Strong sexual references, drug use and coarse language
IN CINEMAS MARCH 1
THE DRUM MEDIA • 3
4 • THE DRUM MEDIA
THE DRUM MEDIA • 5
With support from THE RUMJACKS
The Manning Bar Sydney University Saturday 7th April 2012 (02) 9563 6000 Tickets available from www.manningbar.com
6 â€˘ THE DRUM MEDIA
THE DRUM MEDIA • 7
INSIDER EXCLUSIVE 20% OFF TICKETS
BOOK NOW SYDNEYOPERAHOUSE.COM/MUSIC 8 • THE DRUM MEDIA
THE DRUM MEDIA • 9
POWERED BY STREET REET PRESSS AU AUSTRALIA STRALIA TRALIA STREAMING THIS WEEK
STREAMING THIS WEEK
EVERY TIME I DIE’S EX LIVES PRODUCED BY JOE BARRESI (THE MELVINS, QOTSA), EX LIVES IS AN UNRELENTING ONSLAUGHT OF FURIOUSLY EXECUTED HARDCORE.
OUT MARCH 2 ON EPITAPH
STREAMING THIS WEEK
BLEEDING KNEES CLUB’S NOTHING TO DO
NITE JEWEL’S ONE SECOND OF LOVE
GRUBBY TEENCORE SAGAS ARE EXPLORED AND EXPLODED ON THIS MUCH-ANTICIPATED LONG-PLAYER DEBUT FROM QLD’S MOST WANTED DUO.
FROM THEIR WONKY DISCO PAST, LA’S NITE JEWEL (RAMONA GONZALEZ AND ARIEL PINK’S COLE MGN) HAVE EVOLVED INTO STYLISH ELECTRONIC SOUL ON THIS OUTING.
OUT MARCH 2 ON I OH YOU
OUT MARCH 2 ON INERTIA
STREAMING THIS WEEK
LAST WEEK YOUR DAIL LY SPA WAS FIRST WITH: • SIA’S RETIREMENT ANNOUNCEMENT OVER TWITTER • PASSENGER’S NEW ALBUM STREAMING & PREMIERE OF NEW CLIP • THE ‘SEXIST’ STAND-UP FEUD BETWEEN CORINNE GRANT AND TOM BALLARD
SUBSCRIBE NOW AT THEMUSIC.COM.AU TO GET ALL THE LATEST DIRECTLY TO YOUR INBOX
THE MAGNETIC FIELDS’ LOVE AT THE BOTTOM OF THE SEA A RETURN TO THEIR SYNTHESISER ROOTS AS STEPHIN MERRITT PROCLAIMS, “OUR NO-SYNTH TRILOGY [IS] OVER.”
OUT MARCH 2 ON DOMINO
THEMUSIC.COM.AU 10 • THE DRUM MEDIA
PRESENTED BY CATTLEYARD PROMOTIONS AND SUPPORTED BY TRIPLE J & CHANNEL [V]
IN ALPHABETICAL ORDER
TRIPLE J UNEARTHED & LOCAL ACTS
TICKETS $99.90 + BF
BUY MAITLAND TICKETS
GATES OPEN AT 10.30AM
BUY CANBERRA TICKETS
THE DRUM MEDIA • 11
I LOVE RETRO!
BEST FANCY DRESS COSTUME WINS A $100 CASH PRIZE! DOUBLE FEATURE ONLY $20 SUNDAY MARCH 11 AT 7PM
380 MILITARY ROAD, CREMORNE BOOK ONLINE WWW.ORPHEUM.COM.AU
CNR OF GEORGE + SWANSON ST
ERSKINEVILLE 3 DOORS FROM THE RAILWAY STATION
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TRIVIA WITH KEVIN
$500 PRIZE POOL
Weekly Jackpot 7.30pm
Open Mic Night 7.30pm
BYO Instruments (PA Provided) Rock up to play
Thurs 1 Mar
OPEN MIC NIGHT
Fri 2 Mar
Sat 3 Mar For Bookings
12 • THE DRUM MEDIA
LIVE MUSIC firstname.lastname@example.org | www.thelaunchsquad.com.au
FRI 9TH MAR
‘68 COMEBACK SPECIAL
In his earlier bands JFK and the Cuban Crisis and Love Gone Wrong, John Kennedy mixed pop, rock, folk and country to write songs with country sounds and Inner West lyrics . He called his style Urban and Western. Elvis Costello was always an obvious inﬂuence. But lately in his Sons of Sun recordings, Kennedy's been showing his preference for the the original Elvis. In their return to the Rose, John Kennedy's 68 Comeback Special will by playing Kennedy's Urban and Western hits along with tunes from Elvis, Johnny Cash, Carl Perkins and Roy Orbison. Be ready to rock.
NOW TUESDAY TO SATURDAY!
10- 15 STEAK & RIBS
FROM 6PM LEVEL 1 RESTAURANT ONLY
RETURNING TO AUSTRALIA AFTER A SOLD OUT 2011 TOUR...
MON 14 & TUE 15 MAY SOLD OUT!
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TICKETS SELLING FAST! ALSO PLAYING GROOVIN’ THE MOO ‘little hell’ out now through Dine Alone Records
cityandcolour.ca • chuggentertainment.com • bahamasmusic.net THE DRUM MEDIA • 13
th f e or ha m rperl hoy te
COMING SOON THURSDAY 1ST MARCH
CASEY DONOVAN + Joe Moore
FRIDAY 2ND MARCH
IAN MOSS BAND
+ Ray Beadle Band + Steve Flack
SATURDAY 3RD MARCH
ELIXIR FEATURING KATIE NOONAN + Maples (Gabby Huber)
THURSDAY 8TH MARCH
ASHLEIGH MANNIX & LYALL MOLONEY FRIDAY 9TH MARCH
KING TIDE + Uncle Jed
SATURDAY 10TH MARCH
JEFF DUFF & FRIENDS
Sunday 11 March Tiger Town Friday 16 March Darren Coggan Saturday 17 March Steve Edmonds Sunday 18 March Set Sail Thursday 22 March Mi-Sex Friday 23 March Classic 80’s Show Saturday 24 March Chris Hillman Sunday 25 March Butterﬂy Boucher Wednesday 28 March John Cooper Clarke Thursday 29 March Sarah McLeod Friday 30 March Eilen Jewell (USA) Saturday 31 March Johnny Cash Tribute Sunday 1 April The Bon Scotts Saturday 7 April Classic Rock Show Thursday 12 April Mark Wilkinson Friday 13 April Bondi Cigars Saturday 14 April The Radiators Sunday 15 April Aya Larkin Thursday 19 April The Brewster Brothers Friday 20 April The Louisiana Roadshow Saturday 21 April Quasimodo Sunday 22 April The Ghali Groove Band
900 PRINCES HIGHWAY, TEMPE PH: 9559 6300 www.valvebar.com.au WED 29 7PM THURS 1ST 7PM
À6;DFK67L;D7Á 9>3?DA5=E:AII;F:EGBBADF8DA?ÀD3FF>7E@3=7Á ÀE?A=;@Ã?;DDADEÁÀ6D73?7DÃE5D;?7ÁÀEK>H3;@Á
FRI 2ND 7PM
SAT 3RD 12PM
SAT 3RD 7PM
SUN 4TH 12PM
COMING UP: Wed 7 March: Acoustic Show with: Emma Russy , Joseph Within The Skeleton , Rowen Johnes ; Thu 8 March: West Tigers Homeground Heroes Competition ; Fri 9 March: Cofﬁn Slave presents Metal Show feat: “Black Jesus” , “Innsmouth” , “Convent Guilt” ; Sat 10 March 12pm: Deadfest feat “Lab 64” , “Imperical” , “War Faction” , “Jaded Empire” , “Amodus” , “Na Maza” , “Tensions Arise” , “Domino” , “Foundry Road” , “Not Another Sequel Just Another Prequel”; Sun 11 March: 12pm - Vibrations At Valve band competition; 5pm - “Red Sky” , “Become The Catalyst” , “Delinquent”
For band bookings please email email@example.com
Bistro open Lunch and Dinner !!
FRIDAY 2ND MARCH
Bridie King & The Foreday Riders CD Launch
SATURDAY 3RD MARCH
CD Launch + The Lockhearts + Virginia Killstyxx WEDNESDAY 7TH MARCH
Peter Rowan Bluegrass Band (US)
FRIDAY 9TH MARCH
Papa Pilko & The Binrats + Annie McKinnon Band + Golden Fear
SATURDAY 10TH MARCH
Classic Rock Show (Eagles, Doobie Brothers & Best of West
Coast Rock) Featuring: Barry Leef and Peter Northcote Band
14 • THE DRUM MEDIA
Thur 15/03 Mick Harvey + Louis Tillett Sat 17/03 The Frocks present – Women In Uniform Tues 20/03 Beoga (Ireland) Wed 21/03 Noriana Kennedy, with Nicola Joyce & Noelie McDonnell (Ireland) Fri 23/03 Abigail Washburn & Kai Welsh (US) Sat 24/03 Pierre Bensusan (France) Sun 25/03 Chris Hillman & Herb Pedersen (US) Wed 28/03 Jez Lowe (UK) Thur 29/03 Battleﬁeld Band Fri 30/03 Garvais Kofﬁ & The African Diaspora Thur 5/04 Rosie Ledet & The Zydeco Playboys (US) Fri 20/4 Davidson Brothers Sun 22/04 DIG IT UP – Celebrating 30 Years of recording from the Hoodoo Gurus
SATURDAY 10TH MARCH THE GAELIC HOTEL
SOUNDS LIKE SUNSET TICKETS ON SALE NOW FROM FEELPRESENTS.OZTIX.COM.AU, PH: 1300 762 545 OR IN PERSON AT ALL OZTIX OUTLETS WWW.FEELPRESENTS.COM THE DRUM MEDIA • 15
TUESDAY 28 7.30PM SOLD OUT
BLACK VEIL BRIDES (USA) + ELECTRIK DYNAMITE
8.00PM FREE (FRONT BAR)
2:00PM $25(PRE)/$35(DOOR) LIC/ALL-AGES
+ IGNITE THE IBEX + ALICE THROUGH THE WINDSHIELD GLASS + ANNO DOMINI + DAWN HEIST
TRAPPED UNDER ICE (USA)
+ RELENTLESS + PHANTOMS + ILL BRIGADE
TRAPPED UNDER ICE (USA)
+ RELENTLESS + PHANTOMS + ENDLESS HEIGHTS
+ DELOREAN TIDE + DOCTOR FUNGI + THE MECHANICS OF CREATION
+ HELL ITSELF + GXSXD(JAPAN) + AUTOLYSIS
WILL & THE PEOPLE (UK)
+ THE EVERGREEN TRAIL + BEC SANDRIDGE
MELODY BLACK + 4ARM + DARKER HALF + EPIDEMIC...OVER ‘GOBOOKEM.COM’
16 • THE DRUM MEDIA
THE DRUM MEDIA • 17
THURSDAY 1ST MARCH
RICK PRICE FOR BAND BOOKINGS, PLEASE CONTACT INFO@CODEONE.NET.AU
$12 STEAK & ALE DEAL
TUE 28 FEB
RIOT HOUSE COMEDY
THU 01 MAR
THE FREAK + SHOWGIRL
FRI O2 MAR SAT 03 MAR 08/03 10/03 29/02 22/03 29/03 18 • THE DRUM MEDIA
RIOT HOUSE COMEDY TUESDAY’S
TRUST & FALL + LOS CAPITANES + CLOUD 4
MY CITY SCREAMS HEARS LIKE WOLVES + I, THE HUNTER ENGAGE THE FALL + ELITE ELEMENT
THE SKIMPS 09/03 THE ART + CELADORE URGE OVERKILL 15/03 DJ QUIK BONES BONES BONES 17/03 LEO LIONHEART DANCE KOOL 23/03 SPACETRIBE VIENNA CIRCUS 30/03 CASTLECOMER 31/03 OSCAR MULERO
THE DRUM MEDIA • 19
THE SANDRINGHAM HOTEL 387 KING STREET NEWTOWN / 9557 1254 S YEAR WWW.SANDO.COM.AU BOOKINGSCONTACT SANDO@ATOMICDROP.COM.AU WWW.MYSPACE.COM/THESANDRINGHAMHOTEL
WED 29 FEB
UNGUS UNGUS UNGUS + WILL AND THE PEOPLE (UK) + M.S.D. + EARTH2AUDIO
THU 1 MAR
don’t return to our parts until Thursday 15 March, and that’ll be up at the Cambridge in Newcastle, so if you want to get in on the action up front, we have two double passes to their show at the Stag to give away.
+ C.O.F.F.I.N. + DOCTOR FUNGI + BOXING WITH GHOSTS FRI 2 MAR
SYBREED YOUR BREED
One of Europe’s finest industrial groove merchants, Switzerland’s Sybreed, will arrive in Australia later this week to kick off a national tour at the Bald Faced Stag Friday night, the perfect warm-up for their contribution Saturday to Chaos ACT VI at The Maram in Canberra. They
+ DAVE CARR'S FABULOUS CONTRAPTION + GRANDMASTER MONK $12 PRE-SALE / $15 DOOR SALE TICKETS ON SALE NOW WWW.MOSHTIX.COM.AU
SAT 3 MAR
***PRIVATE FUNCTION*** $10
SUN 4 MAR
DISCO IS DEAD
+ THE MAVENS + SYDNEY GIRLS CHOIR EVERY MON
“SANDO SKETCH CLUB”
“THE SONGWRITER SESSIONS”
"DOING IT LIVE BAND COMP" THU 8 MAR --- PETULANT FRENZY PLAYS FRANK ZAPPA FRI 9 MAR --- ENDLESS BOOGIE (USA) WED 7 MAR ---
*** WWW.MOSHTIX.COM.AU ***
STEVE GRIMMETT (GRIM REAPER / LIONSHEART) (UK)
SAT 10 MAR --*** WWW.HELLDOWNUNDER.COM ***
"ST PATRICK’S DAY WITH THE RUMJACKS" *** WWW.MOSHTIX.COM.AU *** FRI 23 MAR --- THE POOR *** WWW.MOSHTIX.COM.AU *** SAT 31 MAR --- LOS CHICOS SAT 17 MAR ---
STREET LEVEL BAR
JOHNNY CASINO (SOLO AND INTIMATE) + $3 SCHOONERS OF SANDO LAGER THU 1 MAR --- JOHNATHAN DEVOY + SPECIAL GUESTS FRI 2 MAR --- B-MASSIVE SAT 3 MAR --- DAVE TICE AND MARK EVANS 4PM-7PM WED 29 FEB ---
DJ KAKI 8PM-LATE
COOL CHARMERS + THE ESCAPES MON 5 MAR --- UNHERD OPEN MIC TUE 6 MAR --ADAM PRINGLE AND FRIENDS – FUNKY AS F#CK + TOOHEYS $6 NEW JUGS (7-8PM) SUN 4 MAR ---
----------------DJ’S BISTRO----------------OPEN 7 DAYS SERVING GREAT PUB FOOD ALL NIGHT
After a dozen years together, releasing two albums and an EP, Peregrine have decided to call it a day. Since The Basement has proven to be the venue that embraced them more wholeheartedly than any other, Peregrine have decided to say farewell with one final gig there this Saturday night with special guest Wes Carr. We have two double passes to the show to give away and winners can collect a copy of their first album, One Big Happy Heart Attack, and their final EP, The Overdue EP, at the gig on the night.
HEAD TO THE DRUM MEDIA FACEBOOK PAGE TO ENTER
"NIGHT OF THE LIVING GUITARS" PETER NORTHCOTE + TIM MCMILLAN BAND
20 • THE DRUM MEDIA
T H E D R U M M E D I A I S S U E 1 0 9 9 T U E S D AY 2 8 F E B R U A R Y 2 0 1 2
Giveaways – Check it out for free stuff and head to Facebook for more! 20 The Front Line hits hard with industry fact and conjecture, plus Backlash and Frontlash. 22 Foreword Line – the latest news on tours, releases and more. 24 Those behind the Community Cup strap on the boots in Sydney. 30 Manchester Orchestra band mates all live within a 1.6 mile radius of each other. 32 It’s all about will power this year for Tinie Tempah. 33 Nile Rodgers from Chic bought Peter Gabriel a sandwich. 34 If Ben Sollee were a pet dog, he wouldn’t be a very obedient dog. 35 Roots Manuva leading workshops for the younger generations. 36 Bonnie “Prince” Billy doesn’t know how many more records he can make. 36 Inspired and enlightened by travel, Slow Cub look for new direction. 37 Neon Indian doesn’t participate in a chillwave play-date. 37 New album plans for Black Lips and their past affiliation with Mark Ronson. 37 Summer is the most depressing time for Aleks & The Ramps. 38 DJ Krush is looking forward to teaching his six-year-old grandson to DJ. 38 On The Record reviews new release albums and singles from Lambchop, Sleigh Bells, James Vincent McMorrow and more. 40 Chris Maric gets local with hard rock and metal in The Heavy Shit. 42 Sarah Petchell brings us local and international punk news in Wake The Dead. 42 We get the latest updates from our local industry and beyond from the good folks at MusicNSW. 43 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, 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
It’s business time in the club world as Paz gives us Business Music. Michael Smith delivers some Blow with jazz and world music news. Go south as you enter Pedro Manoy’s Swamp Shack. Dan Condon features the world of blues and roots with Roots Down. Viktor Krum asks you to Get It Together with the latest in hip hop. Dave Drayton gets Young & Restless with all ages goings on. Adam Curley muses on all things pop culture The Breakdown. Cyclone gives you urban and R&B news in OG Flavas.
43 44 44 44 45 45 45 45
This Week In Arts plans your upcoming fun-time schedule; the story of two friends – one Jewish, the other German – during the Second World War is dramatised in Address Unknown; Cultural Cringe wraps up the week’s arts news and whispers. 46 Photographer Simon Davidson presents an exhibition of salt-flat racing and burnouts; The Hunter director Daniel Nettheim talks Tasmanian Tigers and Willem Dafoe; Australian actor Ben Elser lets off steam in AMC’s gritty new TV series, Hell On Wheels. 47 New release films, A Separation and Like Crazy, are reviewed, as is Belvoir’s Babyteeth. Made You Look explains proper gallery naming conditions. 48
It’s all here: gig reviews, tour guide, what’s happening this week, charts, gig guide and The Dead Leaves take both a solo and band approach, plus Rattlehand are fans of “outlaw country”. 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.
51 62 65
Brett Dayman, James Seeney, Andrew Lilley iflog.com.au
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
LEVEL 1, 354 BOURKE ST. SURRY HILLS
BUY NOW AT
THURS 1 MAR
TIGERMOTH (SINISTER JAZZ) BENTLEY (DUST TONES) & DJ ABILITY
THUR 15 MAR
THE LEUKEMIA FOUNDATION
DOORS OPEN 6PM. FREE ENTRY ALL NIGHT.
SURES, JOHN VELLA + GUEST DJS
FRI 2 MAR
CAMDEN, PHEBE STARR DJ: ATHSON PEYTON
SAT 3 MAR
DJ: BETH YEN & FRIENDS UNDERLIGHTS
FRI 9 MAR
THE DEMON PARADE, IRON BAR HOTEL DJ: LANCELOT THE SLIPS
SAT 10 MAR
TIGER TOWN, MATT SZTYK
DJ: KRISTY LEE
COMING UP MESSRS, PIGEON, THE DELTA RIGGS, ADAM KATZ, STICKY FINGERS, KINGSWOOD, FIRE!, SANTA ROSA, FIRE!, GREY GHOST, VAN SHE
UPSTAIRSBERESFORD.COM.AU OR 8313 5050 FOR GIG INFO HAPPY HOUR BEFORE 8PM FRI & SAT. DINNER & SNACKS AVAILABLE
PRIVATE BOOTH & VENUE BOOKINGS 8313 5000 THE DRUM MEDIA • 21
VENUE CHANGE FOR THE AMP
The Australian Music Prize [The AMP] has announced a change in venue for the Winners’ Event and conversation as public tickets go on sale. Set to take place Thursday 8 March, the announcement of this year’s winner and the recipient of PPCA’s $30,000 cash prize will take place at The Basement, Circular Quay. It was previously slated to happen at the Sydney Opera House. Nine albums have been shortlisted for the honour. This year will also see the inaugural Amped Up In Conversation discussion, with a keynote address to come from David Fricke.
INDUSTRY NEWS WITH SCOTT FITZSIMONS firstname.lastname@example.org
CREATING AND CONTROLLING NEW ROLES
The event will be hosted by ARIA and PPCA CEO Dan Rosen and country music star Catherine Britt (pictured). The event has limited spaces open to the public, which prize director Scott B Murphy said is a way to “directly ‘touch’ music loving fans”. “I’m very pleased that we can do so for the first time on March 8th. Space is limited but at least some Sydneysiders can come along to hear who wins and listen to David Fricke – a unique experience.” Tickets cost $39, inclusive of drinks, and the event will kick off at midday. Register interest by emailing email@example.com.
On the back of the launch of label Create/Control, Secret Service have announced a personnel shuffle. With a new appointment and internal promotions Secret Service, now over five years in existence, say the growth was necessary to accommodate their growing roster and work with the new label, which they launched in association with Dew Process. Megan Reeder Hope is now Head Of Publicity across Dew Process, Secret Service Public Relations and Create/Control and Kathleen Hore becomes Publicity And Promotions Manager of Dew Process, while retaining her Secret Service clients. Natalie Dodds has joined the team from Mucho Bravado and will work across Create/Control and Secret Service as well as commercial radio for Dew Process along with the other two. Dodds was also EMI’s Queensland Media Manager for six months and will take up the new role from Monday 5 March before moving to the Sydney office mid-March. Existing staff member Bre Doyle will expand her Secret Service roster, continuing her Dew Process press and radio roles and begin working with Create/Control. She’ll also be moving to the Sydney office mid-April.
LIVE NATION EXPANDS TO JAPAN WITH CREATIVEMAN
SPUNK SIGNS WITH CO-OP
Cooperative Music have continued to bolster their Australian presence with the news they’ve nabbed Spunk Records. With a roster that currently boasts Arcade Fire, Joanna Newsom, Sufjan Stevens, My Morning Jacket, Spoon and more, Spunk will now have distribution through Co-Op’s parent Universal. The label was started 12 years ago by Aaron Curnow and the new deal will commence Thursday 1 March, meaning the first releases under the new system will be from Andrew Bird and Lambchop, out Friday. Curnow commented, “Internationally, Co-Op work with many of my favourite labels, so to work alongside those labels and with the Co-Op team is something I am very happy about.” Co-Op Australia’s Tim Janes added, “We are respectful of everything Aaron and the label have achieved in the past and we look forward to supporting Spunk in its next exciting chapter. In our eyes Spunk is a perfect fit for Co-op and we’re glad that Aaron agrees.” The Global General Manager of Co-Op, Vincent Clery-Melin, said, “We’re excited to welcome Aaron and Spunk to the Co-op family. Philosophically we come from the same place and we look forward to working with Spunk both at home in Australia and around the world.”
BLUR TO CLOSE LONDON OLYMPICS In a concert dubbed ‘The Best Of British’, a reformed Blur have been announced as the headline act for one of the London Olympics closing events, with New Order and The Specials also on the bill. The closing ceremony concert will take place at Hyde Park Sunday 12 August, fans already clammering to see a ‘proper’ concert from the Brit-rock legends. They recently played a War Child benefit show, where the band debuted a new song, Under The Westway, and also performed at the BRIT Awards last week. They’ve recently been working on new material with producer William Orbit, who’s worked with both Blur and Madonna in the past. Last year Underworld and Danny Boyle were announced as directors of the opening ceremony.
PIRATE BAY COULD SOON BE CLOSED IN UK
Giant file-sharing website The Pirate Bay could be banned in the UK after a recent high court ruling. The website, one of the largest file-sharing destinations on the internet, had come under attack from music labels and groups who want internet service providers to ban access in the UK. According to the figures presented by the music side, in October last year alone it made
Live Nation have announced Japanese expansion plans in a joint venture that gives them their sixth Asia/Pacific territory. The venture sees Live Nation teaming with Creativeman, one of Japan’s leading concert promoters. They promoted 290 national and international concerts last year. Live Nation’s President and CEO, Michael Rapino, said, “We are very pleased to announce Live Nation’s entry into Japan and to have such a credible partner as Creativeman, which has a long and proven track record of promoting major artists as well as developing highly successful festivals. “Expanding our presence in Asia reflects our commitment to growing our business internationally in a region that is becoming increasingly important for touring artists.” Live National are now in the four largest regions in the Asia/ Pacific – China, Japan, South Korea and Australia.
four million copies of music and films available to its 30 million users around the world. The Guardian reports that a high court decision last week ruled that The Pirate Bay and its users share copyrighted music “unlawfully”. In a written judgement Justice Arnold said, “In my judgment, the operators of [The Pirate Bay] do authorise its users’ infringing acts of copying and communication to the public. They go far beyond merely enabling or assisting. I conclude that both users and the operators of [The Pirate Bay] infringe the copyrights of the claimants… in the UK.” The judgement added, “Despite their ability to do so and despite the judicial findings that have been made against them, the operators of [The Pirate Bay] take no steps to prevent infringement. On the contrary… they actively encourage it and treat any attempts to prevent it (judicial or otherwise) with contempt.” Geoff Taylor, Chief Executive of British Phonographic Industry, which represents the music groups in the UK, welcomed the decision and said, “The high court today ruled that The Pirate Bay is illegal. The site defrauds musicians and causes huge damage to the music industry and wider creative industries. The ruling helps clarify the law on website blocking and we will now proceed with our application to have the site blocked to protect the UK’s creative industries from further harm.”
UNIVERSAL ASKS EU TO APPROVE EMI SALE
Vivendi SA’s Universal Music Group has asked the European Union regulators to approve the pending buyout of EMI. This comes after the CEO reportedly guaranteed the $US1.9 billion price in a surprise gamble. Under the deal EMI will be split between Universal and Sony, but the proposed mergers have been widely opposed by independent groups and third major Warner who will fight “tooth and nail” to stop the buyout. Universal will acquire EMI’s record labels for $US1.9 billion and a Sony-led group its publishing arm for $US2.2 billion. A statement from UMG read, “Universal Music Group confirms that it has submitted its filing to the European Commission for the acquisition of EMI’s recorded music business. We will work closely with the Commission and remain confident of securing clearance.” Recently the New York Post reported that UMG’s CEO Lucian Grainge has guaranteed the $US1.9 billion price tag, even if the regulators reject the deal. It means that if the deal doesn’t go through and Citibank go through the sale process again, if the price tag doesn’t reach $US1.9 billion, UMG would have to make up the difference.
Also announced last week was the company’s fourth quarter financial figures, which were mixed. Live Nation Entertainment recorded a $US64.2 million loss, which when adjusted for the effects of buying Ticketmaster accounted for an operating profit of $US50.7 million, down 10.7 per cent from last year. Revenue was down 4.2 percent to $US1.19 billion, which Billboard attributes to a 12.1 per cent drop in concert revenue. Locally, Live Nation are promoting tours such as Roxette, Lady Gaga and Erykah Badu.
