessor, which was instantly reciprocated by the now heaving dancefloor, then dropped straight into a four chord progression to let the crowd know straight up that the journey had begun. The first hour was dark and spacious, verging on formless, but right on the hour mark he dropped a stormer that signalled the bombing raid was about to begin – and begin it did. As is most often the case when a man like Diggers is in the booth, track IDs are hard to come by and all but superfluous as he relentlessly lifted the tempo and intensity with one throbbing techy prog build-up after another. There’s perhaps not enough variety to distinguish one epic moment from the next, but as he stretched his arms beyond the promised three-hour mark and into a fourth, most of the dancefloor were having too many private moments of their own to notice. Kris Swales
LA DISPUTE, ANIMAL SHAPES, MAKING ANNANDALE HOTEL 11/02/12
Making is a rather odd moniker, but the local threepiece had the energy and power to pull it off. Blasting through a tightly-wound set the trio did an admirable job bringing their eclectic rock/fusion sound to an audience used to both kinds of music – punk and hardcore. God knows what ‘twinkle-core’ is, but apparently that’s the genre Sydney natives Animal Shapes have decided to hold down. While the genre definition sounds a little dodgy, there’s no doubting that this quartet has fun with their music. The boys delivered a passionate live set chock full of quirky indie rock, melodic post hardcore and even a number of delightfully catchy tunes that betrayed an impressive pop sensibility. Animal Shapes proved that you don’t need a wall of guitars to leave an impression. There were a number of reasons to think that La Dispute would fall flat on their faces in a live setting. First, this was their third show in 24 hours and their second after only an hour or two break, so surely the intensity levels of the hardcore warriors would be in the cellar. Second, could the band’s cerebral, conceptdriven brand of hardcore that works so well in the context of the recorded LP really be as effective in the rough and ready world of live performance? The short answer to these questions was no and yes. The Michigan natives stalked out on stage with a minimum of fuss and within minutes had the crowd eating out of their hands as they launched into a series of highly combustible blasts of unrelenting hardcore. While his bandmates remained anchored to the stage, frontman Jordan Dreyer was all over the place, including straight into the pit where he was met by a host of voices screaming his every word back in his face. La Dispute may be derided in some circles as hipster hardcore, but when it comes down to it, this is a band that has something to say and manages to do it without resorting to the ‘breakdown repeat’ cliché that just won’t go away. Dreyer joked that they’d love to become the house band at the Annandale, but that people would probably get bored of them. Not while their delivering sets like this we won’t. Mark Hebblewhite
dozens of hands flailing around erratically and legs shuffling around to the delicious intergalactic melody. The peak of their set comes with the mind-blowing performance of Midnight City, where the cyclical synth and singalong-style vocals uplifted the audience and evoked a sense of elation and passionate dance moves in the gradually thickened dance pit. The crowd dynamic was highly collaborative – by the close of the show, the dance pit had enveloped the entire venue, with each audience member dancing shamelessly in close quarters as the band spurred this insurmountable energy. With Anthony Gonzalez’s constant yells of “Sydney!” the crowd consistently was engaged in the magical beats of M83 and strived to be involved in their set. Ava Nirui
PORTUGAL. THE MAN, GIVERS, GUINEAFOWL METRO THEATRE 07/02/12
Sydney five-piece Guineafowl began the proceedings warming up a small but already receptive crowd. Their twinkly, spiralling take on indie was a good, if somewhat unadventurous, fit for the two Laneway acts to follow. The first (and sadly not the last) band on the night to suffer from poor sound, much of the sweet boy/girl harmonies were lost amidst a mix too heavy on the drums and bass, though that didn’t stop them from playing a few brand new tunes and garnering a great response from the crowd with Little Fingers.
YUCK @ OXFORD ART FACTORY. PIC: JOSH GROOM
YUCK, EMA, STEP-PANTHER OXFORD ART FACTORY 09/02/12
The three young guys of local band Step-Panther work very well together, but their charisma was completely stilted by either an aggressively blasé crowd or simple insecurity. If you show meekness, you cannot throw songs down like otherworldly idols in spite of precise drumming and creative chord progressions. The solid, straightforward indie punk had enough grit to hold on to, but they never quite touched the remnants of grunge as the guys lacked that viscous thought, sensitivity and awareness which can fuel a fire worth worshipping. With comforting assurance – and a strong female American rocker attitude that throws back to Joan Jett or Patti Smith – EMA (aka Erika M Anderson) gradually built up a sweat and seemed to lose her sanity, or whatever it is that holds your mind together when it is so desperately needed but so very hard to understand. The guitar, drums and especially the violin of Leif Shackelford laid nice groundwork and there were amazing moments where some notes pierced through the din connecting those who would, with cries against apathy, hypocrisy and the abuses of love or lust. However, Anderson’s own guitar skills as with her lyrical efforts are minimal. The emotion is there and it is valid, but we are not shown the cause or justification at all in her lyrics; it is all merely alluded to and the droning chords and aural tricks only prop this up as though they are ballads, yet they say as much as a couplet. Yuck started their set with a delayed entrance but meekly addressed the crowd and rarely gave notice to them throughout; the usual redundant compliments towards the city of Sydney was about it. Songs like Milkshake, Get Away and Georgia have the ability to stand alone with enough creativity in the construction of the melodies and progressions, layered here and there with aural absurdities and dissonance, yet frontman Daniel Blumberg does not have the seething intensity he’d perhaps like - and certainly needs - to be an effective musician; one with longevity. At times it seemed that Max Bloom (guitar) and Mariko Doi (bass) were held back by Blumberg since his own guitar work gave little support to their precise melodies and rhythms, while his melancholic vocals were indolent. Latching onto repetition and the simplest use of language, Yuck say a lot without scope or catharsis. Jarred Keane
SYDNEY OPERA HOUSE CONCERT HALL 09/02/12 English singer/songwriter Laura Marling’s show at Sydney’s most iconic venue was split into two acts. The first half saw her perform her latest album, A Creature I Don’t Know, in its entirety while, after the interval, she played older songs along with a sneak preview of a new offering. Strumming an acoustic guitar and displaying a voice that ranged from a rich, smoker’s delivery to a whimsical falsetto, she was
backed by her five-piece band as drums, upright bass, keys, guitars, cello and banjo added a sense of weight and depth to the sinister The Beast, the interestinglystructured Salinas and the dark Alpha Shallows. Elsewhere, these full-band numbers were contrasted by the likes of the stripped-back and currently rather apt Goodbye England (Covered In Snow). Belying the yearning, heavy, serious nature of her lyrics, between songs the softly-spoken Brit was affable and funny. Admitting to a combination of shyness and awkwardness (it’s easy to forget that this worldly woman is only 22) that prevented her from engaging in a great deal of impromptu banter with the audience, she instead offered up some prepared facts. These ranged from a detailed breakdown of the Queen’s daily alcohol intake to insights about A Creature I Don’t Know. Following an explanation of how she doesn’t partake in encores because of their contrived nature, Marling ended with the powerful I Speak Because I Can. While her stance on encores is correct, in this instance the audience’s euphoric reaction suggested she could still be encoring now and wouldn’t have overstayed her welcome. This was a beautiful performance combining poetic, deep lyrics and fine musicianship from an unassuming artist who – based on tonight’s showing and on her three albums of intelligent folk – has the talent to become one of the all-time greats. Rob Townsend
Givers must be given props for ambition. Plagued by similar sound problems – a deafening rhythm section – the Louisiana quintet bridged the gap between the opener’s indie and the headliners’ prog leanings. With tempos shifting on a whim the band fell with full force (occasionally to the detriment of clarity) into each tribally-driven, polyrhythmic section. They were at their best when playing with abandon, the small timing mishaps then forgotten amidst fun-fuelled energy. Portugal. The Man (suffering, again, the same sound problems, though these were moderately improved, with vocals closer to audible about half an hour in) announced their arrival with So American, the opening track from their latest album, In The Mountain In The Cloud. From here, nothing was off-limits. Having roped the audience in they then proceeded to play a psyched-out cover of Helter Skelter as the third song of the set before gliding into AKA M80 The Wolf from debut, Waiter: You Vultures!. They strike a similar balance as The Mars Volta in a live environment – a heady mix of baffling precision and seemingly reckless psychedelia – but with one significant difference in that they still know (and work damn well at) the importance of a ‘song’ proper. There was still the kaleidoscopic rock and the euphoric bastardising of their recorded output, but threaded through it were the joyous melodies of songs that seemed to come from a different era of rock – an older era – and bring with them a quality of transportation to that era. Perhaps none was more effective in this respect than Floating (Time Isn’t Working My Side), which has in its ‘Whoa-oh-oh’s the aura of the rock festivals of yore – before shirtless bogans and national pride – and the crowd was more than happy to embody it. Dave Drayton
METRO THEATRE 09/02/12 Although it’s clear that French musician M83’s most recent two releases have been inherently less shoegaze-y and more extravagant, accessible electro-pop compared to his earlier albums, M83 aka Anthony Gonzalez still manages to bring the same stellar, unique lo-fi ambiance channelled in his earlier work to his epic live performance. Performing alongside his dynamic three-piece band, Gonzalez induced a visceral euphoria, swathing the set with otherworldly effects, layered synths, throbbing bass and heavy reverb vocals, to push the sound into a whole other world. Together the four approached the stage with infectious drive and passion, spurring the audience to share this consistent, vivacious energy throughout their set. Following a stream of exquisite ambient electronic tracks, the climactic, feeling-drenched enthusiasm was unveiled with a polished, anthemic rendition of Kim And Jesse. With drawn-out, hazy vocals and hypnagogic synth melodies against an inconsistent beat, the nostalgic, ‘80s-influenced performance ignited the sways of audience members and anthemic singalongs. The intricately-woven synthetic melodies created a dense wall of sound and added depth and momentum to the already magical live performance. With a Simple Minds-style vintage instrumental introduction, Reunion appeased the crowd, aiding the formation of something of a bouncy dance pit on the floor of the Metro with
TEX PERKINS & THE BAND OF GOLD, TERRY SERIO’S MINISTRY OF TRUTH THE BASEMENT CIRCULAR QUAY 11/02/12
To begin the night musician and actor Terry Serio led Ministry Of Truth, an alt.country outfit complete with stylist fiddle, drums, a couple of keen guitars (including the odd slide) and a lovely piano accordion cameo. A solid set despite a song about Kings Cross that had a hook that was uncannily like New Order’s Blue Monday (perhaps deliberate? If not, quite distracting) and a good intro to an evening of country in the middle of the city. Tex Perkins & The Band Of Gold (featuring former cast members from his Johnny Cash tributes) took the stage on time and still apparently in Man In Black costume. They opened with a sweet duet between Perkins and female lead (aka former June Carter Cash) Rachael Tidd, a cover of Help Me Make It Through The Night. Tonight’s set was part new, part old, part loving tribute and part pastiche. Perkins acknowledged this, hilariously, by informing us that the tunes for the evening would fall into two major forms – “I quite like you, let’s do it” and “Who else have you been doing it with?”. He also acknowledged that despite its relatively slow overall pace, much of the set was “quite sexy” and although he enjoyed singing with Tidd, there was something quite strange about doing so with quite a pregnant co-star. As the night drew on Perkins chatted and mugged through the set with just the right amount of ham,
charming the front row who perhaps were in love with the tunes but not his past (and teasing those up the back who had the opposite affiliation). For encore he did briefly acknowledge his indie rock pig past by performing Beasts Of Bourbon’s Psycho, followed by “the only good thing by the Stones in the ‘80s”, The Worst. We were left after encore two (“now it’s double time!” he proclaimed) with a gorgeous Neil Young cover, Harvest Moon. Liz Giuffre
WASHED OUT, TORO Y MOI, GUERRE MANNING BAR 08/02/12
Hardworking Sydney future-soul producer Guerre primed the set with a smooth collection of pieces. His set dabbled with gentle two-step syncopation and warm popping textures and the late night jazz chords driving it were sweet and low. His voice wasn’t clear, but it was the sound of it that mattered and his vocal effects were nicely handled with reverb and layering. Either Ernest Greene aka chillwave artist Washed Out could have followed Guerre’s example and played a solo set of relaxed pieces working from samples, or he could play with a live band. He chose the latter and presented a great set full of verve and guts, something his record doesn’t really convey. Given it’s a synth outfit they worked hard to drive them home, pushing them way over the top, caterwauling their way through the venue. It got pretty heavy, but the sweetness of the melodies balanced it out. The live drum kit gave it a huge kick and while they bulldozed over the subtlety of his album and maybe lost some of the music’s charm in the process, it was still great to listen to. The addition of live musicians added huge propulsion to Toro Y Moi’s work. His music is more complex than Washed Out, so translating it into a live setting felt natural, like there’s enough detail for the musicians to grab onto and work with rather than just make everything louder. Unlike the sublime stoner synth of Washed Out, there’s a sense of fun bubbling underneath Toro Y Moi’s music – and the same went for the performance. There was a sense that Toro Y Moi were feeding off a different sort of energy; one that was easier to access. Washed Out felt more intense, like they were pushing themselves to get the sound they achieved. It was a good result, no arguments there, but there was a tension in their work that disappeared in the latter half of the night. Matt MacMaster
OLIVER TANK, WINTER PEOPLE PADDINGTON UNITING CHURCH 09/02/12
Even playing an acoustic set, Winter People were still able to create sonically rich build-ups, amplified further by the acoustics of the church. Their entire set, but in particular Top Of The World, showcased the band’s well-rehearsed live skills, as they simultaneously aced the rhythmically-fragmented moments of the song, stopping and starting with precision and achieved their purpose as the mood-setters for the evening, even raising the bar of expectation quite high. If anybody can rap about ‘Niggas’ in a church and manage to make it sound angelic rather than racist, it’s Oliver Tank (in his transformative cover of Beautiful by Snoop Dogg and Pharrell). The 22-year-old artist swelled the R&B track up with drones and trip hop beats, artistically making the track his own. Tank’s live DIY setup involved his briskly switching from the acoustic guitar to the sampling pads to the electronic guitar and so on. He obviously approached this launch with an overly-ambitious live setup that was deemed problematic, destined to crack once placed under pressure, especially for an artist who has only recently jumped on the live performance bandwagon. His attempt at frantically managing all of his sounds made the audience feel on edge and uncertain about whether he would successfully execute various moments live. His nerves were prevalent from the start and unfortunately affected his performance. A couple of songs in and the nerves gradually ceased however. Fawn Myers awkwardly accompanied Tank for the first couple of singles including Embrace, whilst Up All Night boasted Tank’s booming vocals, humbly accompanied by the gentle sample of the glock that reverberated reverently through the church. Tank holds a charm in the way he narrates his stories via his music. He just needs to believe in that charm and work with it to prove to the audience that he is in control of the moment. A junior in the world of touring live, Tank must also gain some fluidity in the way he manages his instruments and/or recruit one or two musicians onstage. Celline Narinli THE DRUM MEDIA • 53
Sydney boys Bang ShangaLang will be taking on audiences in several different locations this month, this week’s being The Stone at Manly Fisho’s. With BSL’s new EP, Everyone’s A Star, making some waves on the scene, this Friday night promises to be an exceptional show.