PENRITH GETS INDIE INJECTION
There aren’t many indie venues in Penrith but the Penrith Hotel is flying the flag and have outlined their dedication to helping indie bands break into Sydney’s music scene. They offer to pay for sound engineers and room hire and guarantee every band who plays their nights will be paid. Their artistfocused band competition is being sponsored by Goodhead Beer, who are looking to associate their name with the creative industries in recent branding strategies and it has allowed for shows at present to be free to the public to attend while the bands still get paid. To book your band a show at the Penrith Hotel contact Uptone Entertainment on 0433 322 025 or email firstname.lastname@example.org.
Newtown’s The Cruel Kind have won the second Sydney heat of the Hard Rock Café’s Hard Rock Rising Competition over the weekend. The band, who were up against Celestial Underground and Halfway Home, now progress to the final on Saturday 24 March. The third heat takes place at the Darling Harbour cafe on Friday night, the winner joining The Cruel Kind and first heat victors Galactic Acid.
NEW PLATFORM OFFER 80 PERCENT FOR ARTISTS
The Holding Pattern is a new platform that looks to sell and license music for artists, offering them 80 per cent of the revenue raised across the board and allowing them to retain complete control of their copyright. The company just launched last month and has already had interest from a large number of artists. They can be found at holdingpattern.com.
GOTYE AND HAVANA ON TOP OF THE WORLD
Gotye and Kimbra’s Somebody That I Used To Know has reclaimed the number one position on the UK singles charts after a week in third position. The song continues to increase its week upon week sales and this week is believed to be a clear number one, selling over 25,000 copies more than its closest competitor, Emili Sande’s Next To Me. In the US charts, the track falls to 27, having peaked at 26 last week. It is, however, number one on the US Alternative Songs chart. Elsewhere, fellow Aussie Havana Brown (with a little help from US rapper Pitbull) has made her way to the number one position on the US Dance/ Club Play chart with her smash hit, We Run The Night. The song, which has gone triple platinum in Australia, has made Brown the first Australian to top this chart since Kylie Minogue did so last year.
ADELAIDE VENUE CLOSURE CRUSHING FOR LOCAL SCENE
The news that Adelaide music venue The Jade Monkey will be redeveloped has been met with distress by the South Australian music community. The venue announced last week that the venue will be forced to close to make room for a new development. On Facebook they wrote, “After ten years of much-loved service to the wonderful and diverse Adelaide (and beyond) musical community at Twin St, the end is nigh. Our wonderful 131 year old bluestone-walled building… will be no more. Even though we aren’t on the exact spot, it seems that the owners don’t want a live music venue next to their shiny new Hotel, something I’m sure this city needs. Despite the sadness and turmoil this will bring, we still have till early October to send the Jade building out in style! So if you have ever played/ celebrated or simply been at the Jade (or Two Ships) in the last ten years then we invite all of you to come and do it one last time.” Fans posted condolences on Facebook and both a petition and Facebook page have been set up. The petition is directed at Adelaide Lord Mayor Stephen Yarwood, who has taken to twitter to respond to the music community’s concerns. He said the 131 year old building isn’t heritage listed, it’s too late to do so and the owner has a right to develop. “[The venue is] not heritage listed and owner of land has [a] right to develop,” he posted. “Can’t ban owners from developing their own land!” He added that he’d, “help [the] Jade team look for poss[ible] new locations” and that “I’m going to push for live music strategy this year… It’s an important issue!!!”
Having won the leadership spill, let’s hope her party will a) let her get on with the job and b) she gets some elocution lessons so she can articulate what Labor has achieved between Abbott bleatings.
With the rest of Labor she now needs to pull her head in and do her utmost to ensure Tony Abbott doesn’t win the next election – because Lord knows absolutely no one wants that to happen.
Finally, the tour rumours prove to be tour fact and they’re actually coming.
Oh man, we have to wait until November to check them out!
music 22 • THE DRUM MEDIA
CRUEL TO BE KIND
THE DRUM MEDIA • 23
NEWS FROM THE FRONT
TOUR NEWS Tickets for the fourth Allphones Arena concert that Lady GaGa has now announced for Sunday 24 June go on sale midday Friday. If you’re quick you might just score yourself one of the rear view tickets just made available for the only show Ryan Adams is presenting in Sydney, tonight Tuesday 28 February, at Sydney Opera House. Supafest has announced final line-up additions with recent Grammy-award winner Chris Brown, Missy Elliot, Big Sean and Naughty By Nature all joining the already announced artists, P Diddy, Lupe Fiasco and many more, for what’s going to be one of the biggest R&B/ urban line-ups to ever hit Australia. Supafest hits Sydney on Sunday 15 April at ANZ Stadium. Holy Balm and Stereogamous are among the supporting artists that you’ll catch at Red Rattler this Friday when Le Tigre’s JD Samson brings her Brooklyn-based art/performance collective, MEN, to town for their only local sideshow. The visitors join the Mardigrasland Party in the Entertainment Quarter the following day. As well as performing at the Blue Mountains Music Festival Friday 16 through Sunday 18 March, French guitar virtuoso Pierre Bensusan will be doing sideshows at Notes Saturday 24 and Lizotte’s Newcastle Sunday 25. Kaiser Chiefs have invited Deep Sea Arcade and Loon Lake to join them as their special guests when the visitors play their Groovin’ The Moo sideshows, which in Sydney will see them at the Hi-Fi Tuesday 15 May. Feel-good Canadian singer/songwriter Chris Assaad is coming to town for a couple of shows to introduce his latest EP, Into The Light, playing the Beach Road Hotel Bondi Thursday 22 March and 505 Friday 23. Radio Ink are taking advantage of their invitation to open for Swedish visitors Aqua to launch their forthcoming new single, Who We Are Tonight, which you’ll hear live Friday 16 March at the Hi-Fi and Saturday 17 upgraded to the Enmore Theatre. Supported once again by local guest Ollie Brown, Kina Grannis has added a third and final Sydney Opera House Studio show Friday 23 March, the first-time visitor’s Saturday 24 and Sunday 24 shows having sold out.
KEEPING GOOD COMPANY
Bluejuice have announced a national tour to support their acclaimed latest album, Company. They’ll be playing two dates in Drum parts, kicking off the tour at Waves in Wollongong on Thursday 12 April, supported by Melbourne’s Loon Lake and Brisbane’s The Cairos. They then bring their high energy pop/rock to The Metro Theatre on Friday 13, which is all ages.
With a freshly-inked international label deal, Last Dinosaurs are pleased to announce that they will be embarking on a national tour in April. They’ll be performing in all major capital cities and regional hot spots. Their debut album In A Million Years has received international critical acclaim and has also scored them a deal with UK record label Fiction, who will now be releasing the record in the UK. You can catch them at Oxford Art Factory on Saturday 21 April or at Transit Bar in Canberra on Sunday 22. Tickets for the tour will go on sale this Friday.
Lil’ Jon will be party rocking out live in concert to celebrate the release of his new hit single Drink and will this time be bringing the whole crew along for an unforgettable show. This will be the crunk pioneering and platinum recordsmashing artist’s only appearance in Sydney. You can catch him at Home Nightclub on Friday 27 April. First release tickets are sold out, however second release tickets are now available.
Brisbane duo Texas Tea launch their latest single, I Don’t Write No Sad Songs, with an East Coast tour accompanying The Gin Club that brings them both to Spectrum Saturday 24 March. KINA GRANNIS
INDIE DARLINGS TOUR
Emmy Bryce and Kate Vigo have announced their upcoming co-headlining The Hunter And Gatherer Tour. The two hit the Clarendon Guest House on Thursday 12 April, followed by El Rocco’s in Sydney the next night. Melbourne songstress Emmy Bryce’s debut EP Seven Days will be released on 9 March, while Kate Vigo is putting the final touches to her new album Blue To Gold. CATCALL
CAT GETS WARM
Catcall will release her debut album, The Warmest Place, on Friday 4 May and will hit the road that month to support it. You can catch her at Oxford Art Factory on Friday 18 May, backed by an all-star line-up featuring Al Grigg (Red Riders), Andrew Elston (AKA Toni Toni Lee), Bec Allen (The Fabergettes) and Simon Parker (Lost Valentinos). Supporting Catcall on the night will be Sydneybased Palms (Al Grigg and Tom Wallace of Red Riders). She also plays Saturday 19 at Chino’s.
GRAND CANYON DREAMS
Following the release of their debut album Keep Your Dreams last year, Canyons will embark on their first-ever national tour (of the same name). In between their slots at Golden Plains Sixxx, Playground Weekender and Secret Garden, they play the Transit Bar in Canberra on Saturday 3 March and The Standard on Friday 16.
GET YOUR GEEK ON
After five years as a founding member, songwriter and vocalist for seven-piece noir punk/garage swing band The Snake Oil Merchants, Mojo Juju has set out on her own with a brand new and extensive solo tour. The Ladykiller Tour will see Mojo Juju headlining The Vanguard on Thursday 15 March, Chino’s Bar in Newcastle on Friday 16, Secret Garden Festival on Saturday 17, Yours & Owls Wollongong on Thursday 19 April and Baroque Bar Katoomba on Saturday 21. She will also be supporting The Beards at The Great Northern Hotel Newcastle on Wednesday 18 and Manning Bar on Friday 20.
THE CIRCUS COMES TO TOWN
Minus Circus, AKA Irish-born Gerry Scullion, will be releasing a brand new pop/rock album, which will be followed by an album launch on Thursday 8 March at The Supper Club. Tapping into rich storytelling alchemy, Minus Circus’s latest offering Estuary follows the singer/songwriter’s life journey since his first EP in 2008. Fellow Irish/Brisbanite singer Alan Boyle will support on the night. The first 20 people to purchase tickets will receive a free album. 24 • THE DRUM MEDIA
Eight years since their last visit, Radiohead will be gracing our shores this year in November for a long-awaited tour of Australia and New Zealand. The genre-bending five-piece will be playing two shows at the Sydney Entertainment Centre on Monday 12 and Tuesday 13 November. With eight studio albums under their belt, including their most recent 2011 release The King Of Limbs, this promises to be a stellar tour. Tickets for the general public will go on sale this Thursday.
Sydney Olympic Park has begun an alfresco concert series at the Armory Wharf every Sunday throughout March and April. Starting out will be Sally Street this Sunday, bringing her sexy and soulful jazz vocals to lighten up the afternoon, finishing up with Pugsley Buzzard on Sunday 29 April. Entry is free.
San Antonio’s Bitter End will be making their way to Australia for the first time in May this year. Influenced by the metallic New York hardcore bands of the late ‘80s and early ‘90s, the band will be touring their 2010 release Guilty As Charged, which showcases their hybrid style of hard-hitting thrash and hardcore. Supported by Perth outfit Blkout, you can catch them at The Wall on Sunday 20 May.
Meanwhile, Australian singer/songwriter Orly, currently living in New York City, releases her debut album, Distraction, Thursday 29 March, but she’s home for a couple of weeks and you can catch her at the Opera Bar on the arvo of Sunday 11.
Currently clobbering earholes in WA, Sydneysiders Sticky Fingers return to Sydney Friday 16 March to participate in the Go Here Go There Festival, then play the Cambridge in Newcastle Friday 23 before finishing off Friday 30 at Upstairs Beresford before heading north to Brisbane.
ALFRESCO AND FREE
Bronx-based vocal group Naturally 7 return to Australia in May with a new show they’ve called All Natural, hitting the State Theatre Friday 25.
Aussie thrash metal stalwarts Frankenbok consolidate their return to the fray with a run that kicks off Thursday at Club LED in Newcastle, returning our way via the Basement in Canberra Saturday 26 May.
BACK IN THE COUNTRY
After a month-long saga with the Department of Immigration and Citizenship, Sydney trio Set Sail are back together after the deportation of their lead singer, Brandon Hoogenboom. Now he’s on a sponsored visa and the band are embarking on a national tour, with a packed schedule for NSW. Set Sail will play at the University of Newcastle O Week on Wednesday, followed by the UNSW O Week on Thursday. They then play Thursday 15 March at the Oxford Art Factory, then the Secret Garden Festival on Friday 16, Brass Monkey on Sunday 18, 34 Degrees South on Sunday 25, before wrapping up the tour on Thursday 12 April at the Grand Junction Hotel in Maitland.
Brisbane’s Giants Of Science are returning to bring their frenetic rock and monstrous riffs to the East Coast before returning to the studio to record a new album later this year. You can catch them at The Patch in Wollongong on Friday 9 March, or at The Square on Saturday 10.
STRAIGHT OUT OF THE OVEN
Celadore are back to tour their acclaimed EP The Bright & Blue in a nationwide Bakery. Celadore hit Sydney to play at The Gaelic on Friday 9 March and Chino’s Bar in Newcastle on Saturday 14 April. The Bright & Blue EP was produced by Chris Cheney (The Living End) – which marks his first production effort – who worked with the band to produce an organic, live sounding record in a studio environment.
PAGE IS IN THE AIR
American progressive electro and house DJ, Morgan Page, has announced he’ll be touring Australia this may for the In The Air tour. Known for his hits The Longest Road and In The Air, Page will be playing at the King Street Hotel, Newcastle on Friday 11 May, followed by Soho on Saturday 19. His new album will be out on 4 April.
PYKE TOURS LOVE LIES
Josh Pyke and band will play four dates on their national Love Lies theatre tour, which sees them take a fresh approach to his new tracks and old favourites. He’ll perform on Saturday 19 May at The York Theatre. The tour will be Pyke’s last before taking a break to write and record new material, following his acclaimed Only Sparrows album tour last year, which saw him nominated for three ARIA awards.
THE DRUM MEDIA • 25
NEWS FROM THE FRONT
LOVE OF DIAGRAMS
M A R L E Y
WILD FLAG SUPPORT ANNOUNCED
ADDITIONS TO GUM BALL
Organisers of The Gum Ball Festival have announced that eleven-piece funk band, The Bakery, have been added to the line-up following their success at the Woodford Folk Festival earlier this year. Also added to the line-up is Roesy, the Irish folk singer/songwriter based in Melbourne, who has worked with international figures such as Billy Bragg, Shane McGowan and Joan Armatrading. After the success of the Silent Disco last year, it’s back again too – so get ready look like a fool and dance the day away to your own tunes.
The support acts for Wild Flag’s Sydney date have been announced, with Unity Floors to open for them at the Manning Bar on Tuesday 13 March, along with Melbourne’s noisy dream popsters Love Of Diagrams, who are supporting the entire East Coast run of shows. The Sydney duo Unity Floors have been likened to Robert Forster and Fugazi. This forms part of Wild Flag’s tour after stopping off at the Golden Plains Festival.
GUITAR GODS DESCEND
On Thursday 29 March, Newcastle Panthers Club will see the guitar mastery of Joe Satriani, Steve Vai, and Steve Lukather when they appear in the annual G3 Tour, an extra show they’ve added along with the tour accompanying their Bluesfest appearance. Each guitarist will play an individual set with their own bands, before joining together on stage to perform an all-star jam session.
FRONT END LOADER
The first Community Cup will be held in Sydney and will see music and entertainment industry personnel battle it out against local musicians in a friendly AFL match, to raise funds for Reclink Australia. The Sydney Sailors team will consist of music and entertainment industry personnel, captained by Adam Spencer (ABC Sydney Radio), whilst The Western Walers will be made up of Sydney’s musicians and will be captained by musician Dan Sultan. This family-friendly fun day out will also feature live performances by The Meanies, The Celibate Rifles and Front End Loader with more to be confirmed soon. Support a good cause and head to Henson Park, Marrickville on Sunday 18 March from noon.
PARLEZ VOUS FRANCAIS
Well, you won’t really need to, but it might come in handy when the France-based singer/songwriter Tete arrives to play his quirky pop rock and delta blues at the King’s Cross Hotel on Thursday 8 March. He’ll also be performing a secret gig in Sydney on Friday 9 before heading to the Clarendon Guest House on Saturday 10. He’s slotting in all these shows before heading to WOMADelaide.
IT’S COME AGAIN
Sydney’s annual Come Together Festival, which features the best-home grown talent, has announced its 2012 all-Australian hip hop line-up. Ready to take the stage at the Big Top, Luna Park on Saturday 9 June will be Melbourne rapper 360, known for his cross-genre performances. Come Together will be 360’s only Sydney show on his national The Flying Tour. Also performing will be Horrorshow, Hermitude, Seth Sentry, Koolism, Thundamentals, Skrypchta, Purpose and Bam Bam. Tickets go on sale Thursday 15 March.
ALL THINGS FINN
Pajama Club, featuring Neil and Sharon Finn will be performing one Sydney show following their slot at WOMADelaide. Playing with them on the night will be sons Liam and Elroy Finn, marking the night as the first time the Finns will be gathered to play for the public. They’ll take the stage at Oxford Arts Factory on Wednesday 14 March. Former drummer Alana Skyring has returned to New York to continue her love of baking after spending the year touring with the band.
MCMORROW’S SECOND DATE
Irishman James Vincent McMorrow has announced a second Sydney date for his tour on Monday 9 April at The Vanguard. His first show sold out in two days and with his new album Early In The Morning set to be released on Friday, it’s out just in time for his slot at Bluesfest.
Sydney country musician Lachlan Bryan has been gathering praise and accolades since his recent album release. Now he’s been invited to play at Bluesfest, as well as support British Americana ‘it’ band ahab on Wednesday 21 March at the Vanguard, Thursday 22 at The Basement Circular Quay in the latter’s Port Fairy Folk and Blue Mountains Music Festival sideshows, plus with Steve Earle on Saturday 8 April at the Factory Theatre, with Earle playing Bluesfest too.
V ROOM LINE-UP ANNOUNCED
The V Energy Green Room is back by popular demand at the Future Music Festival on Saturday 10 March, with the full line-up announced for the day. Starting at noon, Katie Valentine will take the stage, followed by Danny Lang, Goodfella, Reno & Foundation, Kato, Tenzin, Brat Pack, Wolf Pack and Even, who will headline the stage. BALL PARK MUSIC
NO MORE CHIDDY BANG
Organisers of Groovin’ The Moo have announced that Chiddy Bang will no longer be playing the national festival in order to focus on promotional opportunities in the US. While this is disappointing, Ball Park Music are set to replace them on the line-up and bring their sunny indie-pop melodies to the festival. Also playing will be City & Colour, Kimbra, The Maccabees, Kaiser Chiefs, Digitalism, Hilltop Hoods and many more. In Drum parts you can catch the festival in Maitland on Saturday 12 May and in Canberra on Sunday 13.
CITY & COLOUR
SECOND DATE FOR DALLAS
City & Colour (AKA Dallas Green) has announced a second show for Sydney, after selling out the Enmore Theatre (and much of the East Coast) in under 15 minutes. The second all-ages date will be at the Enmore on Tuesday 15 May. 26 • THE DRUM MEDIA
FBi Radio has announced the winners of the ‘Shack’ competition, to join the line-up on the FBi stage at the Playground Weekender Festival this year. Sleepyhands, V E E N, Winter People and The Fabergettes will join the line-up, which already includes Cameras, The Paper Scissors, Fair Accompli, Tim Sparrow, Pluto Jonze and Loon Lake amongst many more. In further Playground news, Brisbane five-piece indie-dance/art-rock outfit Tin Can Radio have been last minute additions to the line-up, billed to play the Main Stage on Friday 2 March.
GOT THE BLUES
James Murphy and Pat Mahoney (LCD Soundsystem/DFA) will be headlining the DFA Records Official Afterparty, which is to be held at The Metro Theatre on Saturday 10 March, directly after Future Music Festival. The evening will feature extended sets from the LCD Soundsystem/ DFA DJs, The Juan MacLean (UK), Benoit & Sergio (GER) plus more and will include rare cuts, exclusive edits, unreleased reworks and LCDinspired bootlegs. If you think you won’t get enough DFA during the day, then you can purchase tickets to the DFA Records Official Afterparty now.
PLAYGROUND WEEKENDER ADDITIONS
THE KING RETURNS
On the eve of Future Music Festival, Sven Vath will unleash his techno at The Metro Theatre in a four hour set on Friday 9 March. The ‘King of Techno’ is celebrating his 30th year of DJing since he began at the Dorian Gray club in Frankfurt in 1982. He’s become renowned for his marathon sets and on-stage antics. Also performing will be Jamie Jones, Dubfire (AKA Ali Shirazinia), before heading to the Future Music Festival to perform on Saturday 10.
CALLING ALL CARS
Melbourne’s Calling All Cars are back and set to roll out on their national victory lap (AKA The Delirium Tour) this April and May, heading to Drum parts to play the Transit Bar Canberra Thursday 3 May and the Annandale Hotel on Friday 4. Supporting them will be Strangers and Arts Martial. This will be Calling All Cars’ last headline tour before taking a break to write their upcoming third album.
Jack Ladder has announced that he’ll perform a series of intimate solo shows this March, which will be the solo headline tour for his third album Hurtsville, recently nominated for Australian Music Prize. Since the release of the album last June, Ladder has been touring with his band The Dreamlanders and played as support slots for Warpaint and The Horrors. This one-man show will feature Ladder in a rare solo format, incorporating only guitar, drum machines and his own voice. The tour kicks off at Yours & Owls, Wollongong on Saturday 25 March, followed by Tuesday 27 at the Brass Monkey, Wednesday 28 Clarendon Guesthouse Katoomba and Saturday 31 Chino’s Newcastle
THE ONLY WAY IS UP
One Direction, Simon Cowell’s latest UK/Irish boy band have announced their first Australian tour, playing the Hordern Pavilion on Friday 13 April. The band will release Up All Night: The Souvenir Edition, which will feature five exclusive tracks and band booklet to coincide with their tour.
A FUNNY TOUR
Brisbane band We All Want To have announced the launch tour for their new single You Used To Be Funny. The band will hit Sydney on Friday 27 April, playing at the Oxford Art Factory with fellow Brisbanites, Halfway, who are preparing to record their fourth album.
ART OF VENGEANCE
For the first time ever, New Orleans three-piece Mutemath have announced an Australian tour, descending playing The Hi-Fi on Wednesday 16 May. They’ll be bringing their latest album Odd Soul on tour, which fuses rhythm and blues, psychedelic and modern electronica genres to create an innovative new sound.
Following the release of his EP Palma, Aril Brikha will release his Departure In Time album, featuring never before released material from 1995 to 1999. He has also announced a national tour and will play One22 on Saturday 17 March.
Eli Wolfe has announced a national tour, following the release of his new EP Cards Are On The Table. The ninedate NSW tour will be the last before he begins his tour of Canada, Germany and the UK. His next performance will be at the Absolute Soiree, Bondi on Thursday, followed by a gig at Low 302 on Thursday 8 March.
The April line up for Hold Tight! – Oxford Art Factory’s premier night of dubstep and future beats – has been announced and will feature a host of international acts. Headlining the night will be Montreal producer Jacques Greene, along with Africa Hitech, Machinedrum, Dibiase, Albatross and more special guests.
THE DRUM MEDIA • 27
NEWS FROM THE FRONT
FROM HERE TO ANYWHERE
Sneaky Sound System (AKA Miss Connie and Black Angus) will embark on a national From Here To Anywhere tour, the first since the release of their latest album of the same name. The duo will return to Australia after performing from shows in Asia and the US, to play the last of their local shows before spending a northern summer in the UK and Europe. This will be a night of mischief, production and a few extra surprises. They play on Saturday 7 April at The Hi-Fi.
Homegrown rock‘n’roll band Dangerous! have announced a national tour to support their latest album Teenage Ramapage. This March will see them kick off their NSW dates on Friday 16 March at The Patch in Wollongong, followed by Spectrum on Saturday 17, as part of Gee Whiz Club night in Gosford on Thursday 5 April and the Northern Star, Newcastle, on Saturday 7. Remember, they were the first Australian act to sign a worldwide deal with Epitaph.
SNEAKY SOUND SYSTEM
WINTER IN AUTUMN
London newcomers Zulu Winter will arrive in Australia this April for two exclusive dates in Sydney and Melbourne. The up-and-coming five-piece band are rumoured to be “England’s new guitar heroes”. You can see if this rings true when they play Wednesday 18 April at Oxford Art Factory. Also playing will be Melbourne’s electro punks, City Calm Down.
LEAVES BLOWING THROUGH
Mark Kozelek (Red House Painters and Sun Kil Moon) returns to Australia to tour his new album Among The Leaves. It’s his fifth full-length album, featuring 17 new tracks that were recorded between October 2011 and January 2012 in San Francisco. Kozelek will be playing at the Factory Theatre on Friday 8 June, following the release of the album on 29 May.
IN BRIEF Gotye, Ladyhawke, Washington, Seeker Lover Keeper, Ball Park Music, Architecture In Helsinki, The Jezabels, San Cisco and a stack of other local artists have each donated a track to a fundraising compilation for World Vision Australia called Tunes For Change, which will be available as a download for just three months for a donation of your choice from Tunes For Change. Friday sees the release of the new album from Leftfield, Tourism, as well as the new album, Yours Truly, from Sublime With Rome. Meanwhile WA alt.country combo Stoney Joe release their album, Land Is Green, Saturday. The Overtones release their new album, Good Old Fashioned Love, Friday 9 March. Memphis, Tennessee six-piece Lucero finally get their first locally released album, Women & Work, Friday 16 March, the same day that sees the debut album, Yesterday Was Lived & Lost, from New Build, the name of a new project featuring key Hot Chip/LCD Soundsystem member Al Doyle, Hot Chip’s Felix Martin and studio engineer and composer Tom Hopkins. The now five-piece Xiu Xiu release their new album, Always, Friday 23 March. DZ Deathrays release their debut album, Bloodstreams, Friday 6 April, with M Ward releasing his latest, A Wasteland Companion, and Killing Joke their 15th album, MMXII, the same day. 28 • THE DRUM MEDIA
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
JIMMY VARGAS & LILIANA SCARLATTA LAUNCH LUST ANGELES
...an original nine track opus, soaked in lethal latin, scorching blues and desolate torch, featuring stellar tracks such as the mambo tinged STACCATO, the burleycue grind of SATAN NEEDS, and the fatalistic tango DESOLATIONE.The disc’s title and narrative is based on a book of JIMMY VARGAS of the same name, (available later in the year as a DVD / E-Book) which traces in musical stations the enﬂaming under-velt affair between a sin alley Lucifer and a Black Madonna in 1950s Los Angeles.
THURSDAY 1 MARCH
SAM MCNALLY & JO ELMS + TRACEY CAMPBELL TRIO
Sam McNally has long been regarded as one of the ﬁnest jazz-funk keyboardists Australia has ever produced. He made a massive contribution to the success of pioneering jazz/fusion/funk band Stylus in the 1970s and has continued to be at the heart of countless superb bands since. Sam’s band is a jazz-funk A-Team featuring international smooth jazz saxophonist Gary Honor, Dev Permana on drums, Eric Rasmussen on guitar, Ralph Marshall on bass and Ian Cooper on electric violin (from James Morrison’s band). The guys will be joined by soulful singer and songwriter Jo Elms, plus vocalist James Tuialii, and Australia’s best Latin jazz fusion pianist/singer Tracey Campbell.
FRIDAY 24 FEB
GANG OF BROTHERS
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!