Head out to scenic Katoomba this Friday night for the heady combination of Lolo Lavina, the incomparable songstress with her very own brand of gypsy rock, and Dave Carr’s Fabulous Contraption, multi-layered progressive folksters, together in the Baroque Club, at the Carrington.
THREE TIMES AS GOOD
Ungus Ungus Ungus will be launching their second album this Saturday night on the groundfloor level of the Factory Theatre, supported by Doc Jones and the Lechery Orchestra and Shanghai. Be sure to pick up tickets quick smart, because with a lineup like this, they’ll be snafled up in no time.
Sydney-born London-based composer Aron Ottignon will be taking to the stage at SIMA’s Sound Lounge this Friday, alongside The Cat Empire’s Ollie McGill. The gig will be an intense piano duel between the two legends dubbed Duelling Pianos.
MIXING IT UP
Local rock stalwarts Dave Mason and John Boy Bliss (The Reels), Reg Mombassa, Pete O’Doherty (Mental As Anything) and Brendan Gallagher (Karma County) interpret various musical genres — psychedelia, blues, countrypolitan and pop this Sunday at Petersham Bowling Club.
ON OUR WAY TO THE BEACH
Iconic holiday suburb Narrabeen will play host to the Northern Beaches Music Festival, featuring some of the state’s brightest upcoming bands, this Friday through Sunday, including Beth and Ben, Sal Kimber and the Rollin’ Wheels, The April Maze and Luke Escombe among too many more to mention.
HAVE YOU HEARD
ROCK ALL NIGHT
Hopefully the first of many, Spectrum’s inaugural new rock‘n’roll night, Hold Your Horses, will be held this Friday. Featuring local acts Young Romantics, The Hello Morning, Sentenza and Bang Bang Rock ‘n’ Roll, this promises to be a pretty rockin’ evening.
STUCK IN MY MIND Psychedelic Blue Mountains band Richard In Your Mind will be taking over your airwaves this Wednesday afternoon, 5pm, with a super special free gig at The Loft. Run by alternative radio station 2SER, the show will be broadcast live as well.
WAVES DESTROYED EVERYTHING Sydney-based instrumental rockers Sleepmakeswaves have announced an extensive Australian tour in celebration of their debut album, ‘…and so we destroyed everything.’ Their Hello Australia tour hits Sydney on Friday at the Gaelic Theatre supported by Dumbsaint, who have just dropped their debut single, Solkyri and Batterie.
Yet another Candy’s Cruise will make sail again this Saturday, kicking off at 12pm. Vengeance, Kyro & Bomber and many more live acts will be present to make the whole experience completely worth your while.
DON’T BE AFRAID OF GHOSTS AND WITCHES
This Wednesday night, the Sandringham Hotel will present, for your aural pleasure, a collection of remarkable local bands: Spaceticket, Ghost Cat!, The Glimmer and Witch Fight.
ALL SORTS OF FOLK The Illawarra Folk Club will be treating you to a collection of local and overseas acts this Friday night at the City Diggers Club. America’s George Mann will be bringing his brand of entertaining, yet socially aware, folk music, drawing attention to issues like unionism and the plight of war veterans, to Wollongong. sHe’ll be accompanied by Wollongong local Tia Juana and her Depths of Despair, who combine comic cabaret with their own brand of entertaining folk music.
OUT OF THE CAVE This Tuesday, if you’ve got no lover to go home to, swing by the Enmore Theatre and broaden your mind tackling the topic ‘Nick Cave — Genius or Jerk?’ with two experts: renowned rock writer Clinton Walker and actor/writer/broadcaster Rhys Muldoon. To follow up, Mindy Sotiri and Jason Walker will perform, each including at least one Nick Cave cover in their set.
Next Thursday, Middle-Eastern-infused heavy rock outfit Domino will be taking to the stage at the Annandale — but rather than profiting from the night, they’ll be handing all their takings to the Annandale itself, in an attempt to help preserve the iconic venue. This will be one of the group’s last gigs before a lengthy break for recording sessions. Supporting them on the night will be Feick’s Device, who are currently recording their own album. Be sure to catch them and help a good cause.
Laptop popster Pluto Jonze and the five-piece Brisbane-based band Cub Scouts are joining together for a highly anticipated co-headline national tour and this weekend, they’ll perform at The Standard. Since the release of his Pluto Jonze EP, Pluto had supported the likes of The Jezabels and Buck 65 and scored solid airplay from triple j. Cub Scouts are energetically promoting their latest single, Evie, as they craft their own style of indie pop. Catch them on Friday.
FOOD OF THE GODS
The Helpful Kitchen Gods are coming to Balmain this Saturday for a night of live theatrical performance with the support of Lollipop Sugar, power drone Call to Colour and the hauntingly beautiful Fabels, all together at West End Hotel.
En route home to New Zealand from her new home in the heart of country music in the US, Jackie Bristow will be stopping over briefly in Australia to play a very special show at Blue Beat. Having supporting the likes of Tommy Emmanuel and Art Garfunkel, Jackie will be joined onstage by her long-time Sydney friends and band.
RAY MANN SKETCHES VOL. 1 How many releases do you have now? One album and four digital EPs. How long did it take to write/record? I was recording in Sydney with my band from June 2010 right up until I moved to Berlin 12 months later. The tracks have been going back and forth between Berlin and Sydney since then. Was anything in particular inspiring you during the making? The Sketches Project is my first attempt at producing everything – the music, the videos and everything in between – to such a demanding, month-to-month schedule. Berlin has been inspiring the hell out of me too; that’s the main reason I moved here. What’s your favourite song on it? Right now, I’m most proud of how Babylon turned out. I feel like each of the elements – lyrics, music, visuals – got out what I was trying to express and that they work together well too. Will you do anything differently next time? Sketches vol. 2 is me taking the lessons I’ve learned from the vol. 1 experience and upping the ante a bit. Musically and visually it’s more ambitious: expanding on the sonic palette and attempting to turn out actual music videos, still with a no-budget approach. For me, the “next time” should always be a step forward from the “last time”. I’m trying to grow and develop artistically, to keep things interesting for you and for me. Will you be launching it? I’m travelling from Berlin to Australia for The Sketches So Far Tour at Goodgod Small Club on Thursday. For more info see: http://ray-mann.com
NEW YORK, I LOVE YOU… CUB SCOUTS Your music is...? Indie/Pop Which acts inspired you to produce your own music and why? When I was seven and people asked me what I wanted to do when I was older, I always said I wanted to be in a band like Aqua, so I guess Aqua are mostly to blame for this.
Led by one of this country’s most important composers and saxophonists, the Sandy Evans Sextet takes to the Sound Lounge in the Seymour Centre this Saturday night.
ALL IN THE FAMILY Gang Of Brothers, a brand new band playing ‘90s music, R&B, New Jack Swing and funk, will be commencing a regular Friday late-night slot at Blue Beat this week, where they’ll play until 3am.
A LONG TIME COMING, BUT AMODUS HAVE CUT A DEBUT ALBUM THAT SHOULD BLOW AWAY ANY METAL FAN WORTH THEIR SALT, AS MICHAEL SMITH DISCOVERS FROM FRONTMAN MICHAEL BEATTIE.
What’s your wildest ambition for your music? To be able to live off it forever…
“The girls used to be an all-girl band called Charlie, with a female singer,” Amodus frontman Michael Beattie explains of the genesis of the band of high school friends from the Southern Highlands who decided to show their respective boyfriends at the time that they could make music just as powerful. They have done just that as you can hear on their debut album, nearly two years in the making, Smokescreen. “After that packed it in, they decided to try it the opposite way round and have a guy as a frontman and see how it went. I think they went through a year and a half, two years of looking for somebody before I came along and it all clicked and we’ve been together three years now.”
Why should we come and see you? Some of our songs have some pretty funny/ terrifying stories behind them, so I guess if you come to the shows you might learn about some of the crazy things I’ve encountered. How do you find the local live scene? It’s great! There’s some pretty amazing music coming out of Brisbane at the moment, so there’s always a good show to go to! What’s your greatest rock’n’roll moment? Drinking champagne with The Drums backstage at Laneway Festival was pretty ridiculous. For more info see: www.facebook.com/cubscoutsmusic; www.triplejunearthed.com/cubscouts Next available at: On Friday at The Standard (with Pluto Jonze) and Saturday at Yours and Owls. 54 • THE DRUM MEDIA
This weekend, the inaugural Australian Open of Surfing will take place at Manly beach and Channel [V], event sponsors, will be putting on two free concerts featuring some of Australia’s finest local acts, with, Friday night, Bluejuice, Grant Smillie and Sneaky Sound, and Children Collide, Stonefield and The Living End playing on Saturday night.
The rest of the band features drummer Sara Hardwick, bass player Melina O’Brien and guitarist Rose Nguyen and, of course, they’ve inevitably had to endure the usual stereotypical perception that seems to go with the sight of young women setting up equipment, but those preconceptions are instantly blown away the minute they start playing – and it’s
all there on Smokescreen. In fact, in Amodus, it’s the male in the band with the least experience. “I came from nowhere really,” Beattie admits. “Just sung in the school band – I was always into music but hadn’t pursued it and three or four years out of school I thought I’d give it a go and that was when I tried out for Amodus – they were the only band I tried out for. They gave me these three tracks [they’d cut a demo EP] when I first met them and said, ‘Go home and have a listen,’ and in the car on the way I started listening and it didn’t leave the CD player for about two weeks! It was something new and interesting; I hadn’t heard anything like that from anybody around the Sydney music scenes. I was hooked from the word go basically.” WHO: Amodus WHAT: Smokescreen (Independent) WHEN & WHERE: Saturday, Red Rattler; Friday 2 March, Lewisham Live House; Saturday 10, Valve Bar
THE DRUM MEDIA • 55
PURE EMBER MASH UP The mysterious man under the hat, Ember, is arguably one of the most skilled DJs in Australia. This Saturday at Ivy Bar, Lounge and Den, Ember is set to drop jaws once again with his music mash-ups, leaving no music style out of reach. Also checking in to support are Sir Charles, Oh Glam, Digital Love and more.
EON THAT JAZZ BEAT
Soulful rhythms and futuristic heavyweight funk are brought to you by Eon Beats on Friday. It’s been a while since the release of their fifth album, Blue Rhythm People, way back in late 2008, but the Eon Beats are more ready to play some new dance floor jazz beats and perform at 505. So come listen to the experienced saxophonist of dig’s Rick Robertson, the soulful vocals of Evelyn Duprai, the mixed-up beats of Ian Mussington and the keyboard wizardry of Gerard Masters that make up Eon Beats.
JENNY’S GOTHIC SYSTEM Since the urban bush band sessions in 2009, Jenny M. Thomas & The System have evolved into something much more intriguing, as can be heard on their 2011 album release, Bush Gothic. Currently touring around Australia, you can catch the gothic tales of Australia’s dark history through the beats, bass and folk of Jenny and her band at Camelot Lounge, Marrickville on Thursday.
SWING WITH CAMEMBERT Triple ARIA Award-winning group Monsieur Camembert are performing at Camelot Lounge on Saturday. Vibrant, with a contemporary edge, they’re simply the most successful world music band in Australian music history, so do not miss out on a night of jazz, swing and tango.
NOVA BLUE SPYGLASS A Sydney-based band replete in the fire and passion of the gypsy style, Spyglass Gypsies are bringing it all to Camelot Lounge on Sunday. Incorporating bossa nova and blues, Spyglass Gypsies have created a sound that is exciting and energetic, and will be sharing the bill on the night with JHD and Gadjo Guitars.
SPEED IT UP RONSKI One of the most in demand progressive producers and DJs worldwide, Ronski Speed is making a grand return to Australia and will be heating up the Metro Theatre this Saturday with nothing less than one of his infamous blissful, driving and captivating live sets. Speed’s remixes are in the CD wallets of some of the biggest dance names such as Armin van Buuren and Above and Beyond so keep your expectations high.
HAVE YOU HEARD
One of the world’s most dynamic and entertaining folk, blues and roots singers, the Californian who’s practically Australian these days Kristina Olsen is bringing her instrumental talents to the Brass Monkey on Wednesday. Playing the acoustic guitar, steel-body slide guitar, saxophone and piano mixed together with her strong bluesy voice and songwriting. Not forgetting the talented supporting act, Darren Jack, you can be sure that Olsen will create a showcase that’s not to be missed.
THE KILLGIRLS ANIMAL How many releases do you have now? Two EPs. Both available on iTunes/Bandcamp. How long did it take to write/record? One a year seems to be a thing. Kind of like big holidays. Too many makes you annoying, not enough makes you stupid.
If you could time travel back to any gig in history which would it be and why? Probably the first Big Day Out at Sydney Showgrounds with Mudhoney, Nirvana and Sonic Youth. Because I was meant to go and I missed it and it hurts!!! What movie do you think your music would best accompany and why? We recorded the music for and filmed the vi- for a 10 minute trip-out thing. It’s a journey song. And the visuals are all running water and tropical plants. It’s pretty sweet!! What are your plans for the immediate future? Have a wave, eat, drink, play tonight’s gig, enjoy the rest of the tour, then get home and record all this stuff in our heads. Favourite “pick me up for a big night” drink? Whatever’s cheapest. Or if we’re rich a huge tray of Bloody Mary oyster shots!! Favourite hangover cure? Grease. Or if we’re rich a huge tray of Bloody Mary oyster shots!! For more info see: There are free downloads and tour dates on our Facebook and we have our EP up on iTunes. When and where are your next gigs? Thursday, The Old Manly Boat Shed; Friday, The Patch, Wollongong; Saturday, Buddha Bar, Byron Bay
What’s your favourite song on it? The title track, Animal. It makes me move and it slams like Andre The Giant. RIP. Will you do anything differently next time? Maybe consult the heart a little more in the creative process. Will you be launching it? Oh, it’s launched! We threw a super party in Adelaide on October 22 last year, complete with a 50-foot inflatable spaceman and big boy light/sound rig. But we’re playing Sydney Friday at the Fitzroy Hotel Windsor and Saturday at Upstairs Beresford.
Up-and-coming Aussie talents San Cisco and The Jungle Giants have joined forces for The Politely Awkward Tour. This co-headline tour will see the two bands performing at Spectrum on Saturday and The Great Northern on Sunday. We had a chat to Jordi Davieson from San Cisco and Sam Hales from The Jungle Giants about all things Awkward and Polite.
For more info see: thekillgirls.com or facebook.com/thekillgirls
HEY SOUL BROTHER
56 • THE DRUM MEDIA
She has performed to sell-out crowds across the country and now it’s Sydney’s turn at Cronulla’s Brass Monkey. Casey Donovan will perform her new songs as well as hits from Aretha Franklin and Mama Cass. Don’t miss her spectacular voice joined by Joe Moore this Thursday.
What’s the most awkward onstage moment you’ve ever had? Jordi Davieson: When I was singing along on stage with The Jungle Giants and started the chorus a bar early when they were singing Mr Polite. Sam Hales: It would probably be when I left my guitar tuner on during the intro for a song. Didn’t realise my guitar wasn’t on until Andrew (bassist) switched off the tuner. Luckily, not too many moments like that have occurred since. Do you politely deal with rowdy audience members? Or are you a bit more forceful? JD: Depends on how much sleep we get. We had
Sydney fashion designer, art blogger, oh, and highly successful singer/songwriter Morgan Joanel will be appearing at Bondi’s 34 Degrees this Tuesday night. Best catch her live while you can.
THE BIRDS FLY HOME Inspired by 1960s and ‘70s soul rock-based music, The Widowbirds have been able to craft a genre of their own - hard soul. After a long 18 months of festivals, international supports and now the release of their debut album, Shenandoah, the ‘birds are ready to tour Australia. Catch The Widowbirds at Cronulla’s Brass Monkey on Sunday with Lachy Doley and Max.
STRUM YOUR WAY UP One of Sydney’s hottest up and coming blues guitarist is strumming his way to the Brass Monkey this Tuesday. Bryce Cohen plays the songs of legends such as Hendrix and Clapton with accuracy, creativity and amazing skill. Bryce is sure to captivate, inspire and leave you begging for more.
Do you foresee any awkward moments on this upcoming tour? JD: If history is any guide, in Tasmania, the drummer from The Jungle Giants tried to kiss me. SH: Nope! The tour kicked off in Tasmania and it was too much fun. We met San Cisco that day and we all just had the best time. We ended up at a random house party after the gig and had a crazy night. Is it impolite for the audience to talk during gigs? JD: Only when I am pouring my heart out into a slow, heartfelt song. SH: Some people get really offended by this, but I don’t really. People will always get chatty when there is alcohol involved, so I guess as long as you aren’t shouting and we can’t hear you over the music, it’s fine to talk. You politely ask the other band to borrow some equipment because you were a little too enthusiastic last night and broke yours – do you feel awkward? JD: No, The Jungle Giants are like family to us now! SH: Yeah, probably. Would no doubt try to give them something as compensation for lending me the gear... But as long as I don’t break their gear, it won’t get too awkward.
Pick a song of yours and explain what scene in a Blaxploitation movie it would perfectly sync to and why. Well possibly the track, I Got Da Skillz, from our And So Funketh The Wise Man album.... It has that laidback sleazy wah-wah percussive groove just made for an introductory stroll through the mean streets of Harlem, like the early scenes of Across 110th Street.
Old school funk and a bag full of killer classics sound like your kind of night? Then join the roller coaster that is the Superheavyweights this Friday at the Brass Monkey. They’ll be mixing it up between hits from James Brown, Al Green, Bill Withers as well as their very own with promises to make your hands clap and feet stomp.
Giving the musicians space for what they do best, Mike Rivett Quartet and Andy Fiddes’ LIVEWIRE will be experimenting and improvising happily at Venue 505 on Tuesday night.
Sydney Fringe Festival alumnus Martin Bandoui has supported the likes of Lady GaGa. And here he is, in Kings Cross, presenting songs from his first EP, Borderline Crazy. He’ll be appearing alongside Sydney’s own Brendan MacLean, Brett Every and Tom Sharah this Saturday night at the old El Rocco this Thursday.
CAN YOU DIG IT?
HE’S SUPPORTED SUPERSTARS
to get a little bit forceful when people changed the lyrics to Awkward into something naughty. SH: We can get pretty rowdy too. We like to jump around and have a good time, so if a crowd is getting crazy we just feed off it. But if and when anyone yells out rude shit, we’d no doubt take it really politely.
R.E.S.P.E.C.T DONOVAN What do you think is your act’s greatest strength? We’re having fun.
Saturday will see some of Sydney’s best local bands take to the stage, dust off their cabaret gear and whip out some of everyone’s favorite old-school show tunes. Bands include Neon Turtle, Lovesick, Sally Hackett and Nothing Rhymes With David. Entry will be free and the gig will be held at Newtown’s Town Hall.
Was anything in particular inspiring you during the making? Getting amped in the car with your homies on the way to the city. Slamming shots to turn it up a notch. Dancing like a tree in the wind at your lounge room party. The fun stuff.
Tearing down the house with his gospel background and teachings from Sam Cooke, soul singer and guitarist Eugene Hideaway Bridges performs on Friday at the Brass Monkey, Cronulla. Eugene will present a show of Cooke’s songs as well as his own in the same classic soul style. Joining him is singer and guitarist Jenny Marie Lang and Kara Grainger.
IT’S SHOW TIME
Would you spell your name with five letter s’s? With some difficulty: Professsssor Groove and The Booty Affair… actually it looks pretty good! Professor Groove & The Booty Affair are presenting a tribute to the sounds of Blaxploitation this Saturday at Blue Beat. In an expanded 12-piece Booty Affair Pimpestra (that’s a Pimp Orchestra) they will perform the sweet sweetback sounds of the baddest movies ever made. We’re talking tracks from films like Superfly, Shaft, Across 110th Street, The Mack, Black Caesar and Cleopatra Jones. Here the band’s guitarist Josh Beagley to make us hip to the jive. Will you be wearing the Blaxploitation-style outfits in honour of the gig? Well the Prof is sure to be styling with a fur stole, a top hat, a subtly flared suit and pimprolling with a cane. The rest of us will be sartoriallyappropriate and we would hope that audience members might feel the need to dust off their platforms and gold chains for the evening.
You have to explain Blaxploitation soundtracks to someone with only one example – what song do you pick and why? It’s hard to go past Superfly, from the brilliant street poet Curtis Mayfield. Apart from the supremely ominous eerie funk that underpins the urgent falsetto of Curtis, it’s lyrics like these that make it truly transcendent and representative: “Hard to understand/ What a hell of a man/ This cat of the slum/ Had a mind, wasn’t dumb/ But a weakness was shown/ ‘Cause his hustle was wrong/ His mind was his own/ But the man lived alone/ Superfly.” Baddest character from a Blaxploitation film? So many great ones, from the aforementioned Superfly to the obvious John Shaft, from Truck Turner to Cleopatra Jones and Foxy Brown, but I think my favourite is Goldie, title character of The Mack. His soft-spoken delivery is extraordinary and menacing.