SATURDAY 3 MARCH
PROFESSOR GROOVE & THE BOOTY AFFAIR
WITH SPECIAL GUESTS LO FIVE Three big sets of funk power, 10pm - 3am, with the Booty crew and more. The Professor’s partners in funk this week are Lo Five, aka Alan Goodman and Tam Morris ex Tracky Dax. Between them they have toured, remixed, written for, recorded or worked with the likes of Olivia Newton John, The Sweet Inspirations, Jools Holland, Sly & Robbie, Skunkhour, Alex Lloyd, Fantine, Christine Anu, Jenny Morris, Jazzanova, Jahcoozi, Coda, Rephrase, Kirsten Allison, Vanessa Baker and many more. Fresh from recording their debut album Singularity you can expect a swag of original grooves that dip in and out of ﬂavours from p-funk to soul to electro funk to all things groovy in between, powered by Terepai Richmond on drums.
SUNDAY 4 MARCH
BLUE BEAT’S SUNDAY SESSION WITH SPECIAL GUEST -
Live band experience playing Brazilian hip hop, ragga, rap and funky house beats til late, plus special guests dropping in.
SONIC MAYHEM ORCHESTRA MONDAY 5 MARCH AND EVERY MONDAY
Regular Monday night gig and late night jam session, with a spectacular 10-piece band, plus guest vocalists, followed by a free-wheeling jam session, every week. The Sonic Mayhem Orchestra is James Ryan (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 Panichi (trumpets), Greg Cofﬁn (piano), James Hauptmann (drums), Andrew Atwill (bass). High energy, creative, expansive music makers all. Special guest tonight is Dan Barnett (vocals and trombone).
THURSDAY 8 MARCH
EVERY WOMAN FESTIVAL
A special event for INTERNATIONAL WOMEN’S DAY raising funds for ovarian cancer research. Starring ASTON, AMANDA EASTON, SALLY STREET, MAZ MAZAK and THE BLONDETTES
EDDI READER - THURSDAY 22 MARCH ONLY SYDNEY CLUB DATE, ON TOUR WITH HER UK BAND TIX ALSO ON SALE FOR: THE IDEA OF NORTH, KING TIDE, SAMBOSSA, SEE WEBSITE FOR DATES AND DETAILS.
KITCHEN OPEN LATE FRIS AND SATS
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
A RECON ON RECLINK
SO JUST WHO EXACTLY DOES THE COMMUNITY CUP RAISE MONEY FOR? ADRIAN PANOZZO IS RECLINK AUSTRALIA’S CEO AND HE EXPLAINS TO DRUM MEDIA WHY A FUN DAY OUT AT A CHARITY FOOTY MATCH FOR YOU CAN MEAN SO MUCH MORE TO SO MANY PEOPLE. “We help about 400 community organisations across Australia,” Panozzo explains. “Those community organisations are helping people who are experiencing drug addiction, mental health issues, homelessness. We work with women’s shelters, domestic violence organisations, migrant/refugee organisations.” And while Reclink helps organisations working with people to improve their situations, Reclink’s specific focus is on running social events and sports and arts programs for those who are disadvantaged. Last year’s Community Cup in Melbourne raised $200,000 for Reclink and had an attendance of 11,000. “In simple words it gives people a sense of purpose, something to look forward to,” Panozzo expands. “It’s easy to understand that it brings a social connection, but often those of us used to being busy take that for granted. The groups that we deal with are so isolated. I remember one woman said that she could go weeks at a time without a conversation with anyone and often she wouldn’t actually know the last time someone had used her name. These are people living in inner-city areas.
ALREADY A LONG-STANDING TRADITION IN MELBOURNE, CHARITY AFL MATCH THE COMMUNITY CUP IS MAKING ITS DEBUT APPEARANCE IN SYDNEY. TEAM CAPTAINS ADAM SPENCER AND DAN SULTAN TRASH TALK EACH OTHER THROUGH DANIELLE O’DONOHUE, WHILE OPPOSING PLAYERS DAMIEN LOVELOCK AND ALEX DYSON (PICTURED) GIVE AN INSIGHT INTO WHAT IT WILL BE LIKE PULLING ON THE JERSEY ON THE DAY. COVER AND FEATURE PIC BY CYBELE MALINOWSKI.
ove vs Grohl, Nas vs Jay Z, Jay-Z vs Gallagher, Gallagher vs Albarn, Gallagher vs Yorke, Gallagher vs Gallagher and now Sultan vs Spencer.
Popular music (and politics!) is peppered with feuds, beefs and social network name calling. Up until now most Australian musicians have managed to keep civil tongues in their heads and have steered clear of the kind of sour grapes that fuel these juvenile bouts of name calling and petty rivalries. But there’s trouble brewing. Breakfast radio host Adam Spencer has decided it’s time to start talking tough. “Dan Sultan is successful, good looking and talented and can play a guitar. They’re four things I hate in another man,” Spencer tells Drum Media. While it seems an unusually harsh thing to say about a guy that’s fairly well-regarded in the industry, Spencer has a good reason to be trash talking. In just under three weeks, Spencer and Sultan will be running out onto the footy oval at Marrickville’s Henson Park to captain one of the opposing teams in the first ever Sydney Community Cup. The Community Cup is a long-running Melbourne music industry institution – a day of music and footy (AFL footy to be more specific) to raise money for charity, in particular, the great work done by Reclink, a group that runs arts and sports programs for the disadvantaged, whether that be people affected by homelessness, addiction, domestic violence, poor mental health, unemployment or social isolation. Sure, the quality of footy isn’t quite up to Sydney Swans standards, but the competitive spirit between the two teams certainly is. There’s always a lot of music industry pride riding on the final scoreboard. For the inaugural Sydney Community Cup, Spencer will be captaining the Sydney Sailors, a team of music media and industry personnel, while Sultan, an export from Melbourne and two-time Community Cup captain down there, will lead the team of musicians, the Western Walers, out onto the oval. Spencer will be waiting. “Purely out of jealousy my one chance to get one back on him is to surround myself with very talented players on the day and demand that they kick it to me as I stand in the goal square doing nothing,” Spencer says. “I’m still trying to get [former Sydney Swans big man] Barry Hall a job at the ABC so that he qualifies for the media team. He wanted to write for the Daily Telegraph on their page The Punch, but I didn’t think that would be a good idea.” At first Sultan is reluctant to take the
bait, but it doesn’t take long for the singer/ songwriter to warm up on the subject. “Is this a media drum up?” Sultan enquires of Drum Media when it’s mentioned what Spencer has been saying, though we’re not sure whether Sultan is aware of his clever wordplay. “No comment. I’ll let my kicks and handballs do the talking thanks, Adam. And you can print that. “But I have got some tricks up my sleeve… other than being good at football and not being a nerdy journalist. It’s called being fit. That Adam Spencer, he’s a bit wordy. But unfortunately that’s all he is. There’s no microphones out there mate, there’s no microphones out on the field. It’s just you, the leather and me. “Now you’ve got me trash talking. But seriously, he seems reasonably fit. I’m sure he’s pretty handy.” While a lot of the players out on the field will be making their Community Cup debuts, Sultan carries plenty of baggage from his previous appearances. “We were robbed the first year. I don’t know if you’d call it a loss as… a scandal. Football and scandals go hand in hand and it’s no different for the Community Cup.” For the record, the Megahertz, the media/industry side, won the 2010 Community Cup by a single point in a controversial finish. “But we bottled it away. We knew that we were the better team that day and we were going to be the better team in a year’s time. And we were. We came back and without umpire intervention we thrashed ‘em. So it was good.” Sultan may sound like he’s been practicing his footy sound bites, but he’s happy to acknowledge that you don’t need to be a fan of the AFL or any sport in general to enjoy or even attend the Cup. “It’s perfect if you’re not really interested in AFL. If you come along expecting to see a game of football, then you’re going to be sorely disappointed. If you come along to maybe have a couple of beers and there’s heaps of kids running around and you catch up with some mates and have a couple of pies, then it’s a really good day.” This week’s Drum Media cover stars are two Community Cup debutants with varying degrees of AFL experience. Triple j breakfast host Alex Dyson is no stranger to the game. Growing up in Warrnambool in country Victoria, Dyson is a mad-keen Collingwood supporter who would like to think his own game resembles that of his Magpie hero Harry O’Brien. While Dyson’s been in training for a while now getting his match fitness up in preparation for
the big game, he’s well aware that he may have to sit down with some of his team mates and explain even the most basic of rules. “If there’s one thing I’ve learned, never underestimate the Northern Beaches. They’ve produced a lot of good sportsmen over the years that are very adaptable. So I think you could laugh at them and think there’s no point passing the ball, but I reckon it would be unwise to fully dismiss any New South Welshmen.” On the other side of the coin is veteran Sydney musician Damien Lovelock. Singer for the punk band The Celibate Rifles, Lovelock has always been obsessed with sport. As well as his role in the band, Lovelock has also forged a career as a soccer commentator, even writing a book about it. “I started my career on triple j. They’d get me in to talk music. I’d talk football [we’re pretty sure Lovelock is talking about the soccer variant] and gradually you began to find people there who shared your interest. In those days sport was sport and dare I say it, music was music and there was very little crossover. “I was playing rugby league in the ‘60s and early ‘70s in school and in those days, to be into music – and maybe dropping a bit of acid or smoking a bit of dope – and to play rugby league, there was something wrong with you.” As for Lovelock’s AFL experience, his resume is a blank page. “Never played a game in my life. Not a single one. I can catch an egg-shaped ball and I can kick the leather off it. I’m figuring that’s going to be enough for a charity game. Fuck the rules. That’s detail. I don’t have any time for detail. We’re going out for a good time. If the ball comes near me I’ll catch it and kick the fuck out of it. And hopefully that will be seen as being a meaningful contribution.” Considering Lovelock will be pulling on a Walers jumper and his captain is quite keen for a win, Lovelock’s sledging skills might need to be worked on just like his knowledge of the rules. “In AFL I guess you spend a whole lot of time hanging around in your little shorts. After you’ve talked about your shorts, you’ve got to talk about something. You might as well trash them.” Sounds like there’s hope for Lovelock after all. And lest any football-playing ladies out there think the Community Cup is just an excuse for a bunch of unfit men to run around and thump each other, both Melbourne sides have always had some very skilled ladies on their teams… well, enthusiastic ladies anyway. And Spencer, the coach of a woman’s football team himself, hopes that this year’s Cup will encourage
“Sports and art give people the opportunity to find a purpose and their identity through activities that brings all sorts of people together. These people often decide they’re not welcome in the community. We need to offer a diverse range of programs because we don’t know what’s going to spark people’s passion.” Though Panozzo is yet to take the field as a player at the Community Cup, he has donned the white umpire uniform before – not surprising considering he used to be an AFL field umpire. His past Community Cup highlights then consist of special umpiring moments, as to be expected. “We’ve had Devo umpire the Community Cup and one year we had the local police drive their divisional van onto the ground and out of the back came the umpires in order – Batman, Robin, The Joker and The Riddler.” So best save your heckling for the footballers. Who knows who will be officiating on Sunday 18 March.
plenty of women to sign up for next year. “Get along and watch the Community Cup. Watch how appallingly I do and realise that if I get a game there’s no way you’d be below standard yourself. If there’s any trouble in this year’s Community Cup match, most of us guys will be hiding behind the girls I’ve selected.” Of course you can’t have a football match featuring a host of music identities without a stage being set up and a couple of bands getting roped in to play. Lovelock will be doing double duty on the day as his Celibate Rifles will also be hitting the stage along with Front End Loader and The Meanies, who are long-time supporters of the Melbourne event. While Sultan is looking forward to seeing Sydney rock stalwarts Front End Loader, he thinks it’s time the Community Cup started thinking a bit bigger, maybe looking overseas to provide the entertainment. “I think we should be like the Super Bowl and get Prince or Lenny Kravitz or Madonna,” he reckons. Spencer, however, is keen to take things in a more highbrow direction, “Richard Tognetti and the ACO. I’m saying that just to sound more cultured and sophisticated than Sultan and his drongo rock’n’roll types.” But it’s Dyson who has the most Community Cupesque response to the question of who would be the ideal musical act to play on the day. Dyson would love to see footy folklorist Greg Champion flick open the clips on the guitar case and pull out the trusty old acoustic to sing amusing tales about footballing feats from days gone by. Surely he’d make the perfect opener for Prince. WHO: Adam Spencer, Dan Sultan, Alex Dyson, Damien Lovelock and more WHAT: Community Cup WHEN & WHERE: Sunday 18 March, Henson Park
The Home of Live Music Since 1973 SATURDAY 3 MARCH
WES CARR + PEREGRINE Folk n roll double headline, as Sydney favourites peregrine play their farewell show, alongside good friend Wes Carr.
ROOTS CARAVAN DAN HOPKINS + CARL STEWART
TAKE A LOOK
TUE 28 FEB
+ INICIATE + BRYCE COHEN A whole lotta folk, roots and blues.
MARK WILKINSON + LISSA Lyrical depth, gift for melody, and a soulful voice.
THU 1 MAR
FRI 2 MAR
THE BASEMENT INTRODUCES:
TUES 6 MAR
BEN SOLLEE (USA)
WED 7 MAR
THU 8 MAR
A virtuoso in the true sense of the word!
+ WINTERS END Glorious indie pop sounds.
Genre-bending cellist and vocalist with a percussive playing style.
(DUO MODE WITH STAFFAN ASTNER) + KRYSTLE WARREN Deftly accomplished, soulful and gospel infused, folk-blues.
50 YEARS OF THE ROLLING STONES - A HISTORICAL PERSPECTIVE Damien Lovelock (Celibate Riﬂes) presents a hand-picked set list.
FRI 9 MAR
COMING SOON MARCH 10 - STORYLINES, MARCH 13 - STEVE LANE & THE AUTOCRATS, MARCH 14 - ADAM COHEN (CANADA), MARCH 16 – 70S REVIVAL SHOW, MARCH 18 – THE BLANKS (USA), MARCH 19 & 20 – JUDY COLLINS (USA), MARCH 21 – ERIC BIBB, MARCH 23 – MY FRIEND THE CHOCOLATE CAKE MARCH 24 – AT LAST: THE MUSIC OF ETTA JAMES, THE DRUM MEDIA • 31
START-TO-FINISH RECORD ATLANTA’S MANCHESTER ORCHESTRA HAVE BEEN A LONG TIME ON THE ROAD IN SUPPORT OF THEIR THIRD ALBUM, SIMPLE MATH, AND GUITARIST ROBERT MCDOWELL TELLS TYLER MCLOUGHLAN THAT AUSTRALIA IS ONE OF THE LAST REMAINING OUTPOSTS THAT GET THE BAND EXCITED.
fter seven back-to-back months of sharing tight spaces across the US and UK, indie rock outfit Manchester Orchestra finally got to relax in a few months of hometown downtime before bringing current album, Simple Math., to Australia. Rather than rushing to go their separate ways, the five members instead crammed into a recording studio to complete the second Bad Books record – frontman Andy Hull’s side writing project with Brooklyn singer/ songwriter Kevin Devine. Surely though, they’re sick of the sight of each other. “Unfortunately we’re not,” Robert McDowell says matter of factly. “That is what makes our band work the way it does. I’m at home right now and I live with Chris [Freeman] the keyboard player, Tim [Very] the drummer
and Andy [Hull]’s actually downstairs in the living room right now… We don’t all live together,” he stresses of frontman Hull and bassist Jonathan Corely’s living off-campus status, adding with a chuckle: “We all live within a 1.6 mile radius of each other… “We’ve grown to love each other a lot so you know, all we know how to do is make music, so when we just start havin’ time off it’s like, ‘Well I’ve got this idea’ and everybody’s like, ‘Well, I have nothing going on so I’ll join in.’” Come March, their project proper will again whir back into action for Australia. McDowell looks back at the reception so far. “When you finish a record, you should be proud of it and we were incredibly proud of it. But there’s really no way to judge how people are gonna react to it. There have been a few people who have given it a bad review, but other than that it’s been just positive. Just goin’ out on tour and having people scream those songs ‘til the point where you wanted to tell them to shut up, that’s what we wanted out of the record. Something that you know didn’t have a radio song, that’s not the reason it was a good record, but something the fans would like and that we would enjoy playing.” Considering the band refused to service radio with their first record, I’m Like A Virgin Losing A Child, in 2006, it’s interesting that McDowell should point out the lack of obvious radio single across Simple Math when they have never been a band to write with the format in mind. “When we did the other ones, especially [2009 album] Mean Everything To Nothing, there was never a [sentiment of], okay we need to write a single or whatever and we finished it and I’ve Got Friends ended up being able to work as that. But we finished this one and realised, okay, we’ve made a start-to-finish record, which is the way we like to listen to music and the way we wanted to put out the record, but it was just kinda like, ‘There’s not too much radio traction on this.’ That’s something that would be nice, but it hasn’t affected our band’s growth at all; we want to be an organic band and I think the full record process start to finish is the way that we have to do that. As far as like sonically and everything though, I just think that we got to be better as musicians and know our tone better and know how to approach it. And we approached it differently and sure the next record, we’ve already talked about it, it will sound completely different, because we don’t ever want to make like a 2.0 of any record.” Whilst Simple Math is a more complex exploration of their temperamental chaos versus intimate rock dynamic incorporating strings, Hull’s peculiar turn of phrase and emotive delivery style has always been a constant. The album’s title track has him stating one of his oddest yet takes of yearning: “I want to rip your lips off in my mouth”. “Even just hearing [the lyrics] broken down like that it’s like, that’s bizarre, but in the context of a song, that’s one of his greatest gifts, the way he’s able to view the entire story before he even necessarily knows what the story is – he’s able to piece it together, out of nowhere. “I remember when he was making the last solo record for his project called Right Away, Great Captain! and it’s all stories from this one character and in one of the scenes he’s strangling somebody and the producer Dan [Hannon] looked at me and he goes, ‘Do you think he’s actually strangled someone?’ It’s just like, ‘I know, I know.’ It’s scary!” Delivering Simple Math as a concept album from the perspective of Hull, then a 23 year old guy questioning life’s big topics from love to religion, some wondered whether you could actually label such an apparently common exercise as a concept. McDowell thinks so. “Yeah, but the way that I view it as a concept record, it’s not telling a story that’s made up or anything, it’s telling the events of like a year and half of Andy’s life. We didn’t go into it being like, ‘Okay let’s create this story, let’s create this character.’ I think we did thirty-eight songs for it and then we cut it down and it was like there was this thread running through the entire album, so that when you look at it, it’s like a ten point ‘Where I Was’ when all those events happened [too], except for when Andy ripped my lips off with his teeth,” he quips. “It’s a doozy!” Touring the east coast as part of The Hi-Fi Shoreline Series in March celebrating the opening of the Sydney outlet, Manchester Orchestra are already rather enamoured with the Australian experience. “We’re excited to come over – it’s one of the few places that’s still sort of like exciting to tour to,” he admits, recalling their past three-date stop in 2009 that concluded with a Splendour In The Grass appearance. “I loved it – this will be our third time over there and the past two times we’ve come from Europe, just like the night and day difference between the weather and you know, the atmosphere, it’s amazing. And also the lineup for that festival was fantastic,” he enthuses, enjoying being able to get stuck into the offerings of multiple, diverse stages. “I don’t wanna be one of, you know, a bunch of people sittin’ on the lawn. I wanna watch a show, be a part of a show, so I love the… it’s a very accepting fanbase over there. Like, we have that in areas, but there are definitely festivals we’ll do where no one cares, no one’s respectful. We were over there last time, we were walkin’ off stage and it’s just like we’re in another country, another continent – why do these people know who we are? And it’s fuckin’ great.” WHO: Manchester Orchestra WHEN & WHERE: Saturday 3 March, Playground Weekender, Del Rio Riverside Resort; Sunday 4, The Hi Fi
32 • THE DRUM MEDIA
INTELLECTUAL GIANT THE EVENTUALLY VICTORIOUS NEW YORK GIANTS MAY HAVE CHOSEN TINIE TEMPAH’S WRITTEN IN THE STARS AS THEIR ENTRANCE SONG FOR THE RECENT SUPER BOWL, BUT THE UK RAPPER – BORN PATRICK OKOGWU JR – HAS HIS MIND ON FAR LESS TRIVIAL MATTERS, SUCH AS TAKING HIS MUSIC TO THE WORLD. CYCLONE INVESTIGATES THIS FRIENDLY-YET-HIGHBROW PHENOMENON.
inie Tempah, who’s also been known to answer to his birth name Patrick Okogwu Jr, shares his dream of world domination with every chart MC but, beyond that, he’s far from any usual archetype. The Brit reads novels and drinks tea and is akin to a hip hop ‘vegetarian’. He doesn’t do beef. The conscientious Okogwu, 23, recently outlined his goals for 2012 in Q magazine. Among other things, he wants to read more books – and particularly to finish Ernest Hemingway’s The Old Man And The Sea, a figurative tale of a hapless old fisherman’s epic encounter with a giant marlin that won 1953’s Pulitzer Prize. Indeed, Okogwu is more erudite than eccentric. However, with a new album due, plus promotional commitments, when will he have the time? Okogwu, returning to Australia for the Future Music Festival, has it all sorted. “On the Australia flight, I could read ten books!” he exclaims. “I’ve never been on a flight that long – you can get so much done.” Okogwu intends to spend less of his transit time playing Temple Run or watching films he’s already seen and just read instead. “You just really have to refine your time, don’t you?” posits Okogwu, who frequently asks rhetorical questions. “It’s all about willpower this year. I think I’ve got myself into the position where I’ve got certain routines within routines...” Reading stimulates his imagination and is “really good exercise”. “So I need to start doing that,” he concludes. “You should be encouraging me.”
of mine and I respect his music – I respect everything that he’s done,” Okogwu says, ever gracious. “But it’s just one of those things, man. He’s performing at a dance festival – I think that kinda speaks for itself!” Okogwu could pull off a dope New Order collab on tour in Australia, but he has yet other ideas. “Boy & Bear is top of my list – I wanna work with Boy & Bear. I like them!” WHO: Tinie Tempah WHEN & WHERE: Tuesday 6 March, Hordern Pavilion; Saturday 10 March, Future Music Festival, Royal Randwick Racecourse
The playful Okogwu depicts himself as “an average, regular guy from South London,” but he was always above average. The MC was born to Nigerian immigrant parents, one of four children. Okogwu attended Catholic schools and excelled, graduating with three A Levels. He contemplated studying media at uni, but Okogwu was fixated on music, inspired by Britain’s surging new urban sounds (he dug So Solid Crew). Immersing himself in the grime scene, he circulated mixtapes – and tracks like the cult Tears. Parlophone signed him after a rousing gig at 2009’s Wireless Festival. He’d soon transcend grime. A YouTube phenom, Okogwu was a natural pop (super)star. His debut single Pass Out, a neo-jungle banger masterminded by then newcomer Labrinth, shot to number one. Okogwu followed with Frisky, consolidating his mainstream profile. For his US premiere, he selected Written In The Stars, helmed by Swedish producer iSHi and with Boston-bred school teacher-cum-singer Eric Turner on the hook. It’d be his first solo Australian hit, too. Okogwu’s electro-fuelled UK No. 1 LP Disc-Overy documented his rise with typical comic flair. And the MC showed his disinclination to do obvious shit, inviting pop-folkie Ellie Goulding to sing on Wonderman. Disc-Overy spawned seven singles, including the Swedish House Mafia hook up Miami 2 Ibiza. Okogwu scored two BRIT Awards – one for Best British Breakthrough Act. This year the festival stalwart will drop his second album (tentatively titled Sophomore) – on the tail of December’s Happy Birthday mixtape (which takes in a song called Lucky Cunt). “Basically, I reckon I’m halfway through it now – just in the thick of things,” Okogwu divulges. He’ll be working on it in Oz. “I’m gonna be just dotting the ‘i’s and crossing the ‘t’s.” How is it sounding? ”It’s sounding really progressive and it’s sounding really forward and it’s sounding definitely like leaps and bounds over the first album – and, for me, that’s all I ever want as an artist,” Okogwu enthuses. “I just hope people react to it and receive it the same way – and even better than – they did the last one. But only time will tell. I’m just gonna have to keep my fingers and toes and everything else crossed.” In interviews Okogwu has mentioned several choice acts with whom he’d love to collaborate: Drake, James Blake and The Script (he toured Australia with the Irish rockers). There’s even talk of Dizzee Rascal jumping on a song entitled Do You Know Who I Am? “All I can say is that I’ve had the opportunity – thankfully – to be able to talk with all of those people and to be able to organise engagements with most,” Okogwu says obliquely. He’ll provide “clues” about cameos closer to the release, to generate buzz. The biggest challenge for this music lover, into everything from dance to pop to indie, will be to rein in the project. He’s wary of “having an album that looks like Now 79”. Okogwu is determined to spearhead a Brit-hop invasion of the US, performing Pass Out on the American X Factor. To this end, Okogwu cut last year’s StarGate-produced (and Christina Aguilera-sampling) Till I’m Gone with Wiz Khalifa (hear it on the Australian repackage of Disc-Overy). Does he have a strategy? “The only real thing I can say – and the only real strategy – is [to] just be yourself,” he offers. “Nobody’s ever been successful trying to go over and be something they’re not, or giving the people something that they already have. I wouldn’t come over to Australia and try to rap in an Australian accent because, as much as some of you may like it, most of you are very aware of the fact that I’m not actually from Australia – I’m English! So I wanna make sure that I maintain that. Sometimes it’s a bit difficult in America. Their culture can overwhelm you and even affect the way you think sometimes. You just have to make sure that you keep what is quintessential and quite British about yourself. As long as you can keep that and make some great music, we’ll see what happens. But it should be all right. We’ve got off to a great start so far.” Okogwu, who first toured here in 2011, is anticipating Future Music Festival, which has an impressive urban contingent with Jessie J, Professor Green and Frank Ocean. Green dissed those rapping over dance beats on his At Your Inconvenience – but don’t imagine that Okogwu is miffed. He expects no awkward encounters with Green. Quite the opposite, in fact. “Professor Green is a good mate
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APRIL 2012 NATIONAL TOUR
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THE DRUM MEDIA • 33
TURNING ANOTHER CHIC KRIS SWALES FINDS CHICâ€™S REMAINING MAIN MAN NILE RODGERS TO BE THE CONSUMMATE STORYTELLER AS THEY DISCUSS THE PERENNIAL EVOLUTION OF THE CHIC ORGANIZATION, WORKING WITH INXS AND THE SANDWICHES OF KATZâ€™S DELICATESSEN.
ile Rodgers knows his way around an anecdote â€“ in fact after sitting through a four-hour lecture from the man as part of the 2011 Red Bull Music Academy (RBMA) in Madrid, you get the impression he remembers more details of his extraordinary life than most people have forgotten. And thereâ€™s plenty more where the story of Chic creating late-1970s anthems like Le Freak and Rodgers and his dearly-departed right-hand bassman Bernard Edwards regenerating the careers of legends like Diana Ross (Upside Down) and David Bowie (Letâ€™s Dance) came from. In fact, when going face-toface with Rodgers in the RBMA recording studio an hour later, he takes one look at the shirt from New York institution Katzâ€™s Delicatessen your scribe is sporting and says, â€œOh, I bought Peter Gabriel a sandwich from there once â€“ he kept it in the studio and took a week to eat it.â€? Rodgersâ€™ photographic memory has no doubt been jogged by piecing together his autobiographical memoir, Le Freak: An Upside Down Story Of Family, Disco And Destiny. In it, he details his journey from the child of heroin-addicted parents through his own battles with drug demons through life as a session guitarist and eventually forming Chic and unwittingly creating disco with Edwards and, when prompted on working with Australian legends INXS, his recollection is instant. â€œIt was one of the greatest experiences of my life,â€? Rodgers suggests, recalling the one-take recording of the bandâ€™s international breakthrough, Original Sin. â€œWhen Iâ€™d met them I had never heard of them. Man, Mike [Hutchence] and I got on unbelievably well and when Michael and I decided we had to do something they on the spot â€“ like Bowie â€“ really liked my first solo album, which I thought was impossible. I was like, â€˜Who could like that?â€™ and they started singing one of the songs off my solo album called Yum Yum and they had it organised in four-part harmony. I went, â€˜Youâ€™ve got to be kidding me,â€™ and they went, â€˜No, this is how we do our soundcheck â€“ we sing Yum Yum, thatâ€™s our mic check.â€™ â€œAnd they were dead serious, so we had to work together. And we did Original Sin â€“ we wound up doing
it in New York at Electric Lady. Itâ€™s funny, the main studio that I recorded everything at was The Power Station, but my second default studio was always Electric Lady. Thatâ€™s where we recorded the first Chic single, Dance, Dance, Dance, and we recorded Adult Education there with Hall & Oates, I recorded Original Sin there with INXS â€“ Iâ€™ve recorded a lot of songs at Electric Lady that went on to became hit records.â€? Whether working under the Chic banner or producing records for others under the auspices of The Chic Organization, hit records are certainly something Rodgers has in abundance, to the extent where he freely admits, â€œI donâ€™t make a living playing music â€“ I make a living from the music Iâ€™ve played.â€? Rodgers is still active in the studio, working with American Idol runner-up Adam Lambert at the tail-end of 2011 and more recently revealing he was jamming with Daft Punk, but a prostate cancer scare in early 2011 has, if not invigorated his love for performing his legacy live, then certainly underlined his appreciation of it.