THE DRUM MEDIA • 57
TUE 14 ADAM PRINGLE, + FRIENDS: Sandringham Hotel, street level ALFREDO MALABELLO: The Basement Circular Quay ASHLEIGH GRACE: Lizottes Central Coast - Kincumber DAVE WHITE EXPERIENCE (SOLO): Coogee Bay Hotel - Beach Bar EMMA HAMILTON: Lizottes Sydney - Dee Why JACKIE BRISTOW, JOY & LARA, KARA GRAINGER, SUZY CONNOLLY: Blue Beat - Double Bay JAZZGROOVE feat, MIKE RIVETT QUARTET, ANDY FIDDES LIVEWIRE: 505 - Surry Hills KAMAHLOT VALENTINES DAY feat, KAMAHL: Camelot Lounge - Marrickville ROD STEWART, DIESEL: Sydney Entertainment Centre THE GRAVELTONES: Brass Monkey - Cronulla THOMAS DOLBY, STEPHEN TABERNER: Notes Live ZOE K & THE SHADOW KATZ: Lizottes Newcastle - Newcastle
WED 15 CASEY DONOVAN, JOE MOORE: The Vanguard - Newtown COLIN HAY: The Basement - Circular Quay DAN SPILLANE: Coogee Bay Hotel - Beach Bar GAYNOR TENSION, BRYCE HALLIDAY: Sound Lounge KRISTINA OLSEN: Brass Monkey - Cronulla LIVE & LOCAL: Lizottes Central Coast - Kincumber LIVE & LOCAL: Lizottes Sydney - Dee Why MARK EASTON: Fitzroy Hotel - Windsor RICHARD IN YOUR MIND: The Loft, UTS - Broadway ROD STEWART, DIESEL: Sydney Entertainment Centre
58 • THE DRUM MEDIA
SMOKIN MIRRORS, JEFF, ANGELS OF THE TATTOOED GENERATION, WILLIAM WANDERMADE: Valve Bar - Tempe SPACE TICKET, GHOST CAT!, WITCH FIGHT, THE GLIMMER: Sandringham Hotel, upstairs THE DEAD MARINES: Sandringham Hotel, street level ROGER WATERS: Allphones Arena THOMAS LAWSON: Lizottes Newcastle - Newcastle
THU 16 CASEY DONOVAN: Brass Monkey - Cronulla COLIN HAY: The Basement - Circular Quay COTTON KEAYS & MORRIS: Lizottes Newcastle - Newcastle CRAIG THOMMO: Gymea Bay Hotel - Gymea DAVE WILKINS: Marlborough Hotel - Newtown DOMINO, FEICK’S DEVICE, VIENNA CIRCUS, CHICO SEEDS: Annandale Hotel - Annandale DREY ROLLAN BAND: Rock Lily - The Star Casino - Pyrmont EMILLE: Campbelltown Catholic Club - Caf‚ Samba GINGER & DRUM: Lansdowne Hotel - Broadway GUTTER TACTIC, DRILLSAW, THE STUKAS: Lewisham Hotel HOT DAMN! feat..., CONFESSION, CAULFIELD, WAKE THE GIANTS, SUNSETS, MADISON: Spectrum - Darlinghurst ISRAEL CANNAN: Lizottes Sydney - Dee Why JENNY M THOMAS & THE SYSTEM: Camelot Lounge - Marrickville KRISHNA JONES: RG McGees - Richmond MARK HOPPER: Artichoke Gallery Café - Manly MARTY from RECKLESS: Coogee Bay Hotel - Beach Bar MATT FINISH: Lizottes Central Coast - Kincumber
PLAYWRITE, + SPECIAL GUESTS: Oxford Art Factory, Gallery RAY MAN THREE, NICK LA ROSA: GoodGod Small Club - Sydney ROB HENRY: Harbord Beach Hotel - Harbord ROOTS REGGAE NIGHT with, DECLAN KELLY: 505 - Surry Hills ROXETTE, 1927: Sydney Entertainment Centre SAM & JAMIE TRIO: Maloneys Hotel - Sydney SHUSHAN PETROSYAN, MARCUS RIVERA: Notes Live SONGS ON STAGE feat., PETER PHELPS, RUSSELL NEAL, + GUESTS: Kogarah Hotel - Kogarah THE HEART ATTACK MACHINES, YAE! TIGER, JULIA WHY?, GILBERT GANTRY UNION: Valve Bar - Tempe THE JAZZ FACTORY: Great Northern Hotel - Newcastle THE WIDOWBIRDS, ASHLEIGH MANNIX, FONNIE WOOD & THE ALTER EGOS: The Vanguard - Newtown YOUTH LAGOON, OLIVER TANK: Oxford Art Factory, Live Art Space ZOLTAN: Northies, Sports Bar - Cronulla
FRI 17 AM 2 PM: St George Leagues - Kogarah ARON OTTIGNON & OLLIE McGILL: Sound Lounge, Seymour Centre - Chippendale AUSTRALIAN OPEN OF SURFING CONCERT feat, BLUE JUICE, SNEAKY SOUND SYSTEM, GRANT SMILLIE: Manly Beach - Manly BLACKSTAR: Kincumber Hotel BONES ATLAS, BURNING BLUE SKY, PSYBERIA, HAIRY BABY, CHRIS NETO, MATTY CORDERO: Valve Bar - Tempe BRIAN’S FAMOUS JAZZ & CHILI CRAB NIGHT: Lizottes Newcastle - Newcastle
CALIFORNICATION- RED HOT CHILLI PEPPERS: Pioneer Tavern - Penrith CAMBO: Parramatta RSL - Parramatta CASEY DONOVAN: The Vault - Windsor CHASING KARMA: Engadine Tavern CHOIRBOYS: Terrey Hills Tavern - Terrey Hills CONSTANT PROJECT: Excelsior Hotel - Glebe COTTON KEAYS & MORRIS: Lizottes Sydney - Dee Why COUGAR DUO: Vineyard Hotel - Vineyard CRIMSON TIDE: Cessnock Supporters Club CUT CHEMIST: Metro Theatre - Sydney DAN LAWRENCE: Grand Hotel - Rockdale DAN LAWRENCE: Observer Hotel (late) - The Rocks DAN LISSING DUO: Crows Nest Hotel (early) - Crows Nest DAVID AGIUS DUO: Hillside Hotel - Castle Hill DAVID CAMPBELL: State Theatre - Sydney DEVOUR THE MARTYR, DEPRIVATION, DATURA’S CURSE: Bald Faced Stag - Leichhardt DJ JEDDY ROWLAND, DJ ANDERS HITCHCOCK: Cohibar - Darling Harbour DJ MATTY ROBERTS: The Watershed Hotel - Darling Harbour DR ZOOM DUO: Charlestown Bowling Club EAON BEATS: 505 - Surry Hills ELEVATE: Customs House Bar - Circular Quay EUGENE HIDEAWAY BRIDGES: The Basement - Circular Quay FALCONIA FRIDAYS feat, JOYRIDE (DJ SET), KRISTY LEE, HOBOPHONICS, STARJUMPS, STONEY ROADS: Kit & Kaboodle Kings Cross GANGGAJANG: Club Singleton - Singleton GAPPY RANKS, HOOPS, NAIKI, JUDGEMENT & SING, DJ DADDYJAZZ, SHANTANWANTANICHIBAN, NAIKI: GoodGod Small Club - Sydney GARY JOHNS: Brewery Bar, Novotel - Homebush
GENTLEMEN & VAGABONDS, THE VALLEY FLOOR: The Patch - Fairy Meadow GEOFF RANA: Observer Hotel - The Rocks GEOFF YULE SMITH: Sofitel Wentworth - Sydney GEORGE MANN, TIA JUANA & HER DEPTHS OF DESPAIR, + MORE: Wollongong City Diggers GEORGIES PLAYGROUND: Exchange Hotel - Newcastle GIRLS TALK: Kingswood Sports Club - Kingswood GREG BRYCE: Great Southern Hotel - Sydney GREG BYRNE DUO: Mean Fiddler Hotel - Rouse Hill HARBOUR MASTERS: Chatswood RSL - Chatswood HEATH BURDELL: Macquarie Hotel - Liverpool HIGH MAINTENANCE: Overlander Hotel Cambridge Park HIT SELECTION: Crown Hotel - Sydney HOORAY FOR EVERYTHING: Padstow RSL - Padstow HUMMDINGER: Nelson Bay Diggers Club IAN MOSS, CROOKED SAINT: The Vanguard - Newtown IGUANA: Hotel Jesmond - Jesmond INTIMATE LOUNGE MUSIC: Fairfield RSL, Supper Club JD’S DUO: Engadine RSL - Engadine JELLYBEAN JAM: Wentworthville Leagues (Late) JIM CONWAYS BIG WHEEL, TERRY SERIO’S MINISTRY OF TRUTH: Empire Hotel - Annandale JOHN FIELD DUO: Harbord Beach Hotel - Harbord JONNY ROCK: The Belvedere Hotel - Sydney JUMP, JIVE & WAIL with, LIMPIN’ JIMMY & THE SWINGIN’ KITTEN: Lansdowne Hotel - Broadway JUSTICE CREW: The Juniors - Kingsford KATE GOGARTY: Red Lion Hotel - Rozelle KING TIDE: Lizottes Central Coast - Kincumber LEEROY’S DUO: Duke of Wellington Hotel - New Lambton
LOLO LOVINA, DAVE CARR’S FABULOUS CONTRAPTION: Baroque Bar - Katoomba LOUNGEPHONICS: Town & Country Hotel - St Peters LUKE DIXON: Mill Hill Hotel - Bondi Junction MACSON DUO: Club Rivers - Riverwood MARK EASTON: North Nowra Tavern - North Nowra MARK TRAVERS: Castle Hill RSL - Cocktail Lounge MATT JONES: Castle Hill RSL - Courtyard MATT LYON: Red Cow Hotel - Penrith MIKE MATHIESON, CHRIS ALEXANDER: Dooleys - Silverwater MISSION JONES: PJ’s Irish Pub - Parramatta MOONLIGHT DRIVE: Warners at the Bay MR BREEZE: North Richmond Hotel NATIVOSOUL: Artichoke Gallery Café - Manly NEILL BOURKE: O’Malleys Hotel - Kings Cross NEXT BEST THING: Dundas Sports Club - Dundas NICK SKITZ, MC SUGAR SHANE: King Street Hotel - Newcastle NICKY KURTA: World Square Pub - Sydney NO HEADROOM: Penshurst RSL - Penshurst NORTHERN BEACHES MUSIC FESTIVAL: Berry Reserve, Narrabeen NOVA TONE: Courthouse Hotel - Taylor Square ONE HIT WONDERS: Heathcote Hotel - Heathcote OUTLIER: Scruffy Murphy’s - City PETA EVANS TAYLOR: The Mark Hotel - Newcastle PETER LONG: Penrith Panthers - T.C’s PHASE III: The Stag & Hunter Hotel - Mayfield PLUTO JONZE, CUB SCOUTS, MRS BISHOP: The Standard - Surry Hills PURPLE COW: Orana Hotel - Blacksmiths RAPTURE: Sutherland United Services Club - Sutherland REBECCA JOHNSON BAND: Matraville Hotel - Matraville
RED HOT NUMBERS: Kurnell Rec Club - Kurnell RESIDENT DJs: Jacksons on George - Sydney RICK FENSOM: Collaroy Beach Hotel - Collaroy ROB HENRY: Northies, Sports Bar - Cronulla ROXETTE, 1927: Sydney Entertainment Centre SAM & JAMIE TRIO: Kirribilli Hotel - Kirribilli SEATTLE SOUND: Bull & Bush - Baulkham Hills SKYZ THE LIMIT: Penrith Gaels - Kingswood SLEEPMAKESWAVES, DUMBSAINT, SOLKYRI, BATTERIE: The Gaelic - Surry Hills SPEEDSTER: Mounties - Mt Pritchard STRIP: Crows Nest Hotel (late) - Crows Nest) SUPERHEAVY WEIGHTS: Brass Monkey - Cronulla SWINGSHIFT - COLD CHISEL SHOW: Ettamogah Hotel - Rouse Hill THE AUSTRALIAN PINK SHOW: The Ranch Hotel - Marsfield THE BRUTAL POODLES: Oxford Art Factory, Gallery THE CRACKS, THE VAUDEVILLE SMASH, SYE McRITCHIE, DJ SPENDA C: Upstairs Beresford - Surry Hills THE GOYLES: Cooee Hotel - St Georges Basin THE GUPPIES, LEMON LAW, GEOGRAPHY OF MARS: The Loft - Newcastle Mall THE PLAYWRITE, PEAR & THE AWKWARD ORCHESTRA, THE PUBLICAN BAND: Great Northern Hotel - Newcastle THE POD BROTHERS: Coogee Bay Hotel - Beach Bar THE POT BELLEEZ: Rooty Hill RSL, Tivoli Showroom - Rooty Hill THE SHIVON DUO: Parramatta Leagues - Firehouse
THE WIDOWBIRDS: The Junkyard - Maitland THEY CALL ME BRUCE: PJ Gallaghers - Drummoyne THIRD TIME LUCKY: 3 Swallows Hotel - Bankstown THUNDERSTRUCK -AC/DC SHOW, SHADOW BOXER THE ANGELS SHOW: Penrith RSL, Showroom TOM T DUO: Stacks Taverna - Darling Harbour TONGUE AND GROOVE: Marlborough Hotel - Newtown TONY WILLIAMS: Tall Timbers Hotel Ourimbah, Central Coast UNDERGROUND LOVERS, THE LAURELS: Oxford Art Factory, Live Art Space VAUDEVILLE VAGABONDS: Camelot Lounge - Marrickville VELVET HOTEL: Canterbury Hurlstone Park RSL WAKE THE GIANTS, MADISON, SOUND OF SEASONS: Mars Hill Café - Parramatta ZOLTAN: West Leagues Club - Leumeah
SAT 18 ABSOLUTELY 80’S feat, BRIAN MANNIX (UNCANNY X-MEN), DALE RYDER (BOOM CRASH OPERA), SCOTT CARNE (KIDS IN THE KITCHEN): Heathcote Hotel, Afternoon AMODUS, NOT ANOTHER SEQUEL, JUST ANOTHER PREQUEL, TENSIONS ARISE, JIZZ: Red Rattler - Marrickville ANDY MAMMERS: Brewery Bar, Novotel - Homebush
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THE DUNHILL BLUES ALL LIVE SPORT ON THE BIG SCREEN
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THE DRUM MEDIA • 59
AUSTRALIAN OPEN OF SURFING CONCERT feat, THE LIVING END, CHILDREN COLLIDE, STONEFIELD: Manly Beach - Manly BETH GLEESON: Windsor Castle Hotel - Newcastle BLACK DIAMOND HEARTS: Golden Sheaf Hotel - Double Bay BLONDE 182: Stacks Taverna - Darling Harbour BNO ROCK SHOW: Crows Nest Hotel (late) - Crows Nest) BRIAN’S FAMOUS JAZZ & CHILI CRAB NIGHT: Lizottes Central Coast - Kincumber BRIAN’S FAMOUS JAZZ & CHILI CRAB NIGHT: Lizottes Sydney - Dee Why CAMBO: Castle Hill RSL - Cocktail Lounge CARL FIDLER: Observer Hotel (early) - The Rocks CELEBRATION MIX: Mounties - Mt Pritchard CHOIRBOYS: Lone Pine Tavern - Rooty Hill COUNTERFEIT TRIBUTE NIGHT feat:, REX HAVOC, SALLY HACKETT, JOSH SHIPTON & ALICIA MACARTHUR, THE JERRY ORTISM FOUNDATION, LAURA NOLAN, JUSTIN HOLT & LEYNE ELBOURNE, JAMES EDGAR FRANCIS, NEON TURTLE: Town Hall Hotel - Newtown
60 • THE DRUM MEDIA
CREEDENCE & FRIENDS: Pitt Town District Sports Club DAN BEAZLEY: The Mark Hotel - Newcastle DAVE FEINT: Beauford Hotel - Mayfield DAVE TICE & MARK EVANS: Sandringham Hotel, street level DAVID AGIUS DUO: Narrabeen Sands - Narrabeen DES GIBSON: Lansvale Hotel - Lansvale DI SOLOMON: Kirribilli Hotel - Kirribilli DIRTY DEEDS - AC/ DC SHOW: Padstow RSL - Padstow DJ BRYNSTAR, MUDROCKETS: Cohibar - Darling Harbour DJ CHEEKY: Gymea Bay Hotel - Gymea DONI RAVEN & THE BLACKJACK WOLFPACK, THE DIRTY SURFIN BASTARDS, + GUESTS: Excelsior Hotel - Glebe DUB FX, FLOWER FAIRY & CADE, SVELT, ROYALSTON, DRACHEMANN, LOZ NONESENSE: Valve Bar - Tempe (Early) EUGENE HIDEAWAY BRIDGES, ILUKA: Brass Monkey - Cronulla FREE FALLING: Duke of Wellington Hotel - New Lambton FUNKSTAR: Marlborough Hotel - Newtown
GIG OF THE WEEK
The brainchild of 22-year-old Trevor Powers, Youth Lagoon produces beautiful melancholy melodies. Debut album The Year Of Hibernation draws from the dark depths of Powers’ struggles with anxiety, love, heartbreak and life. The eerily nostalgic undertones of this haunting collection draw happy comparisons with James Blake, Caribou and Radiohead without being derivative. Translated to a live arena, Powers is joined on stage by guitarist Logan Hyde and the tracks come to life in full. Joined on tour by Oliver Tank, Youth Lagoon is at Oxford Art Factory on Thursday.
GANGGAJANG, BOB CORBETT: Belmont 16’s - Belmont GLENN WHITEHALL DUO: Engadine Tavern HAPPY HIPPIES, JAMIE LINDSAY: Ettamogah Hotel - Rouse Hill HEATH BURDELL: Northies, Northies Bar - Cronulla HIGHWAY TO HELL-AC/DC SHOW: Lakeside Village Tavern - Raymond Terrace HOORAY FOR EVERYTHING: Coogee Bay Hotel - Beach Bar
HYPE DUO: Courthouse Hotel - Taylor Square IGNITION: Wentworthville Leagues (Late) IGUANA: Nelson Bay Diggers Club IN MEASURES, OCEAN PARTY, OYSTER: Oxford Art Factory, Gallery INFECTED MUSHROOM, RONSKI SPEED, KEIRRA JADE, LUI RAPTOR, OZZY, GALAKTIK: Metro Theatre - Sydney
IVAN & THE BACKPACKERS, RED OXYGEN, LIMO WRECK, DIRTY LITTLE IMMIGRANTS: Town & Country Hotel - St Peters JAZZ NOUVEAU: Fairfield RSL, Supper Club JON ENGLISH - THE ROCK SHOW: State Theatre - Sydney KAZAAM: Penrith Gaels - Kingswood KEEP THE FAITH - BON JOVI SHOW: Bull & Bush - Baulkham Hills KEITH ARMITAGE: Harbord Beach Hotel - Harbord KING TIDE: Lizottes Newcastle - Newcastle KOTADAMA: Exchange Hotel - Newcastle KRISTINA OLSEN, ANATOLI TORJINKSY, SPIKE FLYNN: Notes Live - Enmore KROSSFYRE: Orana Hotel - Blacksmiths LESS THAN STRENGTH: Bald Faced Stag - Leichhardt LILLY ROUGE, MORGAN ELIZABETH, ANGEL AWAKE: Mars Hill Café - Parramatta LITTLE & SANDERS: Riverwood Inn LOUISIANA ROADSHOW: Marrickville Bowling Club LUKE ROBINSON: Menu 33, Novotel - Rooty Hill MARK COREY, GARY JOHNS DUO: Mean Fiddler Hotel - Rouse Hill MARK EASTON: Tathra Hotel - Tathra MATT JONES: Sir Joseph Banks Hotel - Botany MICHELLE NICOLE & TINA HARROD: 505 - Surry Hills MIKE MATHIESON, CHRIS ALEXANDER: Dooley’s - Lidcombe MONSIEUR CAMEMBERT: Camelot Lounge - Marrickville NEXT BEST THING: Bayview Hotel - Woy Woy NORTHERN BEACHES MUSIC FESTIVAL: Berry Reserve, Narrabeen NOVA TONE: The Belvedere Hotel - Sydney PANORAMA TRIO: Mercantile Hotel - The Rocks PARTY CENTRAL: Penrith RSL, Castle Lounge PEACHY: Oatley Hotel - Oatley
PEPPERMINT JAM: East Leagues Club - Bondi Junction PETER HEAD: Harbour View Hotel - The Rocks PHASE III: Warners at the Bay PHIL SPILLER: Artichoke Gallery Café - Manly PLUTO JONZE, CUB SCOUTS, MRS BISHOP: Yours and Owls - Wollongong PROFESSOR GROOVE’S BLAXPLOITATON 2012: Blue Beat - Double Bay REPLIKA ROCK TRIO: Carousel Inn - Rooty Hill RESIDENT DJs: Jacksons on George - Sydney RETROSPECTS: Penrith Panthers - T.C’s ROB HENRY: Observer Hotel (afternoon) - The Rocks SAN CISCO, THE JUNGLE GIANTS, SURES: Spectrum - Darlinghurst SANDY EVANS SEXTET: Sound Lounge, Seymour Centre - Chippendale SKY BAR: The Watershed Hotel - Darling Harbour SLEEPMAKESWAVES, LANDER CONFIGURATIONS, I AM THE AGENT, SOLKYRI: Great Northern Hotel - Newcastle SONGS ON STAGE feat., THE YELLOW CANVAS, EMILY WONG, GEMA HADRIDGE, + GUESTS: Royal Exchange Hotel - Marrickville SONGS ON STAGE feat., LAURIE MCKERN, PAUL B WILDE, RUSSELL NEAL, + GUESTS: Terrey Hills Tavern - Terrey Hills STEVE TONGE: Northies, Sports Bar - Cronulla TERRY BATU: Earlwood Ex-Servicemen’s Club - Earlwood THE CONTINENTAL BLUES PARTY: Macquarie Hotel - Surry Hills THE GOYLES: Bradbury Inn - Campbelltown THE GROOVEMASTERS: Jets Sports Club - Tempe THE JUNGLE KINGS: Belmont 16’s, Star Lounge - Belmont THE KILLGIRLS, SCREAMING BIKINI, LIME CORDIALE, DJ KRISTY LEE: Upstairs Beresford - Beresford Hotel
THE LEVYMEN: The Stag & Hunter Hotel - Mayfield THE POD BROTHERS: Yardhouse - Haymarket THE POT BELLEEZ: Fitzroy Hotel - Windsor THE RADIATORS: Blacktown RSL Celebrity Room THE RETURN OF COOL: Town & Country Hotel (afternoon) - St Peters THE SOUNDS OF SEDUCTION: The Vanguard - Newtown THE SOUNDS OF STEELY DAN feat, THE BODACIOUS COWBOYS: The Basement - Circular Quay TIJUANA CARTEL: Oxford Art Factory, Live Art Space WEST END STORY, HELPFUL KITCHEN GODS, LOLLIPOP SUGAR, CALL TO COLOUR, FABELS: West End Hotel - Balmain WILDCATZ: 3 Wise Monkeys - Sydney ZOLTAN: Ingleburn RSL - Ingleburn
SUN 19 AM 2 PM: Springwood Sports Club - Springwood ANDY MAMMERS TRIO, MATT JONES DUO: Mean Fiddler Hotel - Rouse Hill ANTOINE: O’Malleys Hotel - Kings Cross BLOOM, PETE GELZINNIS: Belmont 16’s - Belmont BLUES BOMBERS: Exchange Hotel - Newcastle BLUES SUNDAY feat., MARK HOPPER: Artichoke Gallery Café - Manly BUCKSHOT: Penrith RSL, Castle Lounge CASEY DONOVAN: 34 Degrees South - Bondi Beach CRAIG THOMMO: Woonona Bowling Club DAN SPILLANE: Kirribilli Hotel - Kirribilli DAVE WHITE DUO: Northies, Northies Bar - Cronulla DJ MATTY ROBERTS: The Watershed Hotel - Darling Harbour DRIVE feat., PETER NORTHCOTE, VIRGINIA LILLYE: Bridge Hotel - Rozelle HARBOUR MASTERS: Waverley Bowling Club - Waverley HORSE: The Basement - Circular Quay HUE WILLIAMS: Ocean Beach Hotel - Umina IAN BLAKENEY: Campbelltown Catholic Club JAMES PARRINO: The Belvedere Hotel - Sydney JOHN LEIGH CALDER, + FRIENDS: The Clarendon Hotel - Surry Hills JOHN VELLA: East Leagues Club - Bondi Junction JUNGLE FEVER feat, JNR, LUCIAN, KING B, + SPECIAL GUESTS: The Sugar Lounge - Manly KIM: Nelson Bay Diggers Club KINGDOM OF JONES: Town & Country Hotel (afternoon) - St Peters
KRISHNA JONES: Oscars Hotel - Pyrmont LAZY SUNDAY LUNCH with, COTTON KEAYS & MORRIS: Lizottes Central Coast - Kincumber LJ: Bayview Tavern - Gladesville HORE, + MORE: Valve Bar - Tempe (Afternoon) MATT FINISH: Lizottes Sydney - Dee Why MIKE BENNETT: Observer Hotel - The Rocks NORTHERN BEACHES MUSIC FESTIVAL: Berry Reserve, Narrabeen RAOUL GRAF: Parramatta Leagues - Firehouse REEL! B!G DOG feat., DAVE MASON (THE REELS), REG MOMBASSA (MENTAL AS ANYTHING), PETE O’DOHERTY (MENTAL AS ANYTHING), JOHN BOY BLISS (THE REELS), BRENDAN GALLAGHER (KARMA COUNTY): Petersham Bowling Club - Afternoon SAN CISCO, THE JUNGLE GIANTS, LONG ISLAND SOUND: Great Northern Hotel - Newcastle SATELLITE V: Marrickville Bowling Club SONGS ON STAGE feat., BLAKHATZ, VELVET ROAD, MERILYN STEELE, CHARLI, NICK DOMENICOS, CAROLYN WOODORTH: Hotel William - Darlinghurst SPENCERAY: Coogee Bay Hotel - Beach Bar THE BIRDMANN & THE FLYING V FORMATION, IMOGEN KELLY, TOY DEATH: The Vanguard THE DUNHILL BLUES: Botany View Hotel - Newtown THE SLOWDOWNS: Sandringham Hotel, street level THE WIDOWBIRDS, LACHY DOLEY, MAX: Brass Monkey - Cronulla THIEVES: Bald Faced Stag - Leichhardt
MON 20 CAMBO: Observer Hotel (afternoon) - The Rocks ERYKAH BADU: Concert Hall, Syd Opera House MATT JONES TRIO: 3 Wise Monkeys Pub - City SONGS ON STAGE feat., MASSIMO PRESTI, AARON PRENTICE, RUSSELL NEAL, + GUESTS: Kellys on King - Newtown STEVE TONGE: Coogee Bay Hotel - Beach Bar THE MAZE: Sandringham Hotel, street level
ASSISTS YOU IN REMAINING ALERT AND WIDE AWAKE
ALWAYS READ THE LABEL. USE ONLY AS DIRECTED. ASMI 19793-1211
BEHIND THE LINES FLYING SOLO
BROUGHT TO YOU BY
WITH MICHAEL SMITH
TOSIN ABASI IBANEZ CLINIC
If you’re quick, you might just catch internationally renowned Washington DC-based eight-string guitarist Tosin Abasi, best known for his prog metal solo project Animals As Leaders, presenting a clinic for Ibanez Australia tonight, Valentine’s Day, at Muso’s Corner in Newcastle. Phone (02) 4929 2829 for details.