Sugarhill Gang (who most famously earned themselves a lawsuit for jacking Good Times on Rapperâ€™s Delight). Rodgersâ€™ early session work for acts like Screaming Jay Hawkins at Harlemâ€™s legendary Apollo Theater no doubt prepared him for a transient musical future and heâ€™s circumspect about performing his compositions with such a different lineup to the people he created them with â€“ especially Edwards, who passed away in 1996.
â€œItâ€™s interesting to say reinvigorate,â€? Rodgers muses. â€œMaybe it did on some level. Certainly after I was able to perform again, because for a while I wasnâ€™t even able to perform, so when I was able to get that back I loved it â€“ I canâ€™t say more, but certainly I loved it as much as Iâ€™ve ever done. Itâ€™s hard to have measurable gradations of, â€˜Do I like it more now or do I like it more when I started?â€™, because thatâ€™s really not being truthful and accurate. So Iâ€™ll just say itâ€™s an accurate statement to say, â€˜I love it now as much as Iâ€™ve ever loved it.â€™â€?
â€œItâ€™s always different because everybody has a different feel and I think that thatâ€™s what I like â€“ that the music never gets old to me, because when Iâ€™m working with different people I have to hear their interpretation of it and then I change my technique to go along with them. The Chic Organization works like a unit and if it doesnâ€™t work like a team, one person canâ€™t win the game â€“ itâ€™s impossible. So you have to adjust to the way that the other person plays. Iâ€™ve watched many incarnations of The Chic Organization â€“ and believe me, there have been many â€“ but the basic DNA of the composition and the purity of it is always there or else I canâ€™t play it. I wonâ€™t. Itâ€™s impossible; I wonâ€™t stand for it.â€?
The night before catching up with Rodgers, he and his current cohorts in The Chic Organization had given the Rodgers/Edwards back catalogue a thorough going over at Madridâ€™s Teatro Kapital to a crowd in some cases half the age of the opening call to arms of Everybody Dance and Dance, Dance, Dance. They moved through gun-for-hire work like Madonnaâ€™s Like A Virgin and even paying a nod to the acts whoâ€™ve sampled them â€“ namely Modjo (who interpolated Soup For One for 2000â€™s Lady[Hear Me Tonight]) and
And even though Rodgers is the creative core of these songs, when performing them live you never get the impression that heâ€™s the primary focus
â€“ more just a key component in a well-oiled discofunk groove machine, which you can see at the upcoming Womadelaide, Golden Plains and Playground Weekender appearances, as well as headline shows. â€œI do play some pretty great solos on Chic records every now and then, but thatâ€™s not the philosophy. The easiest way that I can explain it is that Chic is like a symphony orchestra and Iâ€™m like the composer and if you think of it in terms of Beethoven and something famous like the Fifth or Ninth Symphony that everyone knows â€“ he can write it, but he canâ€™t play it. He can play the parts, he can play the melody and the harmony and the rhythm and stuff, but he canâ€™t perform the symphony because you need the orchestra to do that. With these songs, I can compose it, but I canâ€™t perform it properly without them. Yeah, when you hear the guitar part and I sing the melody and stuff like that it is the essence of the song, but Chic is a band conceptually and the music is performed like that.â€? WHO: Chic feat. Nile Rodgers WHEN & WHERE: Saturday 3 March, Playground Weekender, Del Rio Riverside Resort; Monday 5 March, Metro Theatre
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CELLO AND SOUL LIZ GALINOVIC DISCOVERS THAT SINGING, SONGWRITING, BIKE RIDING, ACOUSTIC CELLIST BEN SOLLEE WOULDN’T BE A VERY OBEDIENT DOG.
usicians just don’t travel like they used to. Not now that they can ride across countries in their own state of the art bus with all the comforts of home, or pile into the back of a car, or fly from city to city skipping over all the towns in between. That is unless you’re Kentucky native Ben Sollee, who does at least a third of his touring on a bicycle with his cello strapped to the back. “We haul all of our gear on bicycles without a support vehicle and we travel from community to community,” Sollee explains, as lungs are sucked dry just thinking about it. “The purpose of these tours is not to be green – whatever that means these days – or sustainable, it’s really to slow down, use the limitations of the bicycles and be more community-orientated. In the places where we’re playing, the people are more involved in the shows. It’s really a lovely thing.” This is one of several standout elements to Sollee, who is a formidable cellist with a soulful voice and an interest in social issues, which are things that over the years he has combined as a solo artist as well as in collaborative projects. He is often hailed as an activist and charged with being a classically-trained musician who instead of sticking to Bach and Mozart, chose to mix genres such as soul, r’n’b, blues, bluegrass, jazz, folk – perhaps a few more – and defy the traditional borders of genres. In 2008 he released two EPs before his first full-length, Learning To Bend, caught the attention of the industry and generated well-deserved praise. 2011’s Inclusions is the follow-up and the album that sees him coming to do his first tour of Australia, where he will travel in petrol-dependent vehicles and not on a bike.
on styles. I can play things that are very much electric sounding – electric guitar sounds – I’ve done a lot imitating drums; as I toured through China I picked up a lot of ornamentations and vocalising like Chinese opera instruments. The cello can really embody so many things and that’s a really great tool for a songwriter, because you often find yourself writing about a huge variation of topics and the cello seems to help along the narrative in almost every case.” WHO: Ben Sollee WHEN & WHERE: Wednesday 7 March, The Basement Circular Quay; Sunday 18, Blue Mountains Music Festival, Katoomba; Wednesday 21, Street Theatre, Canberra; Thursday 22, The Vanguard
There are two styles of activism Sollee is often described as having a hand in – the social kind and the more musical fact that he has come to use his cello to imitate other instruments rather than keep things classic. However, it’s a label that he tends to shy away from. “I’m not that trained classically. If people compared me to their pet dog or something I would not be a very obedient dog, I would go off the rails,” he chuckles. “The inspiration to go play other styles just came from my social life. I would go study privately with all my teachers and then I would go home and want to jam with my dad, who was a guitar player, or my grandad who was a fiddler and all my friends who played other instruments. Your classical music wasn’t the music that they jammed on – they didn’t know how to do that – so I would learn what they played, which was old r’n’b tunes and fiddle tunes and, you know, pop music. So I had this cello and that was how it happened. There was no conscious decision to be like, ‘I’m going to make this instrument change or be innovative with it’. It was just sitting down and trying to play with folks.” In terms of his social activism, Sollee states that he has never “physically chained” himself to anything. “I often shy away from being referred to as an activist, because I feel like an activist is a very special person who spends a lot of time really honing their skills of how to spread a message and how to create change and make people aware of problems. I know activists and I’m not as skilled as they are, however I do share a lot of their sentiments and do put a lot of effort into raising awareness about things that I care about.” Much of Sollee’s work has addressed socio-political issues, things like liveability infrastructure (hence bike touring) and mountain strip-mining – a form of mining that blows the tops off mountains in order to get at the coal supplies within. A collaborative effort with singer/songwriter Daniel Martin Moore and Jim James (My Morning Jacket) called Dear Companion was created to raise awareness of this particular kind of mining taking place in Appalachia. But as he points out, Inclusions is more of a “humanistic” record. “It flies on a person-to-person level. As I do more and more records, I find myself relating to more and more people with my own personal story. I don’t feel like I’m the only person going through this stuff and in that way I feel as though the more personal I get, the more universal my stuff gets. It’s a really interesting dichotomy.” On Inclusions, Sollee continues to traverse a vast landscape of genres. Classic blues-style guitar (it’s actually the cello) permeates The Globe, Close To You harks back to the days of the big band, while Electrified sounds exactly that – electrified (again, sounds made by Sollee’s cello could be easily confused as an electric guitar). However, between these more upbeat tracks are slow jazz and soul numbers such as Bible Belt. “Bible Belt is an obvious standout for me because it’s so close to the heart and, oh gosh, it’s a story that so many people my age have gone through. Young love, coming together really quickly and all the stuff that goes together with that. There are other songs that are more universal as well. I think Hurting is the song that overall on the record stands out to me, because I feel like we all go through that and just understanding that each of us struggles – and I’m not going to compare that or say that one person struggles more than the other – is a very important thing to understand, to be able to move past the struggles in this world.”
black arm band
For all his talent as a lyricist and composer, a compassionate individual dedicated to speaking (or singing) out against environmental and social injustice on our planet, take these things away and you would still have a musician worth seeing if only for the way he plays that cello. “I’ve been calling it the Swiss army knife of the orchestra; it can really do so many things and composers use it to do so many things. It can support, it can do rhythm, it can do melodies, textures – it’s an amazing instrument in that way. And as I’ve played in different bands with different musicians I have taken
THE DRUM MEDIA • 35
BEST OF BRITISH UK HIP HOP PIONEER RODNEY SMITH, AKA ROOTS MANUVA, HAS NEVER BEEN SCARED TO TACKLE DIFFERENT MUSICAL STYLES. MARK HEBBLEWHITE HUNTED HIM DOWN TO TALK ABOUT HIS QUEST TO TRANSCEND GENRES AND THE CHALLENGES OF BEING A PARENT IN THE RAP GAME.
ike its antipodean cousin, English hip hop is a beast always striving for purity. From Blade to The Brotherhood and London Posse, local accents and the Four Elements have been held up as arbiters of dedication and hallmarks of self-identity. Roots Manuva has been an important part of this movement with a lyrical approach chock full of Brit-centric messages and a flow that that reps the South London streets of his youth. But Roots Manuva’s distinctive sound also reflects the United Kingdom’s strong links to the Caribbean and the emcee has never been scared to include dancehall, reggae and even newer forms of dance music such as dub into his sound. It’s an approach that could alienate traditionalists, but the man himself claims that everywhere he goes he only finds open minds. “Things are much more wide open in hip hop these days than they were say ten or twelve years ago when you did have those ‘boom-bap’ trainspotters who would criticise everything that wasn’t the emcee/DJ formula,” he says. “Really I’ve always created music that means something to me and something to my community – and of course reggae, dancehall all those styles have large audiences here in the United Kingdom and a lot of hip hop heads are fans of these styles as well. “Being on Big Dada – a label which is all about promoting hip hop culture – also helps. That’s especially the case with the younger generation and their appreciation about what hip hop culture is. It’s amazing; I go around the country doing music workshops for the younger kids and their generation has a completely different view on emceeing than mine ever did. For one, the issue of accent has completely gone away. Most of these kids have grown up listening to homegrown artists – the resistance to local accents that was around back in the day has completely gone. These kids are also open to different styles of emceeing and see the benefits in all of them. For example, the grime style is big now – faster tempos and off kilter rhyming is really popular.” Despite playing a huge role in the diversification of English hip hop, Smith remains modest, preferring to point to the efforts of other pioneers.
“There have been so many great hip hop artists over the years – Blade, Skinnyman, Task Force, Rodney P and of course The Brotherhood – who made some really great hip hop that was distinctly British and could stand against anything from around the world. And of course, you have a new generation of artists taking things to a whole new level. It’s just great to be a part of it all.” Smith himself is no slouch. His last full length LP, 2011’s appropriately title 4everevolution has been lauded as a career best. Spanning a jaw dropping musical range, 4everevolution goes beyond the typical template of hip hop and its closely allied Caribbean cousins to encompass the differing tempos and melodies of electronica, funk, rock and even flashes of disco. As it turns out, there’s a pretty good reason for the album’s wandering musical eye. “I came to the recording process with a really clear mind – with no preconceptions at all,” explains Smith. “I just gathered all my recording equipment together and wanted to make some music. And as I worked, I found I was being dragged in several different directions. At one stage, I decided to make three separate albums. One a set of songs in sort of alternative rock style; another, a set of dance tunes; and then a more traditional set of hip hop songs after that. But along the way I just found that it would have overwhelmed me to do that – so the album you all have today is like an edit of the best tracks from what would have been three different albums. “And I should stress that I wasn’t trying to be ‘different’ or get people talking by putting as many different styles on the one album as I could,” he continues. “I’ve been making music more than half my life and as you grow as an artist your perspective changes, your attitudes to your art change and naturally that includes a widening of what music interests you. I think you can see those changes and new perspectives on 4everevolution – and although it wasn’t the album I originally set out to make, I’m really happy with how it turned out.” One of the things that has changed Smith’s artistic vision has been becoming a parent. According
to the man himself, with the responsibilities come new horizons and new opportunities.
high-energy performances, he promises that his upcoming Australian jaunt will be his best yet.
“When I was seventeen all I cared about was reaching my peers,” says Smith. “That was it – speaking to them in the language they understood and that I understood. That was all I knew and I didn’t care what anyone else in society thought of my friends or me. As I got older – and especially when I became a parent – I began to change my outlook. At first I was scared that I would lose my edge; become irrelevant to the younger generation. But now I see the opportunities that this change in perspective has brought. When I make music now I’m thinking about reaching a wider audience. I want to make music that other parents can enjoy. But at the same time, being a father also offers me a chance to stay fresh. I’m always asking myself, ‘Will my kid like this?’ Being a parent lets me tap into the thoughts and attitudes of a whole new generation to make sure my music keeps its edge.”
“I’m coming over there with a live band and a hell of a lot of new music to play, so of course I’m really looking forward to it. When I was writing the new record, I was thinking a lot about how the songs would sound live – so playing them is going to be fantastic. I have such a great relationship with Australia and I try to do something new every time I come over. I’ve got a lot of friends down there and I’ve played in so many different places. I’ve even made it down to places like Hobart, which culturally was a bit of a shock to me, but a great experience at the same time. What can I say – I’m always ready to throw a shrimp on the barbie.”
He may be growing older, but Smith doesn’t have to worry about losing his edge in the live arena. Already known across the world for his
WHO: Roots Manuva WHEN & WHERE: Sunday 4 March, Playground Weekender, Del Rio Riverside Resort; Thursday 8, The Hi-Fi
MAN ABOUT TOWN IT HAS BEEN A LONG SIX-YEAR WAIT FOR AUSTRALIAN BONNIE “PRINCE” BILLY FANS TO SEE HIM BACK IN OUR COUNTRY, BUT, AS THE MAN BEHIND THE MONIKER WILL OLDHAM PREPARES TO RETURN ON THE BACK OF LAST YEAR’S WOLFROY GOES TO TOWN, HE TELLS DAN CONDON HE’S HAD HIS REASONS.
here are some explicitly personal reasons as to why Will Oldham hasn’t been to Australia in six years, though it’s not because he doesn’t love it down here. “The last trip we made down there we played a few shows in Australia and a number of shows in New Zealand and it was one of the most rewarding trips I’ve been on,” Oldham begins. “It was very special in a lot of ways and it’s the kind of thing that slows you down from trying something again, having such a great experience. “At the same time, the last time I went was about six years ago and a few months later my father passed away. My mother has been of questionable health since then, so that makes travelling to the other side of the world a bit more challenging.” There are plenty of exciting plans in store for this trip, both for Oldham and his fans. “We’ll get to see my friend Mick Turner and play some music with him and I believe do a bit of recording with him and that’s something I greatly look forward to,” he reveals. “I look forward to going to Margaret River because Chan Marshall [aka Cat Power] has spoken many times about the glories of Margaret River and I’ve never had a chance to go there before, but this time we get to go and play in Margaret River so that’s very exciting. I’ve only heard good things about it. I’ll also have a new hand-plane for bodysurfing, so I look forward to breaking it in on both the east and west coasts of the country.” This trip is on the back of last year’s wonderful Wolfroy Goes To Town, a record made with the help of six of Oldham’s favourite collaborators. The fact such a large band has produced a sparse, considered record is testament to their subtle playing. While this wasn’t a dictated direction on Oldham’s behalf, he did ask the musicians to listen intently and respect each other’s playing. “I knew we were going to be going in and recording with seven of us in total, so there was always the thought of encouraging people to remember that there were seven of us participating and asking everybody to be very judicious when deciding how he or she was going to contribute,” he 36 • THE DRUM MEDIA
recounts. “It’s great that it’s ended up sounding open and sparse when there are seven people participating in the making of all the songs. It’s just the idea that you want all of these creative forces as part of the record but you don’t want them to overwhelm the song, you don’t want the listener to feel ganged-up upon by us. The song has to have some space because there has to be room for the audience in there.” The album takes its name from a painting by Oldham’s friend Lori D, an artist from Portland, Oregon, who painted it for an exhibition in Melbourne. “I had created this name Wolfroy a number of years ago and I used it as an email address,” he explains. “I follow [Lori’s] work fairly closely and knew she had this exhibition down there and I looked from here, from Kentucky, to see what the works were and saw she had appropriated this name of Wolfroy and created this amazing image. Her work in general I usually find fairly breathtaking and inspiring, and I liked that she had carried the name and given the name a body. It was so exciting. I own the painting and I look at it every day; it’s the kind of thing where it’s just a part of my brain world. When I was looking at it every day and working at these songs, I just thought, ‘This could be my guiding light for making this record’.” A track from the record, Time To Be Clear, will be released as a single soon with unreleased offcuts Whipped and Out-Of-Mind featuring as b-sides. But they’re far from throwaway songs. In fact Oldham says their release is what will make Wolfroy Goes To Town feel complete. “We prepared twelve songs and ended up only recording ten, but then we recorded the other two songs a few months later,” he says. “That’s exciting because it feels complete now and the release will feel complete by that point. They’re the two songs that have anything to do with love – both platonic and corporeal – and they were not included with the rest of them, so it ended up being a fairly cerebral record without these two songs.” Wolfroy… sees Oldham once again singing from the first person perspective, something he has made a habit
of throughout his career. He says it was a yearning to step out of his own skin what drew him to music initially. “I came to music through acting and I came to acting through the desire to live out alternate realities and make decisions based on completely different forces acting upon my decision making process – and one good way of doing that is to play roles. Another good way is to write songs in which you can leave certain parts of the forces that act upon you to make you who you are and retain others. “Maybe one day it would be nice to write some more third person songs and I’ve tried every now and again, but, when you’re singing, the joy of finding the dynamic and the melody of the performance comes more completely with identification with the voice that is making the words happen.” Anyone who has spent the past few months bathing in the gorgeous harmonies on Wolfroy... are in for a real treat when Oldham arrives with his band The Cairo Gang. “We’ll be a four-piece, four of us out of the Wolfroy… band – Emmett Kelly, Angel Olsen, Van Campbell and myself,” he reveals. “This will be the first time that we’ve worked as a quartet in that way, although the four of us
have been playing together in different formations in the past few years. There will be a lot of singing – Emmett, Angel and I have just been singing with each other a lot, so there’ll be a lot of singing off of each other.” He has 16 studio albums and countless singles, EPs and collaborative works to his name, but when Will Oldham thinks about the future, he’s not certain about continuing along the path he’s trod for so long. “Making records is something I love to do, but it’s also something I do to live,” he imparts. “In general, mass produced media has changed and, if it continues to go in such a way that less and less income can potentially come from the making of a record, then I don’t know how many records I can continue to make. I love making records, but it’s a new world from the world in which I grew up.” WHO: Bonnie “Prince” Billy WHAT: Wolfroy Goes To Town (Spunk) WHEN & WHERE: Monday 5 March, Sydney Opera House Concert Hall
STARTING FROM SCRATCH SLOW CLUB’S CHARLES WATSON TELLS ROB TOWNSEND HE FEELS LIKE HE IS IN A WHOLE NEW BAND
e could have made another record like the first one, but we didn’t really want to. We’d spent a lot of time listening to different types of music and travelling. That changes you, I think. We wanted to just do something totally different.” When Sheffield duo Slow Club returned with their second record, it was immediately clear that they were upping the ante this time round. Paradise arrived a bigger and more ambitious offering than their debut, Yeah So. While the new album still has that sweet Slow Club sound, the production-levels and arrangements are greater reaching, with pop, soul and Motown edges adding to a familiar indie-folk platform. “We were able to experiment with different instruments and ways of recording, so that was the thing that allowed us to make it sound different,” says Charles Watson down the telephone from a hotel room somewhere in Northern England. He sounds groggy after the previous night’s gig. “It wasn’t like we were trying to say that we didn’t want to do what we’d done before ever again, but we were just given the opportunity to experiment, so we did.”
Along with his partner-in-music, Rebecca Taylor, Watson put plenty of love and hard work into creating Paradise. As with their debut, the record has a number of songs in which either Watson or Taylor takes the front seat, while a few are collaborative efforts. “It changes from song to song,” he explains, when talk turns to how these are created and whether a song’s vocal protagonist is generally its author. “We both write separately quite a lot and then sometimes we work on things together. There are quite a few songs on the album where it is just one of us and there are a lot that have been thrashed out together.” On this subject, Watson talks about his heightened realisation of the importance of being able to communicate ideas in the studio. “When you have a vision for a song, no one else really ever gets it spot on. There can be a bit of miscommunication between our brains and the only way you can do it really is to record it yourself. Your ideas are always a little vague unless you have the vocabulary to communicate with engineers and producers. So if you can speak their language on a very basic level, it really helps.”
With Slow Club being a two-piece, one wonders whether the “thrashing out” of a song ever results in a stalemate before it even reaches the recording stage. In a normal band dynamic, there are enough voices and opinions to usually result in some kind of majority. When two strong characters can’t agree on something, are there ever arguments? “Yes,” he immediately affirms with a bit of a chuckle. “There are lots of arguments, but there’s normally one person with us, when we’re recording at least, who we know really well and someone who we respect. They help us through those little moments.” And if they didn’t have someone there to mediate? “We’re both quite stubborn, so we’d never get anything done.” But they did indeed get their second album done. And done well. Paradise is one of the better albums to have come out of the UK in 2011 and one of its major charms is its diversity. It is clear that they have a range of influences. But are there big differences in the duo’s music tastes? “Yeah, polar differences,” Watson admits. “Rebecca really loves r’n’b. I love people like Bowie and Neil Young.” While this might lead to a fight over who gets control over what tunes are played in the tour bus, it also allows the band’s sound to stretch in many directions. “It definitely brings different things to the songs. We meet in the middle and it’s a mix of our tastes really.” There are, of course, a few bands that the duo does agree on. But even the two that are mentioned fall at opposite ends of the scale. “I think Neil Young is one of the ones we are both totally in awe of. And Michael Jackson as well. We listen to a lot of Michael Jackson.” So, inspired by a love of r’n’b, Bowie, Neil Young and the late King of Pop, this pair of Brits have, for the second time, created a record that is striking a chord around the globe. For a band that is, in many ways, quintessentially English, it is something of a surreal experience. “A lot of the songs are written in the bedroom or the kitchen, or something like that so it’s kind of weird that they stretch out to all these places. You don’t have any control of it either...” He stops mid-flow, as if further contemplating the idea of a song he wrote in his kitchen travelling all the way across the globe. “It’s strange, yeah. Very weird.”
ABOARD VOYAGER 8
Palomo’s second Neon Indian record – the follow-up to 2009’s chillwave blueprint Psychic Chasms – effectively sounds like a sad, cold, electro record blasted with waves of shoegaze-level noise. “It was really rad to mess around with chiptunes, but try and write shoegaze music with it; to try and chase these weird mish-mashed aesthetics in my head,” Palomo offers. After the lo-fi fug of his first LP, Era Extraña marked a move towards a more widescreen, hi-fi sound. “I realised that really fine-tuning a more hi-fi-sounding record – even though I know it’s not really a hi-fi record – was something that I could do,” Palomo says. “I look back on [the first record] and I see how easy it was to put this warped tape sheen on everything, then just be content with it. Because there was already a narrative, a story innate in doing that. This time, it felt more like building something from the ground up.” Including, some literal building. Specifically the PAL198X, a custom synthesiser Palomo had built as he was setting
WHO: Slow Club WHAT: Paradise (Popfrenzy/Inertia) WHEN & WHERE: Wednesday 29 February, Beach Road Hotel; Thursday 1 March, GoodGod
DESPITE INITIAL MISGIVINGS, AN UNLIKELY BIG NAME PRODUCER DIDN’T FEEL THE WRATH OF BLACK LIPS FANS, AS BASS PLAYER JARED SWILLEY TELLS DAN CONDON.
“It was a total fabrication of the internet,” Palomo eulogises, of the evolution of chillwave. “It’s not like any of us knew each other or hung out. I didn’t know Chaz [Bundick of Toro Y Moi] or Ernest [Greene of Washed Out] or any of those dudes until we were written about in the same sentences. People just lumped us together like a play-date. It felt really weird – ‘Hey, you guys should be friends! Collaborate!’ But, it was something and it did happen because we could have similar interesting musical conversations. What’s interesting to me is that all these new sophomore albums by so-called ‘chillwave’ artists is really only reiterating the notion that everybody come from polarising backgrounds to begin with. Nobody’s second record really sounds like one another – and that’s a really awesome thing.”
Watson is excited about returning to the country he first visited in 2010. “I think it was one of the best trips I’ve ever been on. It was amazing. We toured with Camera Obscura, which was great because we’re both huge, huge fans of that band. It was so nice. We had quite a lot of friends out there and it felt quite a lot like home; felt quite English. It was brilliant and I can’t wait to come back.”