DILLINGER ESCAPE DRUM CLINIC
Monday 27 February from 2pm, The Brain Recording Studio’s live/drum room is hosting an intimate two-hour interactive masterclass with Dillinger Escape Plan’s drummer Billy Rymer. The second in what the studio hopes will be a long and exciting series under the Ultimate Drummers Workshop banner, tickets are inevitably strictly limited and can be purchased from the Surry Hills studio for $150. For details and bookings, call the studio during work hours on (02) 9211 8474.
SUMACH ‘GONJASUFI’ ECKS’ DEBUT ALBUM A SUFI & A KILLER WAS DEFINED AS MUCH THROUGH THE PRODUCTION OF LOS ANGELES’ HEAVYWEIGHTS FLYING LOTUS AND GASLAMP KILLER AS HIS OWN RHYMES AND SONGWRITING. MATT O’NEILL SPEAKS TO THE MYSTERIOUS MC AND SHAMAN ABOUT GOING IT ALONE FOR NEW MINI-ALBUM MU.ZZ.LE.
JOHN SCHOFIELD GUITAR MASTERCLASS
Sufi & A Killer broke Sumach Ecks through to an audience he never expected. Released on Warp Records in 2010, the MC’s debut album as Gonjasufi arrived after two decades of writing and releasing his own music through the San Diego underground. The work of flagship Warp artist Flying Lotus and world-renowned experimental DJ Gaslamp Killer on production saw Ecks’ work welded to some of the most progressive, celebrated beatsmiths in the world and embraced accordingly.
STEFAN GROSSMAN COUNTRY BLUES WORKSHOP
“I like A Sufi & A Killer but I don’t really listen to it,” the MC muses. “I think there’s some serious heat on that record. I poured my own into that shit – but I don’t listen to the shit, though. There are some songs that I can’t fucking stand on that shit. Like, ‘Why the fuck did I put that…? Man, fuck that song!’… That’s part of just growing, man, and not being afraid to be human – to show honesty and vulnerability. That’s a beautiful thing, man.”
Due to circumstances beyond the control of the promoter, the previously announced John Schofield guitar masterclass, due to take place at the Wesley Mission Theatre, Wednesday 6 March, has been cancelled. Ticket refunds are available from point of purchase.
A student of the acoustic blues and gospel singer himself, songwriter and guitarist Reverend Gary Davis, veteran guitarist Stefan Grossman first came to prominence with ‘60s American political rockers The Fugs, which took him to the UK where he remained until the early ‘80s. Based today back in New Jersey, USA, Grossman is coming to Sydney to present a two-day workshop in country blues, exploring Delta blues, bottleneck slide playing, left and right hand playing techniques and much more, providing insights into the blues masters from Davis to Skip James, Mississippi John Hurt to Blind Boy Fuller. The workshop, limited to just 15 students, runs Saturday 23 and Sunday 24 March at the Bald Faced Stag and costs $450, so for details and to book a place, check into the Arelmedia website.
Follow-up record MU.ZZ.LE finds Ecks consciously struggling against the reputation and associations forged by that album. The mini-album was recorded and produced almost exclusively by Ecks within the comfort of his own house – with additional production
The bulk of the forthcoming new album The Seer from Swans, co-produced by the band’s main man Michael Gira with Kevin McMahon, was recorded in Studio P4, the orchestra room in a former East German radio station building in Berlin.
62 • THE DRUM MEDIA
“It feels like my first album, in a lot of ways. It’s all San Diego shit,” he explains. “It’s me actually chopping drums and digging through my crates. Gonjasufi kind of started with me and a producer named Psychopop. We did our stuff first and Gaslamp Killer heard it and it all kind of snowballed from there. So, for me to put out this record, it’s showing everyone where it really started. Me, my production, my team, my San Diego sound. “To me, it sounds different from A Sufi… and it really doesn’t. What do people want? Do they want the Bollywood epic? Is that what I’m supposed to do?” the MC laughs – referencing the spiritual, middleeastern overtones of his previous release. “This is just me saying, ‘Look, there’s more to this than just loops and repetition’, we ain’t working with wheels. This is progression; this is exploration. We do something different – but it’s still the same sound.” The record is very much reflective of Ecks’ idiosyncratic methods as a producer. The MC shuns computers and laptops – always preferring to work with MPCs, synthesisers, samplers and, most tellingly, analogue tape machines – and rarely works anywhere other than his own house. Even the vocal tracks of the densely layered and eclectic A Sufi & A Killer were effectively recorded in the singer’s own lounge room. “Yeah – all analogue gear, man. We used some MPCs, some farfisas, an ARP synth I got, some bass, brought in some players, chopped some shit up, chopped and looped,” Ecks enthuses. “I’m all about that shit, man. Just chopping drums, man. There weren’t any nerves following up Gaslamp or Flylo because, man, I’ve been chopping drums my whole life. It’s in my nature. “I don’t know if I have a lot of gear but I’ve got a fair amount of stuff. Tubes and shit, pre-amps, old gear.
Recorded over the 12 months of 2010 in Sydney’s Linear Studios after having done his preproduction in Wicklow back in his original homeland of Ireland, the debut album Estuary from the now Sydneysider who goes by the nom de plume Minus Circus, was mixed by Melvin Tree, who produced the album at The Treehouse in Perth and mastered at dB Mastering in Sydney by Kathy Naunton.
provided only by producers from the MC’s days in the experimental San Diego hip hop scene. The finished product is a raw, minimal blast of soulful noise and grit that successfully distances Ecks from his debut album.
AGUILAR TONE HAMMER 500 AND SL112 CABINET
Weight comes into consideration here with the brand new Aguilar Tone Hammer 500 along with its portable and flexible counterpart, the SL112 bass speaker cabinet straight from their New York factory – not in regard to how heavy, but how light.
Aguilar Amplification has created a 500 watt bass head that is loud and punchy, versatile and musical that weighs in at a jaw-dropping 1.8kg with a sound the size of a giant, but still managing to comfortably fit into most gig bags. Features across the front of the Tone Hammer 500 include input jack with a -10db input pad, gain, bass, treble and fully sweepable mid-level and midfrequency range controls. Send and return effects loop inputs intended for use with professional rack gear with a nominal input level of 4db, master volume, balanced XLR out with post/pre and ground/lift input pads, iridescent bright blue clip, operate and status lights and an operate/mute input pad. The Drive control utilises Aguilar’s proprietary AGS (Adaptive Gain Shaping) circuit, adding subtle to heavy distortion and EQ to create a variety of sounds. I found that by experimenting with the sweepable mid-range controls you can dial into certain frequencies of EQ. By pushing the mid-level up, you dial into the higher end of mids giving you more bite and nasal tone. By pulling it back, you go into the lower more bass end of the mids, giving you a much warmer, richer texture. Now the fun part is to dial in the Drive, bringing in the distortion. You can help this
I’m a fiend for tubes and tape,” the MC elaborates. “It’s just got that light in it, man. That heat. It burns the sound into the tape. You get all the elements instead of all the microchips. It’s a cleaner reflection of the fucking musician as an artist; more of the soul can be captured through that light and electricity. “When I’m tracking my voice, it’s all the one-take. For me, it’s all about the one-take. I just make this shit up, man. What I do is go in, listen to it, vibe it and feel it real quick, press record and then go as hard as I can for one-take and then, bam, maybe the first eight bars are the shit, then I’ll go back and, boom, finish the rest… “You know, A Sufi & A Killer was just capturing how I felt at a certain time. That’s all this record is, that’s all the next record is, that’s all any of my records are – it’s about capturing the moment, getting it out there and then moving onto the next shit, man. Always the next.” MU.ZZ.LE is out now through Warp/Inertia
along by pushing the gain up past one o’clock, the more you push the gain the more distortion you create. The classic vibe looking SL112 bass cabinet from Aguilar is part of the ever-growing SL series cabinets – SL standing for Super Light. This particular cab weighs in at just below 12kg. No need to bend the knees on this one, this is a one handed job! This 46cm deep cabinet represents a new direction to the world class “Aguilar Sound”, featuring one 12” cast frame woofer, neodymium drivers and phenolic tweeter with an integral phase plug employing a custom crossover to punch out a bass sound that is deep, dynamic and balanced across the entire frequency range of the cab. Marry the two together and it’s a match made in heaven. As is, the two will handle most if not all gig situations, raising a smile with its big punchy tones to pure warmth to grinding distortion in the clubs, venues and studio sessions. The Aguilar Tone Hammer 500 with the SL112 is very appealing to the player who is on the go from gig to gig. This amp is a great choice for the working bassist. Karl Willebrant For more info, see imd.com.au. Originally published in Australian Musician Magazine.
(02) 9550 3977
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DRUM, AMP & PA Hire
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@ $80 500 SRA3 gloss @ $300
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schoolofrock innerwest .com.au
1. UBeR ZEN 2. ZEN TALBOT
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50/100/200 CD in jewel case with 4 booklet and rear inlay Full colour, proofs, delivery and GST included $197/ $332/ $605 50/100/200 CD in clear sleeve with 4 page booklet, proofs, delivery and GST included Full colour $140/ $215/ $370
Barcoding available $44.00 inc
4 Talbot St, St Peters NSW 2044
www.AcmeMusic.com.au KevinW@AcmeMusic.com.au 07 3107 1688 - 02 9008 1177
MADCDs cos Cos we g ive a sh it
REHEARSALS RECORDING TUITION 3 BOYLE STREET SUTHERLAND
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RUMPUS RECORDS www.rumpusrecords.com.au Recording g Studio based on the the Northern Beaches at Dee Why. 1st class recording in comfort and style. Special rates for EP and album recording. 10/161-163 SOUTH CREEK ROAD DEE WHY NSW 2099
PH: 02 9981 1489
REMOVALIST & DELIVERY MAN matt the mover
Too hungover to move your gear? Ã¤7DLORUPDGHGHOLYHULHVWRVXLW\RXUQHHGV Ã¤2QHRUWZRPDQUHPRYDOVDYDLODEOH Ã¤6HUYLFLQJWKH,QQHU:HVW(DVWHUQ6XEXUEV DQG6\GQH\&LW\
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PRINTING 100 SRA3 gloss @ $80incGST 500 SRA3 gloss @ $300incGST ph: 9550 3977 firstname.lastname@example.org www.zenstudios.com.au
Store 8/1-7 Unwins Bridge Rd, St Peters
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EMPLOYMENT ADMINISTRATION 15year old bass player looking to join metal or punk band. influences include metallica, slayer, megadeth, anthrax, pantera, ozzy osbourne/black sabbath and many more. email email@example.com iFlogID: 16863
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FOR SALE AMPS PEAVEY BANDIT 80WATT 12” GUITAR COMBO
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PROMOTER ATTENTION BANDS AND PROMOTERS We have a great Room/Venue that we want to get Rockin’ Fully Licensed Bar and Well Situated in City Central. P.A. and Lights are Supplied including Live Recording Facility. Our prefered focus is on Live Indy Bands but will also consider proposals from DJ’s and Promoters. Also available for Functions, Photo Shoots and Film Clips. For more Info please Email Rob - email@example.com iFlogID: 17072
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YAMAHA U3 M ACOUSTIC PIANO
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LEGAL / ACCOUNTING HAPPY NEW YEAR’S RESOLUTIONS!
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OTHER ++ play more chinese music - love, tenzenmen ++ www.tenzenmen.com iFlogID: 14468 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: 15452 Music publicity. Do you want to get noticed? Affordable exposure for your band by someone that actually cares! www.perfectlywrite. com.au Drop me a line! iFlogID: 15737 Need Help overcoming Performance Anxiety, Stage Presence, Writers Block? Waking Life Hypnotherapy - Specialist Hypnotherapists with 15 years music industry experience behind them Waking Life Hypnotherapy - Live the Dream iFlogID: 17179
PROFESSIONAL BAND WEB DESIGN
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If one of your new year’s resolutions included getting up to date with your taxes then now’s the time to act. Detax will maximise your tax refund or minimise your tax liability, by applying years of Entertainment & Arts industry tax knowledge into each and every tax return. Individual Tax Returns from only $99. Discounted rates available for multiple years. Fully Qualified Accountant & Registered Tax Agent. www.detax.com.au iFlogID: 17275
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Do you get outrageously jealous when you see another band’s amazing looking website? Does your website look like a boring generic stock standard webpage? Or even worse...Does your band even have its own website yet?! We can help out! Musowebs is a team of dudes who only make band websites. So no, we won’t even talk to you unless you play an instrument. Boasting over 50+ happy bands in 2011! We are 100% committed to ridding the planet of hideously ugly band websites. We craft amazingly smooth, jaw-droppingly good looking band websites that will make other musos green with envy. Guaranteed to make you look professional! HURRY! For February only we are offering 100% free mocks. Which means: We make you a website for free, if you don’t like it, you don’t pay! PLUS we’ll give you 50% off the final Quote in February. Don’t miss out. GO TO: musowebs. com/drum & drop us a line today. iFlogID: 17341
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ATTENTION: MUSIC CREATORS
Options Categories NEW!