NO NEW DIRECTIONS
NEON INDIAN’S ALAN PALOMO TALKS TRANSITIONS FROM LO- TO HI(ER)-FI AND SYNTHS WITH ANTHONY CAREW. aving made more slick, electro productions as Vega – where people called him ‘blog-house’ – Alan Palomo started making Neon Indian jams as an entirely personal project; lo-fi goof-offs, washed-out love songs and tape-damaged tone all in play. Yet, in mid-2009, he suddenly found himself at the centre of a blogospheric storm, crowned the king of the summer of chillwave.
It’s not just Slow Club’s songs that are making their way across the world, but the band are coming back to Australia for a second visit too. Having been on tour in their native land, they are thrilled to be performing live again after quite some time off the road, especially since they have ten new songs in their arsenal and have filled out their live presence with two extra musicians on stage. “We hadn’t been touring for so long. We were so ready to go. It’s like we’ve both been in a totally different band and we’ve had to totally start from scratch. The new guys have had to learn the songs and it’s like we’re starting again. It’s really nerve-racking, but when the shows go well, they go really, really well and it’s so exciting.”
out work on Era Extraña. “This record made a gear geek out of me and I couldn’t be happier about it,” Palomo laughs. “I wanted to use these synths, these instruments and effects that I’d wanted to use since high school. I wrote the record on a Voyager 8 and an MS-20 and a modified Commodore 64. The Voyager 8 is in the New Order video for Perfect Kiss and I was always totally blown away by what that thing looks like. It’s this bizarre, kaleidoscope interface with these knobs and it’s really physical to use – a strange kind of challenge. A lot of the first weeks, when I was in Helsinki working on the record, were spent just learning how to use all this stuff.” Though Palomo made much of the LP in isolation, he knew he’d be playing the songs live. It was a different story back when Psychic Chasms came out. Then, Palomo found himself in a familiar position for someone suddenly thrown into the hype machine: having to assemble a live band, live show and live reputation. “It was totally carved out on the road and it took a while,” Palomo recounts. “I remember the first twenty shows were pretty brutal. It was one of those things like, ‘This show better get good, we have forty more dates lined up!’” This time around, with a tight band already assembled, willing and waiting, Palomo wrote Era Extraña’s songs “motivated by how I would want [them] to be played live”. “That was,” he says, “something that was undeniably in my mind – ‘What would I want to be playing every night for eight months?’ The album really evolved from there.” WHO: Neon Indian WHAT: Era Extraña (Popfrenzy/Inertia) WHEN & WHERE: Friday 2 March, The Standard; Saturday 3, Playground Weekender, Del Rio Riverside Resort
ven though Black Lips released their sixth studio record, Arabia Mountain, only in June last year, the band’s bass player and vocalist Jared Swilley is already looking to the next one. It is in revealing his hopes for album number seven that we get something of an insight into the Black Lips’ rather chaotic modus operandi on Arabia Mountain. “This time I’d like to kinda do things like we never do them, which is actually plan it out,” he asserts. “Usually everything with us is just so scatterbrained, everything’s… not a mess, but this time I actually want to, like, do demos beforehand and do a session where we set up and have a set amount of time to do it. I want to record everywhere and do as much as possible, but this one I’d like to plan out more. “The last one was just kind of haphazard – we’d just do studio time here and studio time there – and then Mark Ronson called and that was great that we did that, but we kind of did it by the skin of our teeth because we were touring pretty heavily between it and just had a lot of deadlines and stuff. But this next one I want to plan more.” And so, nonchalantly, Swilley brings up the biggest talking point about Arabia Mountain prior to its release – the Grammy award-winning, heavily pop and soul-leaning superstar record producer who came on board with a scruffy bunch of garage punks and helped them make a record. To say there were hesitations about the decision among the band’s fanbase is a drastic understatement, but Swilley says that, inside the band, it was a different story. “No, he was calling us a bunch and writing to us and pretty much the first thing he said was that he didn’t want to fuck with our sound too much and he didn’t want to be the one responsible for [us] feeling the wrath of our fans, for ruining us,” Swilley responds when asked if there was any fear of letting Ronson take control midway through the recording process. “So he was not hands-off, he was more like… he really wanted us to do our thing and he would just add in his
nuances and subtleties and direction. He didn’t take it over like a dictator or anything; he was so easy and so great to work with. He just kind of helped accent things and make our strengths a little stronger.” That is precisely what he did. Despite the fact that the record manages to capture the free-spirited energy of this band clearer and more urgently than ever before and even though it sees the band further refine their (already razor-sharp) knack for irresistible pop hooks, the best thing about Arabia Mountain is that it did not ruin the Black Lips. One could assume that this is why the band’s early adopters didn’t voice their disdain upon the record’s release. “I’m kind of surprised that we didn’t get more of a backlash from our older fans who are fans of all of the earlier albums. I was expecting a lot of people who have been following us for years and the ones who are more like super punk-rock and stuff to rip on us working with Mark Ronson because he’s known for doing so much pop stuff. There wasn’t really a backlash about that at all, everyone was pretty happy about what he did and no one called us sellouts or anything like that. That surprised me.” WHO: Black Lips WHEN & WHERE: Saturday 3 March, Playground Weekender, Del Rio Riverside Resort; Sunday 4, Annandale Hotel THE DRUM MEDIA • 37
IN THE PRESENT
JUST THE FACTS, MA’AM
THIS YEAR JAPAN’S DJ KRUSH IS HOPING TO TEACH HIS SIX-YEAR-OLD GRANDSON TO DJ. HE CHATS WITH CYCLONE.
ARE ALEKS & THE RAMPS FALLING INTO THE TRAP OF WRITING UNPOPULAR POP TUNES? SAMSON MCDOUGALL FINDS OUT FROM ALEKS BRYANT AND RAMP SIMON CONNOLLY THAT THAT’S HOW THEY LIKE IT.
wo years in the making, FACTS, the new album from Melbourne’s most serious fun-time band, Aleks & The Ramps, is a considered work. Where their last release, Midnight Believer, rocked to a kind of schizophrenic pulse, the new record flows to an entirely different rhythm. As close to radio-playable pop music as the collective – the word ‘band’ should be applied fairly loosely, at least for the purpose of this release – has ventured, FACTS comes at you from an obscure angle and weasels its way in through the back door. Similar to Midnight Believer, the strength of FACTS is in the continuity of sound. But while the former conjured a wild ruckus on the high seas (at least to this dude’s ears), the new album breathes summer throughout. “All our albums have a seasonal touch to them,” says vocalist and guitarist Aleks Bryant, fairly ingenuously. “But it’s also got our most depressing song ever,” adds Simon Connolly (guitar/vocals). “Summer is actually the most depressing time of year,” continues Bryant. “It’s both the happiest and the most depressing time – it’s oscillating between the two – autumn’s the most stable. Autumn’s the time for gettin’ stuff done,” says Connolly, “especially in bands. As soon as that whole summer festival thing’s over, everyone just hits the ground running ‘cause you’ve only got a couple of months to get things done.” This sentiment was not applied to the latest recording. FACTS represents an experiment in persistence, of sorts, whereby Bryant put out a call to band members that recording was in progress and from there they dabbed the thing together over a long period. In a sort of twisted irony, they took this new approach in a reaction against the rigours and logistical headaches associated with more traditional ‘band’-type writing and recording. “[Midnight Believer] took a long time to make because we rehearsed it as a band and had all the songs written and then we recorded them,” says Bryant. “Then there was a really long tinkering process... [This time] we thought, ‘Why don’t we do that in reverse?’ Instead of getting five people together and throwing ideas around, which can be really
38 • THE DRUM MEDIA
time consuming, it was like putting an open call out that we were making a record and we’d work on it in smaller groups – sometimes me and Simon, sometimes me and Joe [Foley, bass], sometimes me and Simon and Janita [Foley, ex-vocalist], or whoever was around. “We could do it again but be more fascist about time,” says Bryant of the eventual (pleasing) outcome of the experiment, despite the two-year time frame. “The stakes weren’t that high. It’s not like we’re paying $550 a day and paying for an engineer.” Listening to FACTS (and especially through subsequent listens), it actually feels more together than their earlier work. The album reads as more completely realised and conceived than its origins should suggest. “There’s been more of a directive going into this record than there has in the past,” continues Bryant. “Used to be [puts on the voice of an idiot], ‘Let’s just fuckin’ see what happens’ – in that voice as well. On this last one, we thought maybe we should be a little more succinct with our ideas. There’s still a lot of stupidity, but [it’s] a bit more concise.” And the touch is markedly lighter right through the listen. The abrupt tempo shifts and frenetic nature of Midnight Believer only existing in shadows – a guitar lick here and a vocal phrase there. “We all like well-produced pop music,” says Connolly. Bryant interrupts, “We have no shame in saying that.” “We like the art and the whole process of doing that. We’d like to see if we can make it sound incredible – sleek and punchy and pristine sounding,” Connolly continues. “We’ve been striving to make strong pop music, not like because we gotta get this shit on radio.” WHO: Aleks & The Ramps WHAT: FACTS (Gaga Digital) WHEN & WHERE: Thursday 1 March, ANU Bar, Canberra; Friday 2, The Patch, Wollongong; Saturday 3, GoodGod; Sunday 4, Chino’s, Newcastle
J Krush, AKA Hideaki Ishi, pioneered trip hop, turntablism and Japanese hip hop, but he might have led a very different life. After leaving school, Ishi worked under the Yakuza for a construction company. When a friend lost a finger in a ‘ceremony’, a horrified Ishi decided on a career switch. Today the Tokyo native is bringing altruism back to hip hop. At the year’s start, Ishi revealed on his website how 2011’s Japanese earthquake and tsunami coupled with the global economic turmoil had affected him emotionally. “It was a very difficult time and, in the scheme of things, I found it quite a struggle,” he says through a friendly translator. “However, I’ve now come to a point again where I think that breaking through into people’s hearts and leaving a warm feeling with my music is the role that I want to project.” Ishi is bound for WOMADelaide 2012, but he’s also celebrating his 20th anniversary with a massive tour that launched last year. Most Australian hip hop fans discovered the former Krush Posse member via his instrumental – and avant-garde – secon d album, Strictly Turntablized, on James Lavelle’s Mo’ Wax. It pre-dated DJ Shadow’s Endtroducing... and Ishi would later work with Shadow. “I haven’t had contact with James Lavelle lately, but I see Shadow regularly at festivals and often keep in contact with him on what’s going down in his life. Shadow’s wife speaks Japanese and lived in Japan for a while, so we have some great conversations when we catch up at festivals in Europe.” Ishi hasn’t presented an ‘artist’ album for a spell. His last one, Jaku, was released in 2004 – although Sony Australia afforded Stepping Stones, The Self-Remixed Best, a double ‘best of’ compilation with an innovative twist, a big push two years on. Ishi is progressing with his tenth outing. “I’ve been releasing singles every month in a new format [the fifth, Kouro – Optical Path, aired in January] and probably in the Japanese autumn, which is about September or October, there will be an album that will have all of those tracks plus some more on it.” In recent years Ishi has ventured into film scoring. The
jazz buff has also participated in Bill Laswell’s Method Of Defiance project, together with Bernie Worrell. Much has changed in hip hop since Ishi was introduced to it by way of the cult ‘80s flick, Wild Style, with the mainstream American variant now closer to European electronic club music. What does this eternal b-boy, who’s collaborated with the likes of The Roots’ Black Thought, make of it? “There are various styles that are using a lot more electronic influence, rather than sampling. On a personal level, I prefer the sampling style of hip hop that used to happen to the more dominating electronic styles that are happening today.” Yet Ishi is as inspired as ever. “Even though I have been producing music for twenty years, there are just more and more ideas coming into my head – I have a mountain of ideas – so I don’t need to challenge myself. It’s already there bubbling up. My interest in music is basically the essence of who I am.” Remarkably, Ishi is a grandfather – and he may soon be training a young turntablist. “I have two daughters, who haven’t really been interested in DJing, but they love listening to lots of kinds of music. [But] of my grandchildren, I have a six-year-old boy who has a very strong interest in turntables – not in a digital format, but analogue. I’m expecting him to ask his grandfather this year to teach him how to DJ, so I’m looking forward to that moment!” Ishi enjoys fishing as a hobby, but he’s yet to do so in Australia, despite successive tours. During their first tour, D12 went fishing on Melbourne’s grim docks and, catching nothing, goofily posed for photos with a giant plastic fish instead. Ishi laughs at the story. “They obviously didn’t have the right bait!” WHO: DJ Krush WHEN & WHERE: Thursday 1 March, Upstairs Beresford; Thursday 8, Transit Bar, Canberra
WHAT WOULD YOU HIDE TO PROTECT YOUR FAMILY?
Strong coarse language and violence
IN CINEMAS FEBRUARY 23
SINGLES/EPS WITH ROSS CLELLAND
ON THE RECORD
We Were In Tokyo & Then We Woke Up Independent
Shiny and catchy mostly synth noise. They’re mining the ‘80s like so many lately – this certainly having some glam-era Bowie and Roxy affectations in both the voices and found noises. And some glitter abounding in the mood of the tunes, which seems to oscillate between smiling inanely and smiling anxiously as they try to remember what happened in the preceding hours. The multi-instrumental nature of the duo makes it seem there is plenty going on – which it may or may not be, depending on how hard you look.
ADELE & GLENN I Dreamt I Was A Sparrow Independent
An Adele who hasn’t felt the need to change her name as the other one seems almost ubiquitous. This is the Pickvance one, formerly of various Dave Graney apparatus, among other things. The Glenn is Thompson, of the much loved Custard. Together, they were the rhythm section of The Go-Betweens and this has a bit of the quirk and whimsy of most of those names. This shuffles along, watches the clouds, smells a couple of flowers, stops for a latte and generally has a nice day out. Then goes home and writes it in a diary.
THE MAGNETIC FIELDS Andrew In Drag Domino/EMI
Simply, Stephin Merritt is still making beautiful pop songs of love and the longing for same. But it’s never quite that straightforward. You’d guess there’d be some trick to the title. Nope. He’s having feelings about a male pal who’s frocked up for a laugh. What follows is a nice argument with himself and gender identity and dreams of a dream, all in under three minutes. We await the artfully-titled upcoming album, Love At The Bottom Of The Sea, for more pop music that you can hum that allows you to think some too.
BLEEDING KNEES CLUB
EVERY TIME I DIE
I Oh You!/Liberation
Violin alchemist and first-rate whistler Andrew Bird has recorded a marvellous new album, ditching the traditional studio way of recording in favour of a barn. More often than not saving thousands of dollars on recording technology in favour of timber and fresh air yields great results (see Bon Iver’s For Emma…, or My Morning Jacket’s At Dawn) and Break It Yourself is no exception. Instead of the sound being absorbed and trapped like a bug in amber by the homogenous mass of foam in a recording studio, it instead bounces off different shapes and finds refuge in the high ceilings. Small echoes float around the room like ghosts and everything’s a little bit rougher around the edges without the usual take-after-take multi-track approach.
It’s hard to pinpoint the exact time garage rock moved from being the territory of the dirty, jaded punks inhabiting scarcely attended shows in beer barn basements and became the music of choice of pretty young things with flash cameras and perfectly colourblocked attire. Where disco beats and Joy Division-aping danceable drear once dominated; tinny guitars, loose thrashy drums and a handful of power chords now reign and Bleeding Knees Club have been one of the true local champions of this for the past 18 months or so.
Every Time I Die’s sixth album, Ex Lives, is the first album to feature new drummer Ryan Leger. Here, Leger adds a brutal intensity to the band’s already intense take on rock/metal by being a slightly more intricate drummer, but also just as heavyhanded as his predecessor. Leading with the band’s current single, Underwater Bimbos From Outerspace, the track is brash and uncouth and displays Every Time I Die at its most glorious. Most tracks on this album are reasonably short, with most being around the twominute mark, including the rhythmic brooding track, A Wild, Shameless Plain. Partying Is Such Sweet Sorrow takes a turn for the absurd opening with a banjo frantically picking out a lick any redneck would be proud of before vocalist Keith Buckley’s lyrics kick in with a tale of another night trying to pick up on the booze.
Break It Yourself
Nothing To Do
Bird is talented at crafting detailed songs writhing with different elements and sounds and this is perhaps a response to that; a step back to something more elemental. He sets a leisurely pace and populates his arrangements with the usual suspects. Jangle pop guitar cosies up with some delicate string-plucking that skips up and down your back and his trademark whistle glides over some luxurious string sections that are some of the most sophisticated of his career. He has experimented with these combinations before, but nothing he’s done has resulted in something quite as breezy as this. There’s an invigorating sense of relief that he has tapped into – like he’s been waiting to record in this way forever. Matt MacMaster
Opener, Teenage Girls, is the album’s best song. It’s almost earnest in its youthful, austere adulation of the fairer sex; totally dumb but adorable and catchy to boot. Hate Me is a straightahead mid-‘90s pop/punk (more Lookout! than Fat Wreck), packed full of self-loathing and frustration, and Beach Slut brings the band’s clear girl group/doo-wop inclination to the fore, though Girls Can Do Anything and Lipstick do so with more life and vitality. Let It Go is a much-needed change of pace three-quarters of the way through and it’s a shame Bleeding Knees Club didn’t opt to throw one or two extra songs like it into the mix, because their bag of tricks seems shallow by the time you reach the title track, meaning even a 27-minute record starts to drag. They’re by no means the first Australian band to mine this musical territory, but they’re the first to do so with any chance of crossover success. While they might do well with Nothing To Do, it’s more exciting to think of what is possible on records two and three when maturity and experience flesh out their natural songwriting talent.
Much of Ex Lives is your standard, run of the mill Every Time I Die; however there are a few surprises including the wistfully sparse Indian Giver, which closes the album, along with the Southern rockinspired track, Revival Mode, which swaggers elegantly. For those after your old school Every Time I Die, fear not as there are some fast-paced tracks on this album that will be sure to set fire to your eyebrows and could be described more aptly as punk tracks compared to the band’s previous albums. With Ex Lives, Every Time I Die have broadened the style of music they play and, whilst they introduce new subtleties, they also retain their individuality and uniqueness that has made them the influential band they have become.
JAMES VINCENT MCMORROW
THE MAGNETIC FIELDS
Early In The Morning
The most unlikely set of musicians to ever come together have returned to deliver their tenth studio LP, another lesson in the modern age of being a hopeless romantic. Love At The Bottom Of The Sea has been heralded as a return to the 69 Love Songs-era of the ‘90s, featuring ‘exclusively synth’drenched songs of all the sidekicks and ordinary people who never got a chance to play the lead role.
The hype surrounding Sleigh Bells since they formed has been pretty relentless. Their debut album, 2010’s Treats – all machine gun drum machines, chainsaw guitar riffs and heavenly vocals – was exhilarating. Now, burdened by the pressure of critical acclaim and a whole lot of scenesters to impress, comes The Difficult Second Album.
Hooks For Hands Shock
Perth’s Sugar Army may be aiming for something of the same as the abovementioned Merritt and this comes at you with a bright energy, but sometimes as you try and say everything you want you end up with just too many words. And then you’re Eskimo Joe. And we know how that’s story’s going. There are some good ideas here, but they seem bunched up and being drowned by an old drum machine pattern. It’s probably sincere, but dated. But not so dated it could be called ‘nostalgia’ or, worse, ‘retro’.
I, A MAN You’re Boring Us All Shock
An electronic patchwork put together with care that would make you think they have very tidy computer desks in the share house where the washing up hasn’t been done in a weekand-a-half. There is a sadness to it, belying its mechanical and microchipped foundations and a voice adding to the thoughtfulness and the humanity of it. Ambient? No, there’s more going on than that. Electro? No, the heartbeat is too erratic in its happiness and melancholy. Listen to with candles and red wine by the hard drive.
FAIRCHILD REPUBLIC Villages
Footstomp Memo: Namechecking The Killers and U2 does you no favours. ‘Intoxicating in a Michael Hutchence kind of a way’ may have worked in 1992, but along with those first references will discourage more people than seduce them. As we put that out of our heads, it comes to the song. It does come at you in a big spiralling way, which would work on MMM, if anyone was still listening to them.
Love At The Bottom Of The Sea
In order to create his debut album, Irish singer/songwriter James Vincent McMorrow escaped to a coastal hut in his homeland for five months of solitude and recording. However, little of that landscape is reflected in Early In The Morning, as this venture into new folk and bluegrass has its roots firmly planted in the heartland of America rather than the Celtic coast. Perhaps what can be attributed to his months of coastal lamenting is the album’s sparseness and pervading sense of loneliness. Opening a cappella with If I Had A Boat, McMorrow immediately creates a warm intimacy that carries throughout. The star of the song – and the whole album really – is his thin and soothing falsetto, supported here by alternating bass and tambourine and layered for effect. In Sparrow And The Wolf we see a more upbeat McMorrow, perhaps the track that’s most reminiscent of a Mumford sense of bluegrass. The most exciting moments of Early In The Morning come when McMorrow challenges song structure norms; in We Don’t Eat, a single piano note is played repeatedly against a single chord progression before unfolding into dual pianos and lone kick drum. From The Woods begins with a softly, softly approach before a jarring explosion sends you into a rollicking end with banjos and repeated chanting. The Irish artist falls just shy of musical enlightenment on his debut, but there are still many moments of beauty to be enjoyed. Perhaps with a little collaboration in the future, McMorrow will achieve all this album promises he can.
The Magnetic Fields have an uncanny knack for crafting catchy indie pop songs and Love… is no exception, with many a tune of losing, loving and loving losers adorning it throughout. Andrew In Drag featuring chief songwriter Stephin Merritt is contender for song of the year, the song itself so instantly appealing it’s almost worth the price of admission alone. I’d Go Anywhere With Hugh and The Only Boy In Town are worthy of mention and feature Claudia Gonson on lead, requiring a bit more time to sink in. However it’s not much effort given no song goes over three minutes on an album that’s 15 tracks long. Both Merritt and Gonson share taking the lead on various tracks and, if you’re more of a fan of the baritone of the former, this may come as a disappointment as the non-Merrittlead tracks sometimes seem few and far between. Overall, album ten is not a return to form but rather a return to the escapism that got the band noticed over a decade ago. If it were a book it would titled ‘a study of normal people and characters that inspire unabashedly good songwriting’. Adam Wilding
Katie Benson 40 • THE DRUM MEDIA
Reign Of Terror
The first noticeable thing about Reign Of Terror is that the familiar Sleigh Bells signatures are still there. Songs are punctured by those drum machines, ripped to shreds by Derek Miller’s guitar riffs and patched together by Alexis Krauss’ breathy, seductive tones. It is her vocal that is the key feature of Sleigh Bells, in that its delicacy and calmness juxtaposes nicely with the chaos by which it is surrounded. While remaining loyal to their sound, they are clearly trying to evolve too. Amongst the recognised reference points (hardcore, glam rock, pop), things are both heavier and more melodic. Road To Hell demonstrates this best, its surf-rock swagger and thudding drums combining with a chillwave vibe and luscious vocals. Krauss’s pop leanings are certainly more prominent than before, with the likes of You Lost Me playing out almost as a ballad and lead single, Comeback Kid, nodding to r’n’b. Lyrically too, the band have grown, often laying themselves bare. End Of The Line, for instance, deals with the death of Miller’s father. Although it perhaps lacks the impact of its predecessor, Reign Of Terror is certainly a more accessible record, while avoiding sounding remotely tired or rehashed. One thing is for sure, for these songs to truly make sense, you need to play them really fucking loud. Rob Townsend
“Don’t know what the fuck they talk about”, which draws you into this beguiling album. Wagner’s lyrics can sometimes seem impossible to unlock but even at their most obscure they have an undeniable air of the poetic and, when coupled with his instantly recognisable almost drawl, they can take on an air of otherworldliness that allows this album to spirit you away into a world of reflection and meditation. Like Gillian Welch’s stunning The Harrow And The Harvest released last year, this album’s gentle approach in no way lessens its impact.
These lads are true Gen Ys who very much glorify the lo-fi indie movement of current times. In A Million Years breathes of love and love lost, life lessons and priceless youthful experiences. As naive or cutesy as it may sound, the result is something truly exciting. Think The Shins cross-bred with Two Door Cinema Club on a date with new punk vocals.
On Pond’s Modular debut, Beard Wives Denim, they’ve stepped up and done what a great deal of young, technicolour rock groups fail to manage. That is, create an album of digestible tracks and twisting their extended jams into songs with form, personality and a consistent nature, allowing the record to smoothly flow through the speakers and not get lost in a plume of idealistic smoke. This album had been written and recorded for over a year now. But with Pond’s ranks including members of Tame Impala, the guys were forced to put the brakes on a release until the Tame train finally pulled into the station last year. However, these songs are blessed with a timeless nature, unaffected by the days constantly blazing by.
Is there a weakness? Lo-fi can bury instrumental talent or amplify the skill of someone less-than-average; however this debut album works with diversity to prove that Last Dinosaurs are boss on their instrument of choice. Always kept fresh, In A Million Years could provide the new shufflin’ anthems we’ve been waiting for. It’s fucking exciting to say the least. Definitely going places, these boys have captured the new beating heart that is lo-ficome-indie dance. You will fall in love with this album. Katie Rolston
Sun And Sea And You is a great example of this record, albeit just a small part of the gorgeous journey. You lose yourself in space and time while the tracks lift progressively. Be it the constant start-stop tempo changes, the hand claps and whimsical melodies, or such placidness breaking into chugging bass lines and swirling guitar solos, the sometimes marching, always engulfing psychedelia on offer goes above and beyond to heighten the occasion throughout Beard Wives Denim. But as sunny and inadvertently tropical as their brand of Western Australian fuzz pop sounds, it also carries with it a fair amount of attitude, the pedal-down stomp of Moth Wings and unhinged opener, Fantastic Explosion Of Time, attesting to this. Don’t call this a side-project. There is enough individual identity within the players and quirky twists within the songs to stamp Pond as a band able to stand on its own feet and not simply live in the shadows of another.
Length: 11 tracks, 56 mins
Moods: fractured, nocturnal, reverent
Spunk/Co-Operative Trucker-cap-wearing, Nashville resident Kurt Wagner is the lynch pin at the centre of Lambchop. With a fairly fluid cast of musicians, Wagner has been making wry Americana for over 20 years. Four years after their last album, this current lineup of Lambchop is sounding settled and beautifully on song. Mr. M takes the softly, softly approach. These songs are whispered into the air with the lightest of brush strokes by a group of musicians that have become increasingly comfortable in the studio working together as they push their own boundaries to create. Written by Wagner as he was coming to terms with the passing of his friend and fellow musician Vic Chesnutt, Mr. M melds Wagner’s predilection for country with the effortless-sounding swell of chamber music. There may be the swirls of an electric guitar on The Good Life (Is Wasted), but for the most part this is a softer affair. Strings welcome in the first song, If Not I’ll Just Die, and it’s their interplay with the piano and the contrast they provide with Wagner’s opening line of lyrics,
• Long before Lambchop, Wagner was a visual artist and the release of Mr. M coincides with his recent return to painting. The 11 images on the album packaging were taken from his recent series, Beautillion VDMilitaire 2000, and they embody perfectly Wagner’s visual aesthetic, in which he uses heavy layers of black and white oil paint to recreate scenes from newspaper clippings and old photographs. With their dense, rippling textures and subtle distortions of subject matter, these paintings offer a visual analogue to Wagner’s songs.
Pieced together in a big rustic farmhouse, the album works in a two-sided way. The first half is all about capturing you with indie-pop dance riffs while the second boasts a punkish vibe with ‘90s Nirvana-style bass and rhythmic hardcore drums. To break up these ‘two sides’ is Satellites, a soundscape that echoes a skateboard on asphalt and sounds like humans trying to murmur over whales underwater. Weekend very much exemplifies Last Dinosaurs stylistically, accentuating their musical capabilities by being timeless, meaningful and super catchy. Opening track, Zoom, is so addictive it demands bedroom loop play accompanied by jumping around in only jocks and Vans. It’s that bullet-proof excitement for the unknown that pumps through your body resulting in erratic, involuntary body movements.
Beard Wives Denim
In A Million Years
• Mr. M is dedicated to the late musician Vic Chesnutt, a friend, fan and collaborator, as well a prodigiously gifted musician in his own right. Chesnutt’s 1998 album, The Salesman And Bernadette, was recorded with Lambchop as the backing band. He started releasing albums in 1990 that went largely unnoticed by the greater public, but Chesnutt was so well regarded as a musician, as was proved by a 1996 tribute album titled Sweet Relief II: Gravity Of The Situation that featured covers of his songs by artists as diverse as REM, Garbage, Live, Smashing Pumpkins, Joe Henry and Madonna.
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Stoner rock band Fu Manchu is returning to Australia for a full national tour. Special guests are the crushing San Francisco sludge metal duo Black Cobra, while local openers will be Matt Sonic & The High Times. You can catch this bill Thursday 3 May when they play The Hi-Fi.
THIS IS THE END
Melbourne heavy metal act Frankenbok present their third album, The End of All You Know, the band’s heaviest work to date, a blend of styles from thrash to punk to Southern rock riffage and straight-up heavy metal, communicating the idea that the human race is on a one-way track to destruction. The group’s tour stops include The Junkyard Maitland on Friday 25 May and The Basement Canberra on Saturday 26.
With the momentum building for Dead Letter Circus in the US, they’re headed over there for some touring including some SXSW dates before returning for the Sleepwalker Australian Tour, with Fair To Midland and Twelve Foot Ninja, playing The Patch, Wollongong Wednesday 23 May, Zierholz, Canberra University Thursday 24, The Hi-Fi Friday 25, The Entrance Leagues Club Saturday 26 and the Cambridge Hotel Newcastle Sunday 27.
Swedish melodic death metal heavyweights Arch Enemy, with nine albums under their belts, are masters of their craft. They have never been a band to do anything without 110 per cent commitment and their new album, Khaos Legions, is another testament to that fact. Arch Enemy will be bringing tracks from it and their trademark sonic violence to our shores for a no doubt brutal show Monday 30 April at Manning Bar, supported by As Silence Breaks and Datura Curse.
THE HEAVY SHIT FRIDAY
Okay, Here we go – take a deep breath and…
KILLING JOKE’S 2012
In a year of turbulent politics, Mayan doomsday predictions and natural disasters, UK post-punk band Killing Joke release their most pointed, political album to date: MMXXII. Since their 2008 reunion, the group has been presented with the trophy for innovation at the Classic Rock Roll Of Honour, marking their ‘unique development’ over the last two decades. They have also released critically acclaimed album, Absolute Dissent, which the group nominate as their “most important” release. This year’s release the band suggests is an album that attempts to “concentrate on what it can be, the dream of clean streams, of reforestation, of permaculture, of disengaging the banks...” The album’s release date is set for Friday 6 April.
To celebrate the release of their new CD/DVD package, F#*k The World, Deez Nuts will take on their first Australian tour in almost a year, joined by two of Sydney’s finest heavy hitters in Phantoms and The Bride. It’ll be their last for a while before they jet off to write and record their third studio album. Saturday 7 April they play two shows at The Annandale Hotel (Under 18s day, 18 Over at night) and Monday 9 they play an all ages show at Oasis Youth Centre, Wyong.
Brisbane’s Awaken I Am have been busy of late. They’ve recorded their EP, launched singles, filmed a video clip and toured with the likes of Tonight Alive and Parkway Drive. Their premiere video clip will drop at the end of this month. Better yet, they have announced a string of shows alongside Dangerous! Tour stops include Wollongong’s The Patch on Friday 16 March and Spectrum on Saturday 17.
KILLING JOKE 42 • THE DRUM MEDIA
Parkway finish off the NSW leg of their big-arse tour with a show at Albury Entertainment Centre. I didn’t even know they had one!
It’s good to see some regional cities getting a taste of Soundwave. Newcastle Panthers will be hardcore heaven tonight. Hatebreed lead the charge with the Cro Mags, Biohazard and Raised Fist in an angst-ridden evening of jumping the fuck up. System Of A Down get all spazzy down at the Entertainment Centre. If you’re old enough to remember their 2002 BDO shows, you know what to expect. If you aren’t, well the lads in The Dillinger Escape Plan will also blow your mind for an hour beforehand. Speaking of spazzing out, one of the heaviest sideshows on the entire thing will take place at The Factory. It’s my pick of the night too. Meshuggah will open a worm hole into hell, Mr Devin Townsend and his band will mesmerise everyone with their sheer brilliance and of course Dredg, who I have praised more than once before, will be amazing. If you prefer things a little more straight-up and a little naughty, then be at the Enmore where you can pretend to be all serious for the first half while watching Alter Bridge and then go nuts like it’s 1987 with Steel Panther. I can only imagine the crowd at this show! Rock out with your cock out. If none of the above appeals to you or you feel like having a relatively quiet one, then the Crue and glam worshippers in Black Veil Brides will have the Stag covered in hairspray and mascara. Just nobody light a match!
Way down the coast at Nowra’s Shoalhaven Ent Cent you can catch Parkway Drive. Otherwise it’s back to the Sidewaves. There’s an absolute monster of a show over at the Roundhouse with the mighty Machine Head, who I first saw nearly 20 years ago at Selina’s in ‘95. They’ve only improved with age. Chimaira are always impressive live and Shadows Fall equally so. Times Of Grace should be interesting and if you’re upstairs, the view from above of circle pits forming and dying is always fun.
METAL AND HARD ROCK WITH CHRIS MARIC
This will be your last opportunity ever to catch Cathedral play live. They are bowing out in style at The Factory with
Switerland’s Sybreed are in town and will play the Stag as part of their national tour. Joining them ahead of Canberra’s big do tomorrow are Ignite The Ibex, ATTWG, Anno Domini and Dawn Heist. BLACK VEIL BRIDES their longtime mates from the north Paradise Lost in tow. Their mates from much further north in Turisas will be there too. It is also probably your last chance to catch Coal Chamber too – not that you can compare the two in any way, but it’s more a nostalgic ‘last chance’ here. Frontman Dez will go Loco one last time after Motionless In White and my mate Wednesday 13 sufficiently amp up the crowd. A man who doesn’t particularly like me all that much will headline the Enmore this evening and his name is Marilyn Manson.
Parkway land in Cooma today, more specifically at the Ex Services Club. I don’t think the old blokes or their VB schooners will know what hit ‘em. Canberra gets its share of Sidewave action with a damn impressive lineup in Lamb Of God, In Flames and The Black Dahlia Murder. They will no doubt all destroy the UC Refectory. Meanwhile over at The HiFi, which again is the old Forum place at Fox Studios, you can catch one of the most hyped bands on the SW bill and with good reason. Kvelertak are mental and you simply have to go and get some Blodtorst! Once you have you can stick around for the brilliant Gojira and crushing Mastodon OR… You can hightail it down to the Metro for the most beersoaked party show of them all. Holy Grail and Black Tide will get things flowing early before those Southern bastards in Hellyeah make you all deaf. Vinnie Paul is probably one of the hardest hitters I’ve ever seen and they are definitely one of the loudest bands I’ve heard. When the smoke clears, the one and only Zakk Wylde’s Black Label Society will come and crush all those inferior to the riff lord.
WAKE THE DEAD To top off an excellent week, here’s some equally excellent good news. California punk act, Good Riddance, have followed the trend and decided that it is time to reform. Winding up and going their separate ways in 2007, the band’s members have decided that they simply just miss it too much and that it’s time to get back into the punk rock ring. From a statement, the band says, “The number of shows, when, where and all the other specifics have yet to be determined but for those of us who really missed the songs and those of you who maybe never got to see the band play, there will be Good Riddance shows in 2012 and perhaps beyond.” And unlike speculation from a number of other recent reunions, Good Riddance is clear to point out that it’s definitely not about the money, saying in the same statement, “Since that final show we have received offers, as lucrative as they were numerous, to reform for festivals, showcases or various other things. We have turned them all down. This decision has come from an organic desire to play and hear the material again.”
While we’re on the topic of singer/songwriters, Jamie Hay (ex-A Death In The Family) will be heading back up to New South Wales for a round of shows late March. He’s bringing along for the ride Newcastle’s Jen Buxton and Run Squirrel. These should be some pretty fun shows if you’re a fan of that troubadour punk style, so you can catch the artists when they play Lass O’Gowrie in Newcastle on Saturday 24 March and then an all ages show at Blackwire Records on Sunday 25.
The Lewisham doesn’t get mentioned here anywhere near enough these days so it’s good to see when it does. Metalcore four-piece Genedefect will play their first show in three years tonight. Their original frontman Dean Carroll is back in the fold too.
Canberra has always been a great place to host a festival and today it plays host to Chaos ACT VI. This is the sixth time this event has taken place and The Greenroom at Woden Tradies Club is where you need to be. It’s the first time the event will host a European headliner with Swiss industrial groove masters Sybreed taking top honours. Joining them will be 23 of the country’s finest metal acts for 12 hours of metal mayhem followed by a giant afterparty rocking until 4am. In order of appearance, the bands on the Metal Obsession stage are Punishment, Eternal Rest, Tortured, The Schoenberg Automaton, ATTWG, Lynchmada, Mytile Vey Lorth, Annon Domini, Elysian, Ignite The Ibex, Aeon Of Horus and Sybreed, while over on the Barbwire Noose stage we have Ameliah Brown, Tranquil Deception, Malignus, Norse, House Of Thumbs, The Automata, A Million Dead Birds Laughing, Art In Exile, Ouroboros, Alpine Fault and Alarum. If you have any energy or cash left after this crazy week, then there is no other place to end it than at Venom. They have a cool lineup of action in Blackened They Rise, Born Of Chaos, Abacination and Xemper Phi all playing and they are also launching the filthy new black and roll album from Goatwhore. email@example.com
PUNK AND HARDCORE WITH SARAH PETCHELL
Live, was one of the best of albums of 2010 and their performances in the country last year and earlier this year left fans begging for more. Anyway, the revelations regarding the new album were made via Twitter, with the band posting the details as well as a call-out for Billy Corgan of the Smashing Pumpkins, asking if he would be interested in working with them – definitely an odd combination there! My favourite Tweet read, “Hey @billy, we are recording in May and would love to get you involved in someway. They call us, The Chariot”.
So the Soundwave madness is over for another year. I hope everyone had a fantastic day and that you didn’t get too sunburnt/drunk/dehydrated. It definitely was a fun day though and the Sidewaves that followed kicked serious butt!
A few months ago, I talked about Byron Bay singer/ songwriter, Hugo Costin-Neilson, becoming the then newest signing to Resist Records under his moniker Toy Boats. At the time, there wasn’t much more than a demo of his music available, but last week it was announced that April will see the release of his debut EP. To be titled Diamond Teeth, the EP was recorded in Melbourne with Sam Johnson and you can expect to see it hit record store shelves on Friday 13 April. In the meantime, keep an eye on the Toy Boats Facebook page for updates on what they’re up to and to check out some tracks from the demo, if you haven’t already heard them.
The Mulgoa Music Festival is a three-day music festival beginning today with Hard As Nails, Carnie Meat, Heartbreaker and Upside Down Miss Jane on the bill. Saturday has some arts and crafts stuff and Sunday is the blues and roots day.
Onto something a bit more hardcore. One of the names that I keep hearing mentioned in hardcore circles is that of California tough and heavy hardcore act Xibalba. Their recently released split with Incendiary has turned a lot of heads, built a bit of hype and has many people wondering about the possibility of a tour. Now the band have turned around and teased and tantilised fans with the news that they will be heading over here in the very near future. No timeframe or promoter has even been mentioned at this point in time, but the band did confirm via Facebook that an announcement was imminent, simply posting a status that said, “Australia, see you soon!!!!!” Fans, get your camo out, it looks like it’s actually happening.
FRANK TURNER And then another… Frank Turner will reportedly be recording a live DVD. The profoundly English singer/ songwriter and punk rocker announced that his upcoming show at Wembley Arena this April will be filmed for a live DVD release. Through an update on his website, Turner reported, “Finally, yes, we are shooting a DVD at the show and the lovely Greg Nolan is on board right now making a documentary about the run up, all of which will go towards a package including the show, the film, loads and loads of extras and so on, which will be out as soon as humanly possible after the show.” If you haven’t checked out Turner’s 2011 album, England Keep My Bones, then I strongly suggest that you do! According to all reports, The Chariot have begun work on a new album and as such will enter the studio this May. I’m pretty excited for this! Their last album, Long
And to end off with, some shameless self-promotion. Issue 13 of No Heroes Magazine is online now at www. noheroesmag.com … Don’t let the flying feet on the cover fool you, this issue is jam-packed with interviews with six bands that we decided you need to watch in 2012, really interesting interviews with Greg from The Dillinger Escape Plan and Winston McCall from Parkway Drive about what they’ve got coming up. Jamey Jasta talked to Hatebreed prior to their appearance on Soundwave and Trapped Under Ice answered a few questions just in time for their tour which starts NOW! Just a reminder of those Trapped Under Ice dates with Relentless: Saturday there is an 18+ show at The Bald Faced Stag with Phantoms and Ill Brigade. Then on Sunday at the same venue is an all ages show with Phantoms and Endless Heights supporting. On Monday, Oasis Youth Centre in Wyong will see an all ages show with Phantoms, Mark My Words and Blind Sight, then finally they’re in Canberra at Bar 32 for an 18+ show on Tuesday 6 March with Token and Frail. firstname.lastname@example.org
INVESTING IN CLUB MUSIC WITH PAZ
#TECHNONOWTRENDING Skreem just dropped a techno mix and the upfront British label Night Slugs are releasing material all influenced by tekers. Kingdom, L-Vis 1990, even Toddla T, who all feature garage, dub and house in their back catalogue are all now referencing classic techno patterns and sequencing machines in their production and mixes. A dollar for the number of times I’ve heard, “You know they are playing techno now?” Most recently, local collectives Too Much! and the Operatives are aligning themselves with a similar fusion. No longer do we have a five-hour Dave Clarke rave journey, we now have a dub, house, tech garage u-stream. A recent XLR8R mix by LV showcases the need to hear rave hats over a garage bass line that dubs out into halftime speeds, with a house snare. Other evidence is the 260 Techno Showcase Festival soon to hit our shores. In the future we might see the demise of Dave Guetta fused pop and trance, and the rise of Jeff Mills and Miley Cyrus in a Grammys sweep.
SOCA MONARCH Machel Montano has taken home the Soca Monarch and the Groovy Monarch for Trinidad and Tobago. At the time of printing the Road Monarch was still undecided, leaving it open for Machel to make a monarch threepeat. What has eluded Machel is the Chutney Monarch simply because he is neither on a Chutney riddem, nor of Indian heritage. That award went to a cheeky 18 year old who now has a huge future on really small islands. Australia and T’N’T are oceans apart, so who can really comment on monarch performances? Personally Blaxe’s Jusso held my dancefloors and for the road it was the Tony Touch roadmix of Kerwin de Bois’ Bachinallist. Tony T is however from Miami not T’n’T. I speculate that soon Miami will retain some Soca Monarch titles, as their influence on dance music grows larger. In my quest to find some of the bigger production teams in soca and dancehall, I constantly find they have Caribbean roots but are now based in Miami. The Miami club influence leads to a little more rave/house/trance synth but exposes mainland America to digital percussion. The future sound of soca is in Miami and I also speculate the digital squeezebox to be influencing dance music from the Isles of Britain to the Tropics of Capricorn.
WORDS FROM THE PEAK BODY OF CONTEMPORARY MUSIC IN NSW WITH KIRSTY BROWN
This month, MusicNSW is focusing on issues of access and education to music across the state. Firstly, the Indent Open Day, which returns to the picturesque Bondi Beach Pavilion Friday 9 March, is a key event for young people looking to find out more and engage in the contemporary music industry. This year’s mini-conference focuses on the theme of accessibility and will empower youth with the practical skills required to get a leg up and foot in the door. Including an open panel that canvasses the essential roles and an insight into some innovative ideas in the industry, featuring Brooke Olsen (AMRAP), Jason Nonnis (Young Blood) and Ben Neilson (Collateral Management),
“The Grammy Award winning formula of modern Dubstep” is not a sentence you would have expected to hear a year after forwarding links from the “Girls Who Look Like Skrillex” blog. Dubstep completely represents a Gen Y perspective on life. The sounds throw you in numerous directions, like dropping syllables during Skype calls, while typing your resume into Twitter and responding to job offers with memes. It is an artform representing modern life. If it’s too loud, go home grandpa, send me your hate via snail mail. Homeboy Nick Thayer has just released his new material on Skrillex’s label and for the last few years he has toured and rocked festivals worldwide. When he is back in town our biggest debate at my regular The Late Show is who can match his progressive sound. The club sound is super future and held tight by the likes of Mat Cant, Ransom, Spin FX and Lewis CanCut, but Thayer has this sound locked and there is no one that sits beside him in Australia at the moment. Personally I love club sounds that represent future movements, but I can’t listen to more than half an hour before I get “back in my day” about the whole thing. However the audience is the same, they want it quick and fast so they can get back to Facebooking. Cool. Who really wants to sit around and debate records and Juno updates in person anyway? Much prefer to post a YouTube link.
the day will also include breakout workshops including Danny Yau’s (AIM/Yau Am I Marketing – pictured) DIY Digital: an in-depth look at the real and accessible tools you have to stand out in the massive world online. Publicity essentials with Claire Collins (Bossy Music – Gotye, Laneway Festival), how to pitch to radio and the role of community radio with Stephen Goodhew (FBi Radio), as well as an Indent/MusicNSW masterclass in writing the perfect funding application. Whether you are in a band, an aspiring event or band manager, or simply a music fan the program will canvass the breadth and opportunities for young people keen to step into a role in the industry. The Indent Open Day is free to attend, with special attention made to young people aged 12 – 25, however places are strictly limited and an RSVP is essential. To reserve your spot or to find out more please email info@ indent.net.au or contact Indent on (02) 9281 1600. In other areas of education, UWS is pioneering a new Associate Degree in Creative Industries, developed specifically with creative young people in mind. The business of being a successful creative is about having the right set of professional skills. In addition to talent and training, you need vision, guile and the ability to manage people and projects. The new course brings together existing units from the University of Western Sydney’s College of Business and Law and College of Arts with new units created specifically for this degree to develop your inner entrepreneur, ignite your innovative ideas and provide you with a higher education qualification in
DANNY YAU management of the Creative Industries. For musicians, this course represents an opportunity to turn their skills into a sustainable and up-to-date business. Find out more by visiting iamcreative.com.au. Lastly, Indent has partnered with the NSW Department Of Education and Training and TAFE NSW to roll out another training program that will see up to 15 young people working on all ages events around the state walk away with a nationally-recognised qualification. The program works like recognition of prior learning and is an opportunity that matches the skills young people pick up while working on events with Indent against a full qualification. The program is designed to bridge a gap between formal education and the expected experience the industry requires, with a bid to increase the employability of young people as the future operators of the contemporary music industry.
THE DRUM MEDIA • 43
ROOTS DOWN One of the most underappreciated records of 2011 was the latest from Steve Cropper, Dedicated, a tribute to one of his earliest inspirations, The “5” Royales. The record covers a bunch of The “5” Royales’ finest tunes with a cavalcade of guests in tow including BB King, Sharon Jones, Lucinda Williams, Steve Winwood, Bettye LaVette and Brian May to name a few. If you’re not familiar with Cropper, he will always be best known as the founding guitarist in Booker T & The MG’s, though he found his first success with his high school band The Mar-Keys and their awesome 1961 hit, Last Night, and has played on a cavalcade of soul gems from the likes of Otis Redding, Sam & Dave and Wilson Pickett and even co-wrote the timeless classic, In The Midnight Hour, with Wilson Pickett. Because of his writing prowess he is a welcome name on the first list of artists and songwriters appearing as a part of APRA’s Song Summit this May, where he will join Paul Kelly, Imogen Heap, Kev Carmody, Abbe May, Brendan Gallagher and even Guy Sebastian among others to talk about all things songwriting. Here’s hoping he’s able to play a couple of shows while he’s in the country too. Rest assured I’ll let you know if that’s the case. For now you can see him in conversation at the Sydney Convention and Exhibition Centre from Saturday 25 – Monday 28 May. No Australian blues fan can even pretend to be legit without having been to a Bondi Cigars show. These veterans of the Aussie rhythm’n’blues scene are one of the most hardworking bands around when they get on a
BLUES AND ROOTS WITH DAN CONDON
Honestly, it’s just insane to believe that Lloyd Spiegel is only 32 years old. This year he celebrates his 21st year as a touring musician (yeah, he started pretty young) and it looks like he’s pretty keen to keep things moving at the steady rate they have done for so long with a couple of shows with his new drummer Tim Burnham in tow set to happen up this way early next month. You can catch him playing plenty of tunes from his great Tangled Brew record of 2010 and plenty of other blues gems when he hits Camelot Lounge on Saturday 10 March and in Maitland at the Grand Junction on Sunday 11 from 4pm.
LLOYD SPIEGEL roll and that’s precisely what has been the case over the past couple of months. They’ve been busy performing at some of the bigger festivals around the place over summer and are now ready to kick it up a notch with another round of big headline shows that’ll have your feet stomping and your grin widening. Blues isn’t all they deal in; there are elements of soul, funk and rock’n’roll in what they do and they do it all very well. Check it out for yourself when the band play The Old Manly Boatshed on Friday 23 March, The Brass Monkey on Friday 13 April, Towradgi Beach Hotel on Wednesday 25 and The Vault in Windsor on Friday 27.
They’re considered by many to be the greatest blues band this country has ever produced and a listen to some classic Chain records makes that lofty comment very difficult to dispute. They are seemingly influenced equally by blues from American and British artists, but they inject it with a distinctly Australian slant that is a great point of difference and one which hits home beautifully for many Aussies. The band still get out there after all these years and put on really genuinely great shows, if you haven’t seen them for a while then maybe it’s time to change that? Sydney audiences get their chance to do that when the band relive some of their finest moments at Lizotte’s in Dee Why Thursday 12 April, Lizotte’s Newcastle on Saturday 14 and Lizotte’s Kincumber on Sunday 15.
Havana-born now Brisbane-based Marialy Pacheco represents the next generation of Cuban jazz pianists. This Friday and Saturday, she brings her trio, featuring Brisbane drummer Joe Marchisella and Sydney’s own Alex Boneham on bass, to the Sound Lounge to showcase her most recent album, Songs That I Love.
JAZZ/WORLD WITH MICHAEL SMITH
Bernie McGann Quartet – 505
Blue Beat in Double Bay hosts the launch Wednesday of the new and seventh album, Lust Angeles, from Jimmy Vargas & The Black Dahlias featuring Liliana Scarlatta, an evening of tease, torch and noir guaranteed. Friday sees 505 hosting an evening of last year’s hit of the Sydney Fringe Festival, Five Eliza, as part of celebrating the opening of artist registration for this year’s festival, with music courtesy The Rusty Spring Syncopators and Geoff Bull’s New Orleans Four. New York City-based Australian jazz singer Chris McNulty returns to Sydney for one night only, performing at 505 Saturday with Steve Barry on piano, Cameron Undy on bass and Andrew Dickeson on drums,
Musica Linda – Lewisham Hotel
Elixir featuring Katie Noonan – Joan Sutherland Performing Arts Centre, Penrith Spike Mason & Matt McMahon – Colbourne Ave Glebe Monique diMattina – 505
MARIALY PACHECO showcasing her latest album, The Song That You Here. Tuesday 6 March sees the launch of The Gypsy Art Club at Camelot Lounge in Marrickville, with three sets of Gypsy jazz from Gadjo Guitars and life drawing to boot. Sunday sees the full complement of The Subterraneans together again in the one room since November as guitarist James Hauptmann, back from touring with Bluejuice, kicks back with the rest of the gang – James Muller, Steve Hunter and James Ryan – at the Town Hall Hotel Newtown.
James Morrison – The Basement ShawNuff Swing Band with John Redmond – Newtown Jets Rugby Leagues Club Tempe Cumbia Muffin – Camelot Lounge
Paul Sun Trio – Epitome Café Lane Cove
ROCKABILLY/PSYCOBILLY/ALT.COUNTRY WITH PEDRO MANOY
Pianist Bridie King has a new album, Blue Ivories, she’s launching with a big night at Notes this Friday featuring Pat Powell, Narelle Evans and Katie Glendenning along with The Foreday Riders, with whom King will play a special set.
44 • THE DRUM MEDIA
Sam McNally + Jo Elms + Tracey Campbell Trio – Blue Beat
Yuki Kumagai & John Mackie – Well Connected Café Leichhardt
James Valentine Quartet + Orly – Golden Sheaf
THE SWAMP SHACK Also on Friday The Pigs bring their madcap footstompin’ bluegrass sound back to the Empire for one night only! Here’s a band loved by country, folk and pop music audiences alike with their high energy mix propelled by some fine musicianship and a wicked sense of humour. Joining The Pigs is their Tasmanian banjo player Cousin Montz who I’m reliably told is one of the hottest bluegrass pickers in the land. The Pigs also play at the Corinbank Folk Festival, a unique three-day music and arts festival held in the picturesque Brindabella Mountains, just outside Canberra, beginning this Friday, featuring an eclectic lineup grouped together under the broad banner of “folk”. Along with The Pigs you’ll be treated to Josh Pyke, Busby Marou, Bonjah, Skipping Girl Vinegar, The Bamboos, The Barons Of Tang, The Crooked Fiddle Band, Ganga Giri, The Little Stevies, the Fred Smith Band, Julia & The Deep Sea, Sirens, Lucie Thorne, The Beez, The Ellis Collective, Jack Carty and many more. There’s plenty of camping space for both tents and campervans with hot showers and toilets on site. The festival is also very child and family friendly with kids under 16 admitted free. One of the unusual features for an inland festival is a small floating stage, which hosts solo and duo performers.
Gang Of Brothers + Victor Martinez – Camelot Lounge
Matt McMahon Trio – Warehouse 15 Cockatoo Island
Mike Nock Trio + Ben Panucci Trio – 505
The Steve Edmonds Band make the best of our late summer with a harbour cruise on the Rocks Rhythmboat, departing 11.45am from Pyrmont Bay Wharf with bookings essential on 0458 080 553. The Gosford Electric Blues Jam featuring Mama Jane & Friends takes over the Central Coast Hotel from 2pm. Eugene Hideaway Bridges moves to Lizotte’s Dee Why and the Fiona Boyes Hammond Trio play the Lakes Hotel at the Entrance.