Contact me for your free chapter of my book “ Chord Voicing for Composers, Arrangers, Songwriters and Pianists”. The complete guide to advance harmony. jdmuspub@ gmail.com iFlogID: 16950
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BLUES GUITAR TUITION
RECORDING STUDIOS AFFORDABLE SYDNEY PRODUCER Sydney-based producer with multiple industry contacts and experience in both band recordings and electronic/ midi sampling. Affordable rates for radio-ready recordings. I’m aware that you’re looking for the best result for the lowest investment, give me a call to discuss your requirements. Let me help you bring your musical vision to life! Call or email Joe Sharratt for enquiries: 0416 321 209 firstname.lastname@example.org iFlogID: 17235
From Robert Johnson to Eric Clapton. tel. John 0431953178 iFlogID: 16886
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Inner west ,exp teacher studied in Spain tel : 02 9517 1704 iFlogID: 17142
Recording Studio, Parramatta, $30hr casual rate. No kits! Singers, songwriters, instrumentalists for acoustic, world, classical genres specialist. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days. iFlogID: 15160
GUITAR LESSONS IN SYDNEY
Sean Carey (ex Thirsty Merc) is the In-House Producer/Engineer at TRACKDOWN Studios in Camperdown. Multi-platinum ARIA accredited Artist with over 10 years of production experience. Vintage guitars, microphones, gear and industry contacts! Get the most out of your songs! www.seancarey.com.au. Ph: 0424923888. iFlogID: 17384 Want to be a recording artist? We’re looking for singers/songwriters for recording & development. Contact studio@musicentourage. com or 02 4013 1977 iFlogID: 14616 Want to know what it takes to record a song? Book in an obligation free Q&A session in our recording studio at Five Dock. Visit www. musicentourage.com or email hookmeup@ musicentourage.com iFlogID: 14478
TUITION ACCOMPLISHER SINGING TEACHER Northern beaches area. Ex cabaret, session, studio singer, music producer. Toured with Shirley Bassey and Perry Como. Totally experienced. Free assessment. Beginners and all ages. Peter Flanagan 9905 8742, 0414860118 iFlogID: 16861
Guitar tuition from touring musician returning from the USA. Will be in Sydney for six weeks beginning 15 February to late March. We’ll talk about scheduling your practice time to make it manageable, simplifying advanced harmony and delving into how it can be relevant to the music you play, improving your knowledge of your instrument and unlocking your technique to remove the barriers that have been holding you back. Take your playing to the next level. www.youtube.com/ elnico50 Located in the Northern Beaches. Lessons in Balgowlah studio or will travel within reason for dedicated students. Sorry no beginners. Email me and we’ll talk about your schedule email@example.com
SUPER BOLD HEADING 13500
SUPER BOLD HEADING
FLAMENCO GUITAR TUITION
Recording Studio, Parramatta, $30hr casual rate. No kits! Singers, songwriters, instrumentalists for acoustic, world, classical genres specialist. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days. iFlogID: 15152
RECORDING STUDIO $30ph
Additional words 10 cents each.
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SEAN CAREY - PRODUCER
ONLINE MODERN LIVING
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SALES & MARKETING
2 channel.footswitchable.great fat tone. reverb/saturation etc.USA made.VGC.$350. Ph.0428744963. Cooroy
Sydney based guitarist & vocalist looking for keys/double bass/drummer. Background in swing/rhythm & blues/rock n roll/rockabilly preferred. No preference on age but must be experienced and available to practice regularly & gig.
THE BUTLER MASTERING...
DRUM KIT WANTED or cymbals, snares etc. Also interested in anything vintage, ph 0419760940
KEYS/ DRUMMER/ BASSIST WANTED!
Print & Online Classifieds
ADD COLOUR TO YOUR HEADING
GUITAR TUITION BY MAL EASTICK
Enrolling new students now for 2012. Tuition customised - beginners to professionals. Blues, rock, tone & theory my specialties. 39 years professional experience, national concert touring level, 4 Gold & 2 Platinum albums. Central suburban Sydney location. M: 0407 461 093 - E: email@example.com iFlogID: 15035
Fingerstyle guitar, open tunings, slide, flat picking, improvisation, rock, country, blues, folk, celtic styles, music theory, arranging, ear training, singing, banjo and mandolin. PHONE JOHN: 0431953178 iFlogID: 16876
KEYBOARDS/ MUSIC LESSONS
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DRUMMER, LESSONS Drum Lessons avaliable in Gladesville Teach all Levels,ages & experience.16 years experience. I studied at The Billy Hydes Drumcraft ,Obtained Dipolma in Drummming Mob: 0402 663 469 Michael iFlogID: 17025
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All prices include GST
VISIT IFLOG.COM.AU TO PLACE YOUR BOOKING NOW.
LAP STEEL & GUITAR LESSONS
Lap steel guitar/Dobro/Slide open tunings & standard style guitar tuition by experienced live & recording musician. Let me get you playing great lap steel & slide or lead & rhythm guitar quickly in any style. Beginner pedal steel lessons also available. Inner west location with relaxed & patient teacher. Phone Jeff 0412518070 iFlogID: 16912
SCHOOL OF ROCK - ZEN STUDIOS
Wanted left handed electric guitar teacher Parramatta area, Contact John at... email@example.com iFlogID: 16308
VIDEO / PRODUCTION
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MUSIC PRODUCTION COURSE 6 WKS.
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School of Rock teaches students from primary school to high school, from anywhere in Sydney with any level of musical talent. School of Rock helps students form a suitable band based on each of their musical likes and level of experience. Classes run every day of the week (Weekdays: 4.30pm – 6.00pm, Saturday/Sunday: 8.30am – 10.00am) at $320/per term (including all teacher fees, room and instrument rental). Each term includes a free recording session @ Zen Studios and a live show at The Valve Hotel in Tempe. Contact Ash 0450406-201. www.schoolofrockinnerwest. com.au
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. firstname.lastname@example.org 0404716770 iFlogID: 13368
I’LL FILM YOUR BAND LIVE FREE
6 Video Cameras (2 x Hi-Def, 2 x 3CCD, 2 x 3D) Great for Live Videos/Live Clips/Docos Pro Editing/Post-Production too Use for Social Media/Youtube etc All Free Contact me for more details/ previous Work iFlogID: 17406
SINGING LESSONS THAT >>ROCK<<
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 iFlogID: 16934
Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area. $40 hr, $30 half hr. Mature & patient. Harps for hire. Ph: 02 98905578 iFlogID: 15158
PARAMOUNT GUITAR TUITION. Learn to play the guitar. Or learn to compose &/or improvise on guitar. Most importantly, learn at your own pace, no pressure! Classical & other styles. 0402 630 243 www.pgtonline.net pgtonline@hotmail. com Parramatta area iFlogID: 15320
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 video production, live event filming, EPK’s, pro photography and more. Great rates for indi artists. Call Paul on 0412 222 111 or email email@example.com or visit www. popfilms.com.au iFlogID: 17273
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ROCK BAND VIDEO (20 MIN)
Singing lessons in a positive environment with a highly experienced and professional singer/songwriter. Lessons tailored to suit individual needs. Also beginners guitar. www. realvoice.net.au for more details. Inner West, Rosanna 0431 157 622. iFlogID: 17066
SLIDE GUITAR TUITION All styles from Duane Allman and Ben Harper to Blind Willie Johnson and Son House. www.acousticfingerpicking.com tel. John 0431953178 iFlogID: 16872
With Miles Multimedia Office you will receive professionally recorded and edited DVD package of your event published on-line, on DVD or on CD business card. We have a quick turnaround and promise to always return your finished video within 10 days of your date. MMOffice staff are highly professional with years of video recording experience, using professional equipment to ensure that your video is beautifully captured (recording with 3 HD cameras, video crane, camera dolly with tracks etc) Please visit our Youtube channel for samples or simply call 0439 590 185 to discuss further options.www. youtube.com/user/milesoffice iFlogID: 17144
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
TEACHER TO THE STARS!
Music video production and band portraits tailored to suit any budget. Get something cooler than an iphone recording up on the web. Our videos have aired and made the charts on Video hits, Rage, Mtv and all over the net. www.upstairstudios.com iFlogID: 17177
RINGO’S DRUM SCHOOL PARRAMATTA
Ringo’s Drum School now in its 20th year is now taking enrollments for 2012. Learn how to read & play charts,rudiments,grooves, independence & double kick.Home lessons available.For more info phone Luke 0412 975 307 or visit www.ringodrums.com
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 firstname.lastname@example.org. au. Lessons include the entire scope of singing...voice production, musicianship, interpretation, performance skills etc. I look forward to hearing from you.
Bassist looking for band. 17, have transport and gear. Listens to metal/thrash/deathmetal. Looking to gig and record album. Located in western sydney area. Email: Nado@optusnet. com.au iFlogID: 17214 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
DJ 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 iFlogID: 16661 DJ for all occasions - Parties, Formals, Weddings..House, Electro, Dance, Hardstyle, Dubstep, R’n’B and Hip Hop. Latest Pioneer equipment and lighting effects. Call Jake’DJSplice’0423255668 or inbox www. facebook.com/#!/pagesDJ-Splice iFlogID: 17315
A1 PRO DRUMMER AVAILABLE for freelance gigs, tours etc. Extensive touring experience, gret time/tempo/groove, great drum gear and pro attitude. Sydney based but will travel. More info, ph 0419760940. www.mikehague.com iFlogID: 13230
SINGING LESSONS Voice science is out there to help improve your singing quickly. One on one lessons in hi tech multi award winning studio with fully qualified singing and performance expert. First assessment FREE. Beginners and professionals. I will help you find your voice. www.avic.com.au studio - 9588 2184 mob - 0414 453 066 Stephen Baker MRA
Experienced, professional bass player (36) available to join or form serious punk/garage band. Looking to record an EP and hit the road. I’m a founding member of US punk band the Hudson Falcons and have tour, label and studio experience. I’m less interested in how good you can play and more interested in your ideas and dedication. Jim 0416 824 784 or email@example.com iFlogID: 17098
Your voice has the ability to sing at the Audioslave/Muse/Aretha/ Yeah-Yeah-Yeahs level because of Design. Increase your rangesing with effortless power- learn to sing the right technique. Microphone technique, recording techniques, songwriting Newtown 0405-044-513 iFlogID: 17412
PIANO • BLUES, ROOTS & POPULAR
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
Independant Music Producer available for Singers and Songwriters. Have you got a song in your head? Real guitars, bass,drums, piano plus much more Greg 0425 210 742 iFlogID: 17100
BASS PLAYER AVAILABLE
EXPERIENCE MALE DRUMMER Seeks covers band/ fill in work 60’s to 80’s looking for easy going people with a positive outlook.Age group 35 plus NO DRUGS ph Mark 0422 173 728 iFlogID: 17174 Experienced Soul / Reggae / R’N’B / Blues / Funk / Rock drummer (36yo) available for work preferably in Northern Beaches. Call Michael 0402 549 423 iFlogID: 17324 Professional drummer/percussionist/vibraphonist available for performances/recording. Toured with international acts such as Dianna Krall, David Campbell and Patrizio Buanne. Have huge range of instruments including vibraphone. More info at www. davekemp.info iFlogID: 17317 Professional mature-age Drummer/Vocals/ reads/back acts/shows - all styles including jazz - available for casual work. phone:(02) 9807-3137 Mob:0413-931-897 eMail: email@example.com iFlogID: 17160 TOP INTERNATIONAL DRUMMER available. Great backing vocals, harmonica player and percussionist. Gigs, tours, recording. Private lessons/mentoring also available. www. reubenalexander.net iFlogID: 14261
GUITARIST 18 year old guitar player looking to form Rock N’ Roll band. Influences: Guns N’ Roses, Aerosmith, Led Zeppelin, New York Dolls. Preferably in South. Call Tom on 0401722767. iFlogID: 13358
ORIGINAL GUITARIST ORIGINAL ‘ROCK’ GUITARIST ABE LOOKING TO JOIN/FORM A SUCCESSFUL SYDNEY ‘ROCK’ BAND.(20-35) A PEP UP FROM ‘HELL’ RATED HIS MUSIC MAINSTEAM. I DISCRIBE ABE AS A LYRICAL GENIUS WITH ‘KILLA’ MILLION $ RIFFS INCL ROCK ANTHYM ‘CAUGHT BY HER EYES’. ABE HAS GREAT EQUIPMENT & OWN TRANSPORT. INPIRED BY SLASH, METALLICA, AC-DC ETC... INTERESTED? CALL ABE 0405808941 & GET READY TO BECOME A ‘ROCK STAR’. iFlogID: 17408
MUSICIANS AVAILABLE BASS PLAYER 39yo Beg/Int Bass player looking for band. Keen, reliable and committed for the right opportunity. Open to style, want something regular. Reasonable gear. Located Sydney Hills District. Email: firstname.lastname@example.org. iFlogID: 17370 Bass player available. Mature, plenty of experience in Rock, Swing, Country, Blues and Pop. High standard and best equipment. I play Double Bass as well. Easy going. Ph 0434475785 iFlogID: 17293
NEED A CELLO?