Johnny Casino plays his cards straight in the downstairs bar of the Sandringham Hotel. The Musos Club Jam Night hosted by Jim Finn and Al Britton is a weekly magnet for all blues lovers at the Bald Faced Stag.
Popular US visitor Eric Bibb and Staffan Astner play the Sutherland Entertainment Centre.
Bridie King launches her brand new album at Notes. The Dave Tice Band play The Vault while Eugene Hideaway Bridges delivers a night of blues and soul at Lizotte’s Kincumber.
The ABC have done us all a favour by bringing together the year’s best in blues‘n’roots in a special two-disc release called Best Of Blues‘N’Roots 2012. Included are tracks from Aloe Blacc, Lanie Lane, Josh Pyke, Husky, City & Colour, The Jezabels, The Audreys, Dan Sultan and Ash Grunwald among many. The album is available now.
IT’S A BLUES THING
Australia’s Rose Carleo will be featured on It’s a Blues Thing: A Half A Century of Molten Electric Blues, with the track, That Season Again, from her latest album Life Gets In The Way. Carleo is one of three female artists included on the two-disc compilation, which sees only a handful of other Australian musicians, including Billy Thorpe, The Aztecs and Rose Tattoo. It’s been a big month for Carleo, who was also declared the Female Vocalist of the Year in the 2012 National and Victorial Country Music Awards.
NORAH JONES’ BROKEN HEARTS
Norah Jones has announced she will release her fifth solo album, Little Broken Hearts, April 27. Jones’ debut, which she described as “a moody little record”, took out five Grammies, while Come Away With Me was recently announced as the #10 bestselling album of the whole Soundscape era. Further, the album sold over 25 million copies worldwide. Her dad, Ravi Shankar, must be proud.
BLOW Sunday sees the Royal Botanic Gardens host a free day of music, art, dance and more in a mini-festival called Autumn Vibe, with the music component featuring TaikOz, Matthew Doyle, the Sydney Youth Jazz Orchestra, Ying Liu & Tony Wheeler, the Macquarie Uni Gamelan Ensemble, the Mosaic Saxophone Quartet, Sydney Conservatorium Tuba Quartet and more across the day.
THE VERY BEST OF BLUES ‘N’ ROOTS
It’s a busy weekend of harbour cruising as the Sydney Blues Society also get aboard the Rocks Rhythmboat with the Fiona Boyes Band departing 11.45am from the King Street Wharf with bookings on 0437 991 461. The Cool Charmers, who include members of the legendary Huxton Creepers, bring their ‘60s garage sound to the Sandringham Hotel from 4pm along with The Escapes. Tony Cini’s Blues Explosion featuring Penney & The Mystics, Claude Hay, Bec Sandridge and Isaiah B Brunt stage a great evening at Beaches in Thirroul from 5pm. Chris Turner’s Cave Men play the Bald Rock Hotel from 6pm and Eugene Hideaway Bridges takes his travelling roadshow to Lizotte’s Newcastle. email@example.com
REOPENING THE CAFE
Taking up the legacy of his late father, English composer Simon Jeffes, and his Penguin Café Orchestra, Arthur Jeffes put together Penguin Café. Wednesday 7 March, they come to the City Recital Hall, but before they arrive, we asked Jeffes whether it was daunting tackling the original Penguin Café Orchestra repertoire. “We started almost by accident when, in November 2008, a year after I’d played a series of concerts with my dad’s old band to mark ten years since his death, I was asked to play something at some friends’ house in Italy where they were holding a tiny festival. I took along Darren Berry, Tom CC and Andy Waterworth (violin, ukulele and double bass respectively) and we just played a bunch of my dad’s tunes cheerfully, chaotically and – this was at a vineyard – probably not that accurately. We did have an amazing time though and it was such a joy to have the music being played live again and somehow felt right. After that we got asked to play at some Christmas parties in London and each time we did we’d pick up another instrument – Andy’s sister Rebecca plays cello, our mate Neil Codling (Suede’s keyboards player) plays most things. Quite quickly there were nine of us and in the end I asked David Jones, my dad’s old promoter, if he thought we might be able to get into some festivals over the summer. That summer we headlined the Acoustic Stage at Glastonbury, did Big Chill, Bestival, Snape and a great many more. There’s a real thirst to hear my dad’s music again and I think it was based in the same thing that drove me, a sense of joy at seeing an old friend you thought you’d never see again.”
YOU’RE THE VOICE
Four-time Grammy-award winner Keith Urban is back in Australia to film the Nine Network’s latest talent competition, The Voice, joining the judging panel alongside Delta Goodrem, Seal and Joel Madden. During publicity interviews, Urban said, “I did a few of these things when I was younger and I know what it’s like to just be crucified,” and that he’ll be listening for authenticity in a new voice.
US FANS ABANDON RADIO
A study compiled by Eddison Research in the US has revealed that one in five country music fans don’t listen to country radio stations, favouring websites, their own collections on music devices or other genre-playing stations. It was also found that those that do listen to country music stations prefer older county tunes from the ‘60s and ‘70s rather than newer tracks. It was also revealed that artists with a ‘twang’ in their voice have more chance of dividing fans than pop-country artists like Carrie Underwood.
ULTIMATE COUNTRY COMPILATION
Building on the success of his Ultimate Hits album last year, Lee Kernaghan has now released an Ultimate Hits DVD, which has debuted at number #5 on the ARIA DVD chart. The DVD is said to capture Kernaghan’s entire music career since his first hit, Boys From The Bush, was released 20 years ago, to latest award-winning album, Planet Country. The videos include Love Shack, Planet Country, Goondiwindi Moon, The New Bush and Southern Son.
GET IT TOGETHER
HIP HOP WITH VIKTOR KRUM
Um… Thundamentals’ debut, Foreverlution, was the most added hip hop album to college radio in the US a few weeks ago. Yeah. I know that Ben Lee could probably make a similar boast about the success he enjoyed, or perhaps a more impressive one, but this is some achievement. Does college radio mean anything anymore? Does having a bunch of stoned young Americans in hooded sweatshirts listening to your music help you out? We don’t know. We’ll have to ask Tuka, Jeswon and the rest of the Thundakats in coming weeks I guess (assuming they haven’t become insane bigshots by then). Those Big Villagers just never stop working hard do they? One of the most prominent groups on the roster, Daily Meds, will have their debut, Happy Daze, with us on Friday 23 March. The single, Dance, is out now. Do you remember how Big Village was basically nothing – and no one – two and a bit years ago? Now they’ve released a number of quality debut albums from exciting Sydneysiders. Impressive, grassroots stuff. Get on it, Sydney. It’s been four years since Chasm’s solo debut, Beyond The Beat Tape. Even without the awful puns on our hero’s moniker (the gap between releases could be described as chasmic. Right?) the wait for a new release has been interminable. Thankfully, it will soon be over. Danielsan is helping and, with a little luck, we’ll be feasting our ears on new Chasbot before the Olympics. Unanimity is elusive, sure. Put together a room full of people who like multi-coloured Nike Air Max and funny, illegible, squiggly writing being sprayed on walls and trains and odds on you’ve got a room full of diverse opinions. That’s true of almost any group of people of course. We are all individuals, you guys! We like cool stuff and you like shit stuff. That said, liking the shit stuff you like is your right. Enjoy it! Despite the glory of our collective diversity, unanimity tends to arrive unheralded when the subject of DJ Quik is brought up. There are two types of unanimity: 1) those who don’t know DJ Quik, and 2) those who are really into DJ Quik. You can guess which side of the fence we fall on. If you’re with us then head to the Gaelic Theatre on Thursday 15 March. We’ll be a room full of people who feel the same way. A rarity. We’ve blah’d about Ozhiphop.com before. It’s a website that’s one of our crushes: it does an okay job
Alas, those days were short-lived and are long gone. For those with internet access (which it should be remembered is not everyone), not owning a TV doesn’t make one bit of difference to the ability to view the latest piece of misogynistic, homophobic primetime trash. Thankfully, streaming from online sites or doing that thing we’re not supposed to do or admit to doing means a continuation of being selective about TV shows – it cuts out the ‘whatever’s on’ slug mentality. (It also poses a brand new problem: TV shows from almost any time, in large quantities, can now be easily accessed, so even the ‘good’ ones are in numbers large enough to suck the living out of you.) But as anyone with a Facebook account or smartphone or a job involving a computer knows, TV shows – streamed, downloaded, watched on a box or otherwise – make up only a percentage of a day’s viewing. Even without access to traditional television networks it’s possible to watch more anything than ever, in short breaks and bursts. And that’s just what we’re doing, according to figures released in December 2011 by US-based market research company comScore. The company’s figures showed that, worldwide, 1.2 billion people streamed 201.4 billion online videos in the month of October 2011. Of those, 88.3 billion videos were watched on Google Sites, led by YouTube. The closest competitor was China’s video-hosting site Youku, which accounted for 4.6 billion views. So while Google claimed 43.8 per cent of the market for online videos that month, the second highest
ALL AGES WITH DAVE DRAYTON
Budding filmmakers assemble! The Cockatoo Island Film Festival and Oovie are looking for the best high school filmmakers. Applications are open now and you need only to pitch an idea based on ‘The Island’ as a theme by Wednesday. Winning applicants will be mentored by professional filmmakers and see their film come to life and screened at the festival. Head to Oovie’s website for more details and to apply. Last week’s interviewees Parkway Drive continue their all ages onslaught this week, hitting Cooma Ex-Servicemen’s on Thursday and The Edge Hotel on Saturday. There are also a heap of all ages-friendly Sidewaves going on including Underoath, Zakk Wylde’s Black Label Society and more. DAILY MEDS representing a scene that actually exists. Neo-Nazis aside, it’s not often the internet manages to effectively unify a group of people who share a real life passion. We say that real life element makes it important. There are genuine artists who post on there. There are industry insiders who post on there. There are also occasionally amusing trolls who post on there. Importantly, there is a critical mass of passionate local rap fans that post on there. And they’ve voted on their favourite Australian product from last year! The list of winners is on the site. Ozhiphop.com darling Trem scooped the pool this year and Trials (oddly?) got the nod for the Marked For Death beat he made for Vents. 360 (who actually posts on the site. Eep!) took out best battle rapper. Your favourite artists didn’t rate a mention? Boo hoo. Join up and vote this year if you’re so inclined. Another of our crushes, Spit Syndicate, are hard at work in the studio. They’re in the process of putting together their third album. Simultaneously, they’re getting ready for the release of a new mixtape, the second in their Best Intentions series. The first was a cracker. Apologetic, reflective, crammed full of raps-about-girls type raps, it was the best free thing out in this country last year. Let’s hope the next mixtape – and the third album – deliver on the promise they made to us in 2005 with their Future’s Bright mixtape. Exciting times. firstname.lastname@example.org
POP CULTURE THERAPY WITH ADAM CURLEY
It used to be a smug proclamation, a proudly pretentious riposte to sleep-inducing middle-class blabbering. With the audience of a group at the pub or a conference room of office types, it was one of those remarks that would either end a conversation or spark a new, passionate tangent. Talk would turn to the latest, rip-snorting episode of Desperate Housewives or The Crocodile Hunter and it would only take a few words to turn it all around, said with a beaming look as if you’d just punched a Packer: “I don’t own a TV.” It wasn’t only the Packers you were thumbing, of course. It was the idea that the thoughts that were consuming you were brought to you by Colgate and the letters PG. Or maybe that was just me: I was brought up in a twoTV home in the ‘burbs in which dinner was followed by hours of whatever-was-on, so I had a lot to rebel against (mainly myself) and a lot of repairing to do. If it was a bit self-satisfying, the “no TV for me” stance was also a self-reminder to remain strong, to keep looking for more interesting things to watch and read and do.
YOUNG & RESTLESS
ANTHONY ZUIKER ranking company claimed 2.3 per cent. The next, VEVO, claimed 1.3 per cent. It makes sense, then, that YouTube is wanting to make the most of its audience and cement its future. According to a press release – I mean a story by Associated Press – last week, YouTube is looking to create 96 channels of original content, which would turn out 25 hours of new content per day. Onboard are known Hollywood ‘big shots’ such as CSI creator Anthony Zuiker and Nancy Tellem, the former president of CBS entertainment. It’s the grandest attempt YouTube has made to turn itself into an everyday entertainment centre – and it’s a little terrifying, frankly. While social media sites already allow us to click through endless uploaded videos, those videos at least are uploaded by a group of users chosen (or accepted) by us. On YouTube’s proposed channels, we’ll have neverending streams of clips no doubt pumped up by Google’s marketing machine, accessible on handheld devices, with a potential audience into the billions. And while the same AP story pointed out that YouTube ‘allows’ footage not permitted on US television, such as MIA’s finger flip at the Super Bowl, the site has its own set of moral guidelines which recently disallowed Perfume Genius’s Mike Hadreas to upload a promo clip for his latest album, featuring the songwriter in a very tame topless embrace with another man. Suddenly, sticking it to the Packers also seems rather tame. And the appeal of YouTube-blocking software grows stronger. Just think of the possibilities for ultimate smugness: “I don’t have YouTube.” email@example.com
We lined up Wil Wagner, frontman for The Smith Street Band for a few questions before the band comes to town with Bomb The Music Industry, playing all ages shows on Friday at Dirty Shirlows and Saturday at The Pharmacy in Newcastle. Your earlier tours to Sydney quite often encompassed a lot of all ages shows (in some rather unexpected locations) – were you even 18 when you first began touring? I think I was borderline illegal when I first started touring. I remember getting kicked out of a lot of my early solo shows for being underage! Or escorted on and off stage by burly bouncers. The first show The Smith Street Band ever played in Sydney was in the Cemetery at the dog park in Newtown! A lot of those shows were solo. You’re now playing with The Smith Street Band, does it get harder to find venues for all ages shows? It’s obviously way easier to set up park/house shows if it’s just me playing solo, but there are always a few spaces popping up that accommodate bands. We’re playing new all ages venues in Newcastle (Pharmacy) and Brisbane (Between The Walls) as part of the upcoming tour as well as playing at Dirty Shirlows in Sydney, a really great all ages place. I think if you’re willing to make half the money you would at a venue but have double the fun, there’s always somewhere that will put on a show! Why do you think it’s important to play all ages shows? It’s always more fun for us when we are playing to
SMITH STREET BAND a younger crowd. People are less preoccupied with being cool or getting wasted and are always far more energetic and keen to have a good time. And apart from that, I think less and less bands are doing it these days, THE SMITH ST BAND especially all ages shows in what are basically illegal venues because there are risks involved and there is far less money. That’s totally fair enough, but if you think about how many shows you couldn’t go to as a 16/17 year old and how much it meant when you were able to see bands that you liked, it’s pretty inspiring stuff. What’s your favourite all ages venue? That’s a very hard question... I think my favourite all ages shows have been at Cat Food Press in Melbourne. It’s the perfect size and atmosphere and everyone who runs that place is fucking lovely. But with Cat Food on hiatus I reckon it’s a tie between Dirty Shirlows and Blackwire Records. What can you tell us about the BYO Band tour with Bomb The Music Industry? It will be a pretty ridiculous party! I’ve been a huge BTMI fan for years, so it’s a massive honour to get to play with them. Regardless of if it’s just Jeff on stage or the full band, everything I’ve heard and seen of their live show is spectacular. And we’ll be playing some new crap songs as well as our old crap songs! Any advice for young musicians? Play every show you get offered, play every open mic night you can, don’t try to sound like anyone but yourself, be nice to everyone and don’t focus on anything but the music you want to make. Everything else will come. firstname.lastname@example.org
OG FLAVAS Rihanna won’t be on the cover of Dolly for a bit. Forget that new 2Pac-inspired “thug life” tattoo on her fingers. Now that she’s again communicating with her ex Chris Brown, who assaulted her on the eve of 2009’s Grammys, RiRi really isn’t a role model. The pair have traded remixes – her idea, apparently. Brown sings on Rihanna’s Birthday Cake (the wack “I’ma make you my bitch”) and she on his banal Turn Up The Music. What can Jay-Z think? That the remixes are airing so soon after Whitney Houston’s passing – another ‘bad boy’, Bobby Brown, is still being blamed for her downfall – is creepy too. Brown has never convincingly expressed remorse for battering Rihanna, only resentment and anger at critics. He controversially performed at the recent Grammy, winning Best R&B Album for FAME. Brown subsequently tweeted, “HATE ALL U WANT BECUZ I GOT A GRAMMY Now! That’s the ultimate FUCK OFF!” No – it’s some twisted persecution complex. It’s ironic that the pop industry is validating Brown at a time when female artists are on the ascendant. Luckily, we have a strong newcomer in Emeli Sandé, dubbed “Britain’s brainiest pop star”. The poised soulstress is the fifth consecutive female to claim the BRITs Critics’ Choice award, beginning with Adele. (Sandé actually shares her first name with the Rolling In The Deep star.) Like Rihanna, Sandé is drawn to the dark side, but she writes about – and dissects – dysfunctional relationships, rather than promotes them. (Of course, Lana Del Rey, more-trippy-than-hop, transforms these into grand meta-narratives.) The Scot – reputedly engaged to a mystery scientist – has a powerful voice like Houston, Mariah Carey and Leona Lewis, but her music, and image, is edgier (that peroxide quiff!). Sandé is leading a post-dubstep pop movement, along with SBTRKT vocalist Jessie Ware and Jess Mills – all three touted as new Katy Bs. Indeed, even Rihanna has flirted with dubstep. Sandé embraced breakbeat soul on 2011’s elegant hit, Heaven, widely compared to Massive Attack’s Unfinished Sympathy with Shara Nelson. Sandé grew up in the village of Alford, her father a Zambian teacher and mother English. She learnt the piano. As a teen, she won a talent competition run by DJ Trevor Nelson, but turned down label offers. Sandé proved academic, enrolling in medical school at the University Of Glasgow, her special interest neuroscience – and it’s because of this that she’s fascinated by the likes of Virginia Woolf, who struggled with mental illness. (The modernist novelist is also a Florence Welch fave.) As a student, Sandé played
URBAN AND R&B NEWS BY CYCLONE
EMELI SANDÉ jazz piano in hotels. Eventually, the Nina Simone fan realised that music was her calling. She formed a studio partnership with producer Naughty Boy (Shahid Khan), writing – and singing on – Chipmunk’s 2009 UK top ten, Diamond Rings, and, lately, Professor Green’s number one, Read All About It. And Sandé has worked widely outside of hip hop – and grime – circles. Admirer Simon Cowell commissioned her to write for his Syco roster, including Susan Boyle. She opened for Coldplay on their European tour – not something Katy would get to do. On her UK chart-topping debut, Our Version Of Events, Sandé presents a series of emotive, melodic and dramatic ballads with strings, piano and, occasionally, beats. Alas, sonically, Heaven, which Mike Spencer (Kylie Minogue) helmed, stands as the most avant moment, followed by the Kosheen-ish Daddy. Co-produced by the American Emile Haynie (Del Rey, Kid Cudi, Kanye West), My Kind Of Love could be a minimalist gospel ballad from Carey. Sandé’s rousing current single, Next To Me, is Adele by way of VV Brown. Some songs, like River, originally intended for Boyle, carry a subliminal hymnal influence. Elsewhere Sandé favours acoustica (the lyrically edgy, if Ed Sheeran-sounding, Breaking The Law) or straight-up MOR (Clown). She created the ‘inspirational’ – and Stevie Wonder-evoking – Hope with Alicia Keys. Our Version Of Events closes with Sandé’s own take on Read All About It. Our… is a grownups’ album, yet the ‘emo’ themes here prevail in any paranormal teen romance saga. It is an impressive debut but, given the success of Heaven, Sandé might not be so conservative musically in future. email@example.com THE DRUM MEDIA • 45
THIS WEEK IN
DIRECTOR MOIRA BLUMENTHAL TELLS DAVE DRAYTON WHY SHE HAD TO REVISIT THE EPISTOLARY TALE OF ADDRESS
BILLY LIARPERFECT EDDIE
TUESDAY 28 9 Lives – works on paper by John Douglas, Donna Malone and Louis Jover. Opening night, 6pm. Tap Gallery. Jurassic Lounge – late-night museum musings with music from Oceanics and Sticky Fingers, DJ sets from Future Classic and GoodGod, burlesque from Vanguard artists, cabaret from The Freak And The Showgirl, stand-up from Judith Lucy, performance from Justin Shoulder, video games and board games, karaoke, Yiwarra Kuju: The Canning Stock Route exhibition and more. Australian Museum from 5:30pm.
WEDNESDAY Billy Liar – the fictional Yorkshire town in John Schlesinger’s Billy Liar, based on Keith Waterhouse’s novel, represents a country in transformation. Back-to-back housing is giving way to high-rise flats and supermarkets. However, there’s not enough to interest Billy Fisher (Tom Courtenay), an aspiring writer and lazy young man who works in a funeral parlour and attempts to escape routine by retreating into a fantasy world where all ambitions can come true. Domain Theatre, AGNSW, 2pm and 7:15pm/
THURSDAY 1 Hedda Gabler – directed by Liz Arday, Ibsen’s classic play has always been controversial, right from its premiere in 1891. The story of Hedda Gabler, who’s mean at the beginning and even meaner at the end, her first trick mercilessly deriding a sweet old lady’s brand new hat. Later she uses a visiting guest for target practice in the backyard. And for a big finish, she consigns a baby to the flames. Opening Night, 8pm. Tap Gallery until 11 March.
FRIDAY 2 Pussy Love – by Bertie Page Clinic, with Sydney bands Doc Holliday Takes The Shotgun and The Prehistorics. Australian cabaret star Bertie Page heads up this wicked little band of retrograde rockers. The Clinic began in 2009 as an unholy
A DRAMA SANS DRAMA
union of seasoned old rockers and this cheeky burlesque nymph. Pussy Love is the new show, direct from Europe. The Vanguard, 8pm.
SATURDAY 3 Pygmalion – taking its name from the Greek myth about the sculptor who fell in love with his statue, 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. Closing night, 8pm. Sydney Theatre. Götterdämmerung – directed by Robert Lepage, comes the Met’s new Ring cycle. Deborah Voigt stars as Brünnhilde and Jay Hunter Morris is Siegfried as the star-crossed lovers doomed by fate. Chauvel Cinema, 11.30am. The Boys – written by Gordon Graham and directed by Sam Strong – Brett Sprague is just out of jail; reunited with his mum Sandra and brothers Glenn and Stevie, he’s ready to reclaim his life. Twentyone years ago, audiences were lining the streets to see the original Griffin production of The Boys. Since then, it’s become a classic of the Australian stage and screen, winning along its way an AWGIE and four AFI Awards. Closing night, 7pm. SBW Stables Theatre.
ONGOING Babyteeth – written by Rita Kalnejais and directed by Eamon Flack, a comedy about how good it is not to be dead yet. A group of ordinary(ish) Sydneysiders go about there lives until the sobering moment, when they realise that Milla will die before her 15th birthday. An exploration into the ‘violent sweetness of life’. Upstairs, Belvoir St Theatre until 18 March. Collaborate – an exhibition from Japanese printmakers and artists Kyoko Imazu and Damon Kowarsky, who have worked together since 2010, based on the system Damon gives Kyoko his drawings, which Kyoko then ‘vandalises’ with her own interpretations. Japan Foundation Gallery until 21 March.
THE FREAK AND THE SHOWGIRL
Based on a 1938 novella by Kathrine Kressmann Taylor of the same name, Address Unknown tells the story of two men – Martin, a German gentile, and Max, a Jew – who are at first like brothers, running a successful art gallery together in San Francisco, but are soon drawn apart by the events unfolding in Germany between 1932 and 1934. Martin has returned to Germany while Max remains in America and while the two keep in touch through a series of letters an irreparable schism, equal in size to the ocean that separates them, soon becomes apparent. “We’re privileged to have the ability, or the time, to do it again,” says director and co-producer Moira Blumenthal in a rare break from rehearsals at the Actors College of Theatre and Television. “We were talking about it this morning. You
C U LT U R A L
sprouting letters – we’ve gotten on top of the paperwork, all these letters going back and forth. Now, after three weeks of rehearsals, four weeks of performance, twoand-a-half years’ break, we are starting to get to the meat of the play. “It’s dreadful to say that,” Blumenthal admits, but as she quickly points out, there’s a reason that’s the case. “But we do it because that’s why we do art, this is a story that’s worth going through again. There’s a lot of stuff that I’ve done that is a little bit of fluff, a little bit of entertainment and you search in those scripts, I search for something bigger – but often it’s just not there. This is too big. We haven’t got time to go to where we want to with this script.” The reason the play is ‘too big’, says Blumenthal, is because at
WITH JAMELLE WELLS Keating! and Shane Warne: The Musical star Eddie Perfect has taken home the $50,000 individual award in the Sidney Myer Performing Arts Awards in Perth. Adelaide children’s theatre company Windmill Theatre won the group award of $80,000, and Darwin record company Skinnyfish Music took home $20,000 for its dedication to Indigenous music. Perfect tells us he and his wife are about to have a second baby so the money will come in handy. Animals Australia campaigner Lyn White spoke to a capacity crowd during a fundraiser at Sydney’s Conservatorium of Music last week. The former police officer turned animal welfare investigator who helped expose Indonesia’s torture of Australian export cattle in slaughterhouses has generated huge public awareness of the issue. White was a state finalist for Australian of the Year and named second in a list of Victoria’s 100 most influential people by The Age newspaper and
46 • THE DRUM MEDIA
can’t handle a play like this – with the sort of history it’s got – in three weeks.” After seeing a production of Address Unknown in her native South Africa, Blumenthal first mounted an Australian production of the play at the Seymour Centre in 2009 with the same cast she’s using this time around – Patrick Dickson as Martin, John O’Hare as Max – but felt the run had only just allowed the cast and creative team to scratch the surface of the story. “It’s got such an awkward structure because you’ve got two men writing letters to each other – it’s antidrama, because drama is action. To now have the play in place; you know, the mechanics of who sits where and who walks where – to work out how we make it more palatable for an audience to not just have to sit there and listen to men
its core are universal questions of morality and humanity. “John keeps on quoting us things like, ‘The evil is turning away,’ you know, not doing anything, that’s the real evil. And there’s been a lot of reference to where I come from, South Africa, which was a similar evil, and there are a lot of similarities between what happened there with apartheid and what happened in Germany. So there’s been a hell of a lot to discuss; this rehearsal time we’ve settled a lot of that – as much as we actually can – but it’s an ongoing question: how could that have happened? From the Germans’ point of view, from the Jews’ point of view.” WHAT: Address Unknown WHERE & WHEN: Bondi Pavilion Tuesday 28 February to Saturday 24 March EDDIE PERFECT
ABC Newsradio’s news maker of the year. The English National Ballet artistic director Wayne Eagling has resigned ahead of a tour to Australia in June. There are reports of tensions in the company with Aussie Craig Hassall quitting as managing director in January. In September last year Australian-born board member Carole McPhee also resigned. The Short+Sweet play festival at Newtown’s King Street Theatre enters week nine with a show about a prosthetic arm with a mind of its own. There are also a short play about breast cancer and a cabaret about a Centrelink worker who loathes dole-bludgers. In addition to Griffin Theatre Company’s subscriptions hitting an all-time high, The Boys has become the highest-selling season at the Stables in the 32-year history of the company. Director Kate Gaul and her team are now in rehearsals for the upcoming production of The New Electric Ballroom at the venue and the company’s artistic director Sam
Strong is on loan to Sydney Theatre Company to direct Les Liaisons dangereuses. Australian short film, Julian, written and directed by Matthew Moore, has been awarded the prestigious Crystal Bear award for Best Short Film in Generation Kplus at the 2012 Berlin International Film Festival. This is the third year in a row an Australian film has been awarded the Crystal Bear in the Best Short Film category. Julian explores a day in the life of a nine year old boy and was screened in a special section for children and youths. Writer/director Billie Pleffer’s film, BINO, also won
a special mention and a prize for the Best Short Film from the German Children’s Fund in the Generation Kplus section. A Sydney man is likely to face further charges over a China-based global operation selling illegal pay TV subscriptions. Qun Qiu faced Burwood Local Court last week over the $70 million dollar scam. He was arrested when detectives raided an Ashfield unit. The 42 year old is charged with offences that include distributing infringing copy of a work with the intention of obtaining commercial profit.