Cellist available for session recording, can read sheet music or play by ear and improvise. Professional, friendly, experienced, with very good intonation. Email kate@cellokate. com or call 0434 022 722 iFlogID: 17170 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
MUSICIANS WANTED VOCAL TUITION for students having problems with pitch, placement and breathing. tel. John 0431953178 iFlogID: 16882
BANDS ARE YOU A MUSICIAN LOOKING TO JOIN A NEW BAND THEN CHECK OUT THE ADD ONLINE NOW iFlogID: 17242
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 email@example.com iFlogID: 16510 Drummer wanted for metal band based in Sydney. Demo recorded. Songs ready. Gigs waiting. Influences slipknot, mudvayne, old school metal. Listen to demo at www. myspace.com/newwaste only serious people need apply. Send email to... firstname.lastname@example.org iFlogID: 17135 FREE RECORDING Audio students seeking bands to record & mix in a professional studio. Located in Sydney CBD. Must be able to play to a click track. Text 0433442255 iFlogID: 16983
GUITARIST/BASSIST WANTED!!! Guitarist/Bassist wanted!!!. Singer/guitarist (23) looking for part 2 of a duo (Bvocals would be nice). Looking to jam and make origional music along the vein of, Ashcroft, BRMC, Dylan, Empire of the sun, Noel gallagher. Psychadelic indie rock. Eagerly awaiting gigs, and with a view to form a band down the line. Call Aaron on :0404854025 or email on: email@example.com Peace iFlogID: 17244
HEAVY METAL DRUMMER WANTED!!!!
Experienced, dedicated, focused, versatile and solid heavy metal drummer wanted for established Sydney metal band ‘HAVOC’. Drummers applying must be very experienced in writing, recording and live performances, as well as having professional equipment, transport and be willing to jam at least once a week in western Sydney. Applicants must also be prepared to travel to all areas of Sydney as well as country and interstate regions for gigs etc..... Styles include groove driven thrash, death, black and straight up metal. Gigs booked as well as 5-6 song EP ready for recording in 2012. Serious applicants can contact Simon via mobile or email. 0422168700 firstname.lastname@example.org www.reverbnation.com/metalhavoc iFlogID: 16985 The Hornsby Inn is looking for talented local bands & musicians to perform on our Wednesday Open Mic nights with the opportunity of landing $ paid Saturday night gigs! email: email@example.com iFlogID: 16980 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 young guitar player looking to start metal, punk band. influences include metallica, ozzy, black sabbath megadeth, trivium, bullet, anthrax, slayer slipknot and many many more. email firstname.lastname@example.org if interested iFlogID: 17027
BASS PLAYER Established Sydney band need Bass Player ASAP. Tours booked, new EP recorded. Looking for good attitude, own gear & transport, keen to tour. Age 20-30. Please contact Sash on 0409579688 anytime iFlogID: 17057
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 two songwriters playing original material seek bass player and drummer. infl: goran bregovic, pixies, the church, the replacements. .rehearsing v Tempe 3-4 per wk. ph: 0423 420 029. iFlogID: 17152
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. iFlogID: 16384 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 Dead In Motion needs drummer. Heavy-rock, metal, visual-kei influences. Preparing to gig, record EP, and photoshoot. double kick preferred. Age 18-25. Intermediate+ skill. Email Dead_In_Motion@hotmail.com for details and demos. iFlogID: 17231 Drummer Required for an exciting poprock band/show with Album on iTunes. Paid performances await. A professional, reliable Drummer with good gear and attitude required. Phone Extraordinary Entertainment, Mosman 99691179. iFlogID: 17229 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 iFlogID: 16936 MOTHER BRODY seeking drummer 20-30 wanting to play something different! Originals. Grungy riffs, catchy melodies, thick harmonies. Must have own gear & transport. Gigs booked. Be willing to sing backing vocals. www.facebook.com/MotherBrodyOFFICIAL 0431317613 iFlogID: 17308
NEW AUSSIE BAND WITH EP
Join 3 band members as 4th. Live soon Central Coast Sydney AU East Coast. Sess. drum on EP out March, you can play http://www.reverbnation.com/garethmoeller own gear & transport. Nick 0433202193 iFlogID: 17368
QUIRKY FOLK BAND Lead guitarist wanted for inner west based quirky folk band. EP recorded and released last June. Must be willing to rehearse weekly and be available for gigs and festivals. Ability to sing backing vocal harmonies is desirable but not essential. Contact Susie at email@example.com or 0404 067 051 iFlogID: 17382
KEYBOARD JAZZ PIANO ACCOMPANIST WANTED
Pro Drummer wanted for established 5 piece band Newcastle area. Hardrock,blues,pop,rocknroll covers and originals exp band gigged with Angels 2 booking agents Album 2012 peter 4984 4731 iFlogID: 17158
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: 17304 rock drummer, solid/fluid 3pce primarily originals scope for self expression, seriousfun, loud/raw sound,need transport/equipment Influences varied 70/80/90’s, age/ gender unimportant, BV’s useful not essential no wannabe’s/timewasters/previous Phil 0402069500 firstname.lastname@example.org iFlogID: 17219
SOUL BROTHER DRUMMER NEEDED
Experienced singer is looking to form jazz duo (playing standards). Has manager to book paid gigs. Must be reliable, have own equipment and transport if required. Call Caitie on 0420 998 487 to organize an audition. iFlogID: 17310 Sydney based Funk band who plays originals and covers seeks a keyboardist. Needs good gear and own transport. Contact email@example.com. iFlogID: 17281 The Clue is looking for a keyboard player (organ, el. piano, synth, etc. all good) for original blues-rock songs.Email walrusblues@ hotmail.com to express interest. iFlogID: 16851
OTHER 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
SINGER Christian funk band on the North Shore looking for 4 more male/female singers Own transport. Age 15 to 35 call Ben on 99444984 or firstname.lastname@example.org iFlogID: 17051
EXP FEMALE ROCK VOCALIST
hi im daniel, im looking for a drummer, im 37, your age doesnt matter. looking for lifetime loyalty and friendship, to form original grunge punk band. I need a drummer who plays 8th notes and 1/4notes and fills.. my band in itunes music store is egyptian remains. i play drums guitar, little base, and some piano. my vocals are syncing 3 semitones down on guitar, C#F#BEG#C# my music is about sex drugs rock and roll, and anticaptitalist leftwing songs.. all original in 1, 4, 5, chord progressions. lets jam, gig and rock the world. my mobile is 0433345063 join my band dude! i also need a base player..i live in hornsby sydney and i’m prepared to travel.... iFlogID: 17212 Sydney based melodic metal band seek experienced drummer to complete line up. Own kit and transport essential. For more information or to express interest please contact Rachel 0402722010. iFlogID: 17372
U2 SHOW DRUMMER WANTED Drummer wanted for U2 tribute show. Phone Sasha on 0431 567 058 iFlogID: 17387 Versatile and experienced drummer wanted for gigging Funk / Latin Band. Pref. influenced by drummers such as Akira Jimbo / David Garibaldi. Check www.reverbnation.com/ funkymasterblasters Email: funkymbs@ gmail.com - Phone 0422 167 141 iFlogID: 17301
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
ALT/INDIE GUITARIST WANTED Sydney band, Shady May are seeking a guitarist to join the band. Genre is Alternative/Indie, think mid-late Incubus, Radiohead sort of sound. the music balances the lighter side with the rock quite evenly. check us out at www.facebook.com/shadymaytunes. Recently released our EP and have had airplay. if interested email shadymaytunes@ gmail.com. please serious applicants only. iFlogID: 17435
Tight, fast guitarist wanted for thrashing black metal attack!!! Think Absu, Melechesh, Blut Aus Nord. Call Gabe on 0437 158 418 on weekends to organise a jam. iFlogID: 17402
Central Coast based Hard Rock originals band seeks a guitarist with a good sound and good gear 19-26 email underthecleff@gmail. com for more info. iFlogID: 16794 Dead In Motion needs rhythm guitarist. Heavy-rock, metal, visual-kei influences. Preparing to gig, record EP, and photoshoot. DropD or DropC. Age 18-25. Intermediate+ skill. Email Dead_In_Motion@hotmail.com for details and demos. iFlogID: 17390 Guitarist wanted. Able to play various styles, Infl Nick Cave, White Stripes, Tom waits, Black Keys, The Veils. Ability to not overplay essential, Ages 25-40. Inner west rehearsal. Tom 0411 874 673 iFlogID: 17088
Experienced, rock VOCALIST needed for Sydney-based, agency-backed 5pc cover band playing in the Sydney scene for 12 years. Regular gigs. Must be a confident lead-vocalist & be able to sing harmonies. Pls contact via email email@example.com or Troy on 0400 275 154 for further details and audition dates. iFlogID: 17421
Fully Qualified & 8yrs Experience, Thai Massage $49/hr or Sensual Balinese Aroma $69/hr. In/Out calls, Male/Female Welcome. www.takecaremassage.com.au - By Anson 0433646338 iFlogID: 17428
GRAPHIC DESIGN 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 Get your Band or Business Online Cost effectively and PROFESSIONALLY from $299 including Hosting and email addresses! Contact firstname.lastname@example.org. au or see www.bizwebsites.com.au. iFlogID: 15450 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
YOUR NEXT ALBUM COVER... ...will look killer with the help of the award winning Wealth & Hellbeing Creative team! Turning your local look into an international standard release, working with bands/artists worldwide: www.wealthandhellbeing.com Ph 0405809066 iFlogID: 17358
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
FEMALE SINGER & DRUMMER
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: 15454
Singer & drummer looking for a dependable Lead guitarist to form Cover band. Ability to play various styles, jazz, blues and sing harmonies ESSENTIAL. A good attitude, gear, transport expected. Ages 25-45 . Influences Funk, Soul and Rock. Call Julie on 0419606657 iFlogID: 17086
Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Hosting and 5xemail addresses and much more! Contact email@example.com or see www. bizwebsites.com.au. iFlogID: 13862
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
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 firstname.lastname@example.org
SINGER / BASS PLAYER NEEDED
Singer / Bass player or willing to learn , wanted 4 Bargo area. Newly formed rock band, no experience needed. More info call Bruce 0418610032 iFlogID: 17355
SINGER REQUIRED Working Rock covers band requires a semiprofessional singer/front man. Gigs waiting, agent backed. Call Len 0402 122 331. iFlogID: 17360 SINGER WANTED FOR SYDNEY GRUNGE BAND. Less than 24 years old please. influences: Silverchair, Nirvana, AIC, Sabbath etc Contact Daniel on 0403 885 433 for more info and demos. iFlogID: 13145
SINGER WANTED Singer/Vokillist/Lyric writer wanted for experienced Illawarra based thrash metal band. Rehearsal space & P.A provided. High profile shows & future recording planned. Our influences include, Anthrax, Testament, Kreator, Exodus, Tankard & many more. Must be 18-35 & have your own transport. No time wasters. If you have samples of your work include them when you Contact - metreya@ ymail.com iFlogID: 17166
SINGER WANTED Wanted singer for duo with work mix of rock country and jazz south west Sydney 40’s plus must be willing to work phone Richard 0408021518 iFlogID: 17335 The Clue is looking for a singer for bluesrock original songs. Email walrusblues@ hotmail.com to express interest. iFlogID: 16853
SERVICES BEAUTY SERVICES CUSTOM MADE MUSICIAN PLUGS 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. iFlogID: 17016
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GOOD WITH YOUR HANDS?
GUITAR REPAIRS AND SETUPS Professional Guitar Tech and Luthier. Clients have played with Jimmy Barnes, Guy Sebastian, Human Nature, Short Stack, Moving Pictures etc. All repair work and setups. Call Timo 9484 4374 iFlogID: 17168 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
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: 17108
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. Launch your creative journey through collaboration, education and training at JMC Academy.
Your creative future starts today. Visit jmcacademy.edu.au or call on 1300 410 311. facebook.com/jmcacademy
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...