BEAUTIFUL BURNOUTS THE LONELINESS OF THE SALT-FLAT RACING AND BURNOUTS LONG DISTANCE HUNTER ARE CENTRE-STAGE IN SIMON DAVIDSON’S FIRST SOLO EXHIBITION, SALT AND SMOKE. JAKE MILLAR SPEAKS TO THE PHOTOGRAPHER. That photographer Simon Davidson can be seen around town behind the wheel of a vintage ’64 Ford should be a clue. He loves cars. Old cars, especially. And with Salt And Smoke, the first solo exhibition of his work, it’s a passion that’s on full display. As the name suggests, it is an exhibition in two parts. The first – the Salt of the show’s title – relates to racing events that take place on salt flats and dry lakebeds. “They just drive in a straight line and they go fast,” Davidson says of the speedsters who take part. “And over in America they go really fast – I’ve witnessed cars go past at well over 600km an hour.” Davidson has made ten trips to the annual Australian salt races and has visited the American salt-racing Mecca of Bonneville twice over the years. For this show, he has whittled his huge collection of images down to 12 photographs that capture the passion of those who take part. But it’s the cars that really take centre stage. In fact, the vast, empty settings for these races prove the perfect environment to keep the cars in focus. Set against such wide open spaces, there is precious little on the horizon to steal your attention away from these machines. “They call it salt fever,” Davidson says of the attraction to these contests. “And once you’re bitten, that’s it – it’s in your blood.” With no trophies up for grabs and no prize money to speak of, there is little riding on them but pride and passion. “There’s no money in it, and you’re only racing against yourself so it’s all about a lot of blood, sweat and tears – and good friends.” Then there’s the second half of the show; the Smoke. Cars are certainly still the subject of these dozen images, but the context could
scarcely be more different. Gone is the peaceful tranquillity of those giant, blank lakebeds, replaced instead by cheering crowds, spinning wheels and noise – lots of noise. These photographs were taken at burnout competitions around Australia. The idea is simple enough: spin the wheels of a car for long enough that the tyres burst – or they catch fire. Or both. But forget a handful of kids thrashing their dad’s old Camry in the local car park – these are serious tournaments. “I was in Perth a few weeks ago for an event and there must have been 15,000 people in the crowd watching the competition. “Visually, I always find it mindblowing. It started off as a personal project years ago when I was photographing muscle car culture and now I enjoy the people as much as the cars.” In addition to the fine machines caught on film, there will also be a chance to see some cars of the 3D variety, as Davidson has invited a handful of fellow petrol heads along to showcase their pride and joy on opening night. While cars might not be everyone’s cup of tea – nor burnouts for that matter – this exhibition is about more than that. It’s about passion. Davidson’s photographs depict not just some truly impressive pieces of machinery, but also symbolise the work that goes into them; the countless hours spent under the hood fine-tuning, the buffing and the waxing that, once the pedal hits the floor, suddenly make it all worthwhile. It’s a sight to behold. WHAT: Salt And Smoke WHERE & WHEN: Bondi Pavilion Gallery until Sunday 11 March
THE HUNTER TELLS THE STORY OF A MAN SEARCHING FOR THE MYTHICAL LAST REMAINING TASMANIAN TIGER. BOB BAKER FISH TALKS TO THE FILM’S DIRECTOR DANIEL NETTHEIM. The last known Tasmanian Tiger died in captivity in a Hobart zoo in 1936. Since then there have been numerous expeditions into the wilds of Tasmania searching for the animal and reports of sightings as far away as New South Wales. Despite all the activity, nothing has ever been substantiated. Yet for many the dream still holds weight. The notion of one or two thylacines wandering around in the bush is just too tantalising to let go of. It’s not a surprise to Sydney-based director Daniel Nettheim, who’s recent film, The Hunter – adapted from a novel of the same name by Julia Leigh (Sleeping Beauty) – taps squarely into this notion. “I’ve always seen it as a bit of a national myth,” he explains, “kind’ve like the Loch Ness monster.” Nettheim’s film puts Willem Defoe into the wilds of Tasmania searching for the elusive creature at the behest of
a shady multinational drug company. Despite most people outside Australia having no notion of the tiger, Nettheim felt that the film was still able to resonate with international audiences. “In a way each culture has parallel myths, an elusive or missing creature. It’s also thematically rich on many levels, speaking on the complex relationship between man and the environment, which, as you know, is fraught – and nowhere is it more fraught than Tasmania in the frontline to save the forests. The film took eight years to be made, though signing the internationallyrenowned Willem Defoe made a significant contribution to getting finance. “Because the character was written as a foreigner we always thought we’re not restricted to local actors,
so let’s make a list of any actor in the world that we’d like to work with that we think would be good in the part,” explains Nettheim. Defoe was at the top of their list and signed on quickly, attracted to the idea of shooting on location and playing a character unlike previous roles, though he was also keen to contribute to the development of the character. The result is a spare character who offers little in the way of dialogue, yet is able to communicate with a rare kind of subtlety. “I like sparse films,” Nettheim admits. “I like these existential films with loner characters like The Conversation or Le Samuraï, and I think this character was in this tradition.” To make it as authentic as possible Defoe was taught by a wilderness advisor how to make the incredible traps we see in the film.
but I can see an incredible beauty in it now. It is a noble and ancient art, and the people who do it well and professionally with pride do it with a lot of respect for the animal. You’re not a good hunter if the animal suffers in any way. It’s got to be a clean kill. When it’s done with a respect for nature it can be really beautiful.” It’s ideas like this that makes The Hunter such a morally complex film; there are no easy answers or resolutions. Yet that’s what makes it so fascinating. Then of course there’s the one burning question that haunts the film throughout: “We wanted the driving dramatic question to be will he find it or will he not,” Nettheim says. “I didn’t want to tip the scales too early either way.” WHAT: The Hunter
“I’d never been a fan of hunting before,
WHEN & WHERE: On DVD/Blu-ray now (Madman)
While some characters in Hell On Wheels are inspired by actual people, others are fictional creations representing the people who flocked to America in search of a better life. That’s the case with the McGinnes lads, Sean and his brother Mickey, played by Phil Burke. “They’re looking to start anew after experiencing blistering poverty back home in Ireland’s County Wicklow. They’re really wide-eyed innocents, Sean less so than Mickey, but they’ve got big dreams, big ambitions and their story this season is largely about the rude awakening they get. The whole series, really, is this look at the ironies of the American dream. There’s this idea that you can make it in America, and that’s true, but it can come at a price. In Sean’s case, there’s this darkening of his soul as he makes more compromises and becomes more immoral as things progress. He’s realising his dream but at a significant cost.” (And yes, Esler is more than aware of the similarity between Sean’s situation and his own. “Hopefully I
won’t have to make the same kind of compromises he makes,” he says. “So far so good.”) Currently in Australia to help promote Hell On Wheels, one of the flagship shows of the new pay-TV station FX, Esler is soon heading back overseas to commence filming on the second season of the show. And he believes that the series is far from done exploring and investigating the often painful birth of a new society. “Everyone in the show is looking to better their circumstances, and I like the fact that even the metaphor of the railroad has this double edge. It’ll save lives – people died as they tried to cross America – and it’ll unite the two sides of America but at the same time it’s dragging urban blight across this pristine landscape, displacing the native populations and it’s even damaging the people involved in its creation. It’s a great setting for a story.” WHAT: Hell On Wheels WHERE & WHEN: Mondays, 9:30pm, on FX (Foxtel/Austar)
OFF THE RAILS
GRITTY WESTERN, HELL ON WHEELS, IS THE LATEST TV SERIES FROM AMC, A PAY-TV STATION CURRENTLY AMIDST A RENAISSANCE THANKS TO THE SUCCESS OF MAD MEN AND BREAKING BAD. GUY DAVIS TALKS TO AUSTRALIAN CAST MEMBER, BEN ELSER. Talk about a nifty case of life imitating art. The makers of the new pay-TV western drama, Hell On Wheels, went looking for someone to play Sean McGinnes, a young Irishman who travels to the post-Civil War America of 1865 to seek his fortune. And who did they find? A young Australian who’d recently travelled to America to seek his fortune. Melbourne actor Ben Esler had a handful of roles to his name when he landed a prominent supporting part on the big-budget WWII miniseries, The Pacific, as Private First Class Chuck Tatum. It helped him get his foot in Hollywood’s door – “People seem to be much more interested when you’ve worked for Tom Hanks and Steven Spielberg,” he admits – and set him on the traditional actor’s route of auditions and casting calls. “It’s really a case of putting your
nose to the grindstone. But when Hell On Wheels came up, from the first audition on everything just seemed to click.” Bringing together a diverse and colourful array of characters and taking a gritty tone similar to that of the great Deadwood, Hell On Wheels follows the construction of America’s first transcontinental railroad in the years following the Civil War. It’s a chance to unite a country ravaged by years of conflict, and a chance for people to find a purpose in life while perhaps striking it rich. But for some people, like former soldier Cullen Bohannon (Anson Mount), it’s also a way to track down the men who murdered his wife and avenge her death. “The show takes a historically accurate setting and uses it as the backdrop for an allegory about modern America as well as a pretty cool western revenge story,” Esler explains.
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A SEPARATION One of the most universally acclaimed films of recent years, A Separation comes belatedly to Australian screens with an intimidating amount of hype for a low-key chamber drama from Iran, not the least being its two Academy Award nominations for Best Foreign Language Film (likely a winner by the time you’re reading this) and Best Original Screenplay. That the latter nomination is a rarity for non-English language films speaks to the film’s greatest virtue; it’s a film of uncommon tautness and moral complexity, and grips you like a vice even when the threat of violence is only tangential to the story. As such, you’re best going in blind for its twists and turns to take full effect. The film’s titular separation takes place in the first scene, as Nader (Peyman Moadi) and Simin (Leila Hatami) sit in divorce court, talking over each other; she wants to leave the country with their 11 year old, he wants to stay and take care of his Alzheimer’s-ridden father. Simin sees it as grounds for a divorce, but the judge declines. Separations of a less tangible nature dominate the story, most obviously those between the wills of Iranian citizens and their oppressive society, particularly the stranglehold of the
law and religious beliefs. But it’s the separations between people acting out of self-interest that gives the film such overwhelming universal resonance. With seeming effortlessness, writer/director Asghar Farhadi makes the actions of each character – however unfortunate – seem completely understandable, and his cast are uniformly up to the heights he sets for them. Films this dramatically juicy are a rare breed – don’t dare miss it. WHERE & WHEN: Screening in cinemas from 1 March IAN BARR
LIKE CRAZY After exchanging a few charged glances in class, Anna (Felicity Jones) asks Jacob (Anton Yelchin) out via a note slipped under his car’s windshield wiper. He says yes. They discover they’re both only-children on their first date, they take a few swigs of whisky back at her dorm, and sealing their status as an Extremely Uninteresting Couple, they bond over a shared love of Paul Simon’s Graceland. And despite only a few generic commonalities – and soft piano keys on the soundtrack working overtime in lieu of tangible romantic chemistry – Like Crazy proceeds to argue that the world depends on them being together. It almost feels churlish to hate on the film, being a small-scale passion project made to win hearts rather than money or awards, but since it inexplicably took home the main prize at last year’s Sundance Film Festival, I’ll bite. The most remarkable thing about these two people is that they’re in college, despite all onscreen evidence suggesting they’re both 15
LIKE CRAZY years old. If writer/director Drake Doremus made their relationship anything greater than a reminder of why people bring headphones on public transport, then maybe the dilemma that turns it into a long-distance one would have some
weight. Alas, when Anna is banned from the US for overstaying her visa and forced to move back to England, it comes off as stupidity rather than blind passion. Jones does her best to make it work, but Yelchin mostly lets his changing facial hair do the heavy-lifting as her counterpart. That their rebound lovers (played by Jennifer Lawrence and Charlie Bewley) are given barely any screentime is supposed to suggest their relative unimportance to the central players’ lives – instead it merely lets us entertain the possibility that they’ve gotta be improvements. WHERE & WHEN: Screening in cinemas from 1 March IAN BARR
BABYTEETH Upstairs, Belvoir St Theatre With Babyteeth, playwright Rita Kalnejais has created a world that seems as though it could only exist in close proximity to inevitable disaster. While this a comedy – a bleak, melancholy and divinely moving comedy – it is the inevitability, the constant reminder, that is Mila’s increasingly crippling cancer that most strongly informs the curious bubble of existence on stage. Here, on a rotating stage that holds three rooms, everything seems unlikely but exactly in place. Populated by a motley collection of characters with as much darkness as they have whimsy – be it of the wide-eyed 14 year old variety so perfectly embodied by Sara West as Mila, the varying drug-induced whimsies of a perpetually unfazed father, an unstable self-medicating mother and a drug-dealing delinquent, or the whimsy that comes with a delightfully eccentric and boldly honest Latvian violin teacher – there are strong performances from the entire cast, with Eamon Farren and Greg Stone deserving special mention for their portrayals of boyfriend and father. Everyone is afflicted or self-prescribing regardless. Eamon Flack’s direction captures the everyday madness and inquisitive thirst for life, or experience anew, that fuels the story and allows it to be weighted with an intense undercurrent that has a compelling inevitably as strong as Mila’s sickness. A profoundly zany and deeply emotional piece of theatre. Until 18 March DAVE DRAYTON
WITH BETHANY SMALL Be wary of trusting a commercial art gallery that is called anything other than the name of the person or people who set it up or something to do with the location of its premises. For example: Gallery Barry Keldoulis; Liverpool St Gallery; Flinders St Gallery; Gallery 9, which is at number 9 on Darley St; Roslyn Oxley9, which gets hits in both categories, as it’s at 9 Soudan Lane in Paddington. It is just a thing where those are the rules, and galleries that don’t know that generally seem to not know a lot of other stuff as well. I will not give examples here, because it is rude and also the whole, you know, not doing libel ‘thing’ (although a court case in which someone had to establish themselves as actually knowing plenty about art in order to prove their suit could be interesting) but it obviously is not very hard to determine where this is applicable. Consider it a ‘guess who, don’t view’ item. I would like to single out a special exception, though, in that I really like Chalk Horse and think it is clever and good. BUT, Chalk Horse used to be an ARI and the rule doesn’t apply there in that many of the good ones have some kind of weird little name. MOP, say, or The Papermill, or Serial Space. There are various motivations for these names, like explaining what the place is about or being named after a
collective that runs it, and collectives are allowed to have weird little names. It’s sort of like an ARI is allowed to have an ethos for a personal brand but a commercial gallery is meant to be a bit more neutral. Like, obviously galleries have a sort of style they lean towards, but ideally the focus is on the work rather than on the people running the place, where with ARIs those show-runners are artists and thus expected to front more with their conceptual quirks. Hey, it’s a theory. But ARIs can also do the who/where thing, like Locksmith Projects, which ran out of an ex-locksmith store, or The May Lane Art Project. So hey, if you are thinking about running an art space you officially have my permission to call it whatever you like. Unless it is something lame. If you’re starting a commercial gallery though, 1) you had better not be doing it as a vanity project destined to show mainly your own works, as that money could be better spent on buying me ponies and whatever, and 2) follow the damn name rules. Structure! And! Discipline! And public galleries/private museums, just in case any of you are either the government or superfucking-wealthy, are to be named for what and where they are in the former case and, hey, whatever you want crazy billionaire in the second. But the names of the people who endow them is very much a classic. Call me, Guggenheims!
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48 • THE DRUM MEDIA
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THE DRUM MEDIA â€˘ 49
50 • THE DRUM MEDIA
TOUR GUIDE FEATURE TOUR
Over the past decade Ben Kweller has established himself as one of America’s most treasured songwriters. He’s certainly no stranger to our shores, with an array of devoted fans faithfully attending his shows. He’ll be back here soon enough as part of the Hi-Fi Shoreline Series, a series of shows across The Hi-Fi venues in Australia, celebrating the opening of The Hi-Fi Sydney. He’ll be kicking it all off in the recently opened Sydney venue on Friday.
SLIPKNOT @ SOUNDWAVE PIC BY KANE HIBBERD
SOUNDWAVE SYDNEY OLYMPIC PARK 26/02/12
Painted war metal nutters Turisas were the perfect excuse to crack that first 11am beer. Nothing gets a party started like Finnish folk music and Turisas’ high energy set was just what the metal doctor ordered. It’s just a shame that a last minute stage change left many Turisas fans in the wrong place at the wrong time. He may be back in Killswitch Engage, but Jesse Leach proved that his Times Of Grace project has made a big splash in a small amount of time. In front of a surprisingly large crowd, the band churned through a clutch of offerings from their sole release, including a stunning rendition of Hymn Of A Broken Man. Definitely one of the standout performances of the day. Gojira were only slightly less tedious live than they are on wax. Nonetheless their bass-heavy prog death assault got a warm reception, placing this reviewer’s opinion squarely in the minority. Switchfoot played on a small stage but definitely had that rock star appeal. Their songs were catchy, frontman Jon Foreman dove into the audience to a chorus of highpitched squeals and they played a crowd-pleasing Beasties cover (Sabotage). Surprisingly enjoyable stuff from a band you can see playing on Fox News. Perth’s finest, Break Even, have sadly called it quits, but at least they’re going out on a high. Attracting a decent crowd the local lads inspired a riotous pit and were gratified to see their lyrics spat back at them with wild enthusiasm. Vale Break Even. Paradise Lost were the first real disappointment of the day. Maybe it was the sound gremlins, but their majestic doom sounded flat and lifeless and the band themselves didn’t seem to want to be there. Cathedral on the other hand were a complete blast. Frontman Lee Dorrian rocked a righteous purple skivvy and the band blasted through the likes of Ride, Hopkins (The Witchfinder General) and Midnight Mountain along with a crushing rendition of the doomy Cosmic Funeral. Maybe Paradise Lost should be the ones breaking up instead? On the main stage Bush came and gently rocked out with only Glycerine really raising the energy levels beyond comfortable. Not to worry, Bad Religion followed them and put in yet another tour de force of glorious punk rock. Highlights were many, although it was hard to go past the old school one-two punch of Along The Way and Fuck Armageddon This Is Hell.
Limp Bizkit were never – and will never be – half the band that Bad Religion are, but there’s no denying that their huge, dumb sound is tailor-made for festivals. Sure frontman Fred Durst still managed to make an idiot of himself by simply opening his mouth (although credit to the man for taking time out to remember Jessica Michalik – who passed away during their 2001 Big Day Out set – with a touching visual and spoken tribute) but the band’s bass-heavy grooves and big choruses seduced fans and the morbidly curious alike. Kvelertak have a huge buzz going at the moment, but this didn’t translate into a standout festival set. Sure the band melded hardcore mathcore and metal into an impressive combustible package, but after a while every track sounded the same. Kvelertak have the chops, but they still have some developing to do on the songwriting front. Development is not in the Hatebreed lexicon, godammit. Everybody’s favourite band of aggro-core hardarses was in great form dealing out breakdowns and Anthony Robbins-themed lifestyle advice with reckless abandon. Oh and vocalist Jamey Jasta rocked the T-shirt of the festival – a leering Ling Diamond Conspiracy tee. There’s no doubting it: Hatebreed lives for “this”. Post-hardcore New Jerseyans Thursday were a far politer proposition than Hatebreed – so were their fans, with not a single ninja kick to be seen among them. Frontman Geoff Rickly reminded that the band were splitting up after this tour and politely thanked all his fans – and of course received a thunderous (yet polite) round of applause in return. There’s a reason they call this stuff Ikea-core you know. New York legends Cro-Mags are about as far away from Thursday as is musically possible and the Mags destroyed all before them. If the large group of musicians watching the band from side of stage wasn’t enough of a clue these guys are one of the most revered acts in all of hardcore and, accordingly, their The Age Of Quarrel-heavy set was akin to being belted around the head with a cinder block. Frontman John Joseph moved like a man half his age (must be all that vegan living) and spat out the lyrics to the likes of World Peace, Malfunction and We Gotta Know with all the vitriol of a man who’s led a very, very hard life. Watain were an absolute spectacle. Leaving aside the corpse-painted members, there were huge cross-like
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 KARAVAN!: Mar 10 The Standard JAMES MURPHY & PAT MAHONEY: Mar 10 The Metro WILD FLAG: Mar 13 Manning Bar I, A MAN: Mar 15 King’s Cross Hotel BLUE MOUNTAINS MUSIC FESTIVAL: Mar 16 – 18 Katoomba MICHAEL ROTHER: Mar 17 Oxford Art Factory ADAM ANT: Mar 23 Enmore Theatre 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 TROMBONE SHORTY: Apr 3 The Basement Circular Quay BUDDY GUY: Apr 4 Enmore Theatre BLUESFEST: Apr 5 – 9 Tyagarah Tea Tree Farm 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 SNEAKY SOUND SYSTEM: Apr 7 The Hi-Fi 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 BLEEDING KNEES CLUB: Apr 11 Beach Road Hotel, Apr 12 Transit Bar, Apr 13 & 14 (day) Oxford Art Factory, Apr 14 (eve) The Patch 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 LAST DINOSAURS: Apr 21 Oxford Art Factory, Apr 22 Transit Bar 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 GOSSLING: Apr 27 Clarendon Guesthouse; Apr 28 The Basement Circular Quay, Apr 29 Brass Monkey FU MANCHU: May 3 The Hi-Fi
ANDREW WK: May 10 The Standard THE MACCABEES: May 10 Metro Theatre DEAD LETTER CIRCUS: May 23 The Patch, May 24 Zierholtz @ UC, May 25 The Hi-Fi, May 26 Entrance Leagues Club, May 27 Cambridge Hotel 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 COME TOGETHER: Jun 9 Big Top Luna Park
FUSHIA: Feb 29 Rock Lily, Mar 1 Oxford Art Factory Gallery Bar, Mar 2 Hamilton Station Hotel, Mar 3 The Lansdowne LAST DINOSAURS: Feb 29 Spectrum SET SAIL*: Feb 29 Newcastle Uni, Mar 1 UNSW, Mar 15 Oxford Art Factory, Mar 18 Brass Monkey, Mar 25 34 Degrees South, Apr 12 Grand Junction Hotel ALEKS & THE RAMPS: Mar 1 ANU Bar, Mar 2 The Patch, Mar 3 Goodgod, Mar 4 Chino’s MATT CORBY: Mar 1, 4, 5 Oxford Art Factory JEN CLOHER: Mar 1 The Vanguard TWELVE FOOT NINJA: Mar 1 The Basement, Mar 2 The Patch, Mar 3 Annandale Hotel ELI WOLFE*: Mar 1 Absolute Soiree, Mar 8 Low 302 ELIXIR: Mar 1 Joan Sutherland Performing Arts Centre, Apr 19 Ravensthorpe Guesthouse & Restaurant, Apr 21 The Basement RICK PRICE: Mar 1 The Vault, Mar 3 Clarendon Hotel, Mar 29 Lizotte’s Kincumber, Mar 30 Lizotte’s Dee Why, Apr 1 Lizotte’s Newcastle TROY CASSAR-DALEY: Mar 2 Lizotte’s Dee Why, Mar 3 Lizotte’s Newcastle, Mar 4 Lizotte’s Central Coast 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 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 CANYONS*: Mar 3 Transit Bar, Mar 16 The Standard LOVERS JUMP CREEK: Mar 7 Yours & Owls, Mar 21 The Great Northern Newcastle, Mar 29 Beach Rd Hotel CELADORE*: Mar 8 The Phoenix Canberra, Mar 9 The Gaelic, Apr 14 Chino’s HOLLY THROSBY: Mar 9 Clarendon Guesthouse, Mar 16 Annandale Hotel, Mar 17 Lizotte’s Kincumber, Mar 18 Lizotte’s Dee Why, Mar 22 Zierholz @ UC, Mar 24 The Gallipoli Club JOELISTICS, DIAFRIX: Mar 9 Annandale Hotel, Mar 10 Great Northern Newcastle, Mar 11 Transit Bar SAM SPARRO: Mar 9 Oxford Art Factory GIANTS OF SCIENCE*: Mar 9 The Patch, Mar 10 The Square BETWEEN THE DEVIL & THE DEEP: Mar 10 Roxbury Hotel THE DRUM MEDIA • 51
with three of their biggest cuts (Loco, Big Truck, Fiend). A series of prolonged technical difficulties unfortunately emphasised the point. For all of In Flames’ enthusiasm and applause from selected sections of their fanbase, the (mirror’s) truth remains that their recent material is just plain dull. The Swedes rooting their abbreviated set in said era (the ten year old Cloud Connected as “vintage” as things got) only reinforced this.
TOUR GUIDE THE PEEP TEMPEL: Mar 10 King’s Cross Hotel I, A MAN: Mar 15 King’s Cross Hotel THE BON SCOTTS: Mar 29 Manly Boat Shed, Mar 30 The Vanguard, Mar 31 Grand Junction Hotel, Apr 1 Brass Monkey SNEAKY SOUND SYSTEM*: Apr 7 The Hi-Fi BLEEDING KNEES CLUB: Apr 11 Beach Road Hotel, Apr 12 Transit Bar, Apr 13 & 14 (day) Oxford Art Factory, Apr 14 (eve) The Patch BLUEJUICE*: Apr 12 Waves, Apr 13 The Metro THE BEARDS: Apr 18 Great Northern Newcastle, Apr 19 ANU Bar, Apr 20 Manning Bar PASSENGER: Apr 21 Factory Theatre LAST DINOSAURS*: Apr 21 Oxford Art Factory, Apr 22 Transit Bar BIG SCARY: Apr 27 Oxford Art Factory GOSSLING: Apr 27 Clarendon Guesthouse; Apr 28 The Basement Circular Quay, Apr 29 Brass Monkey DEAD LETTER CIRCUS: May 23 The Patch, May 24 Zierholtz @ UC, May 25 The Hi-Fi, May 26 Entrance Leagues Club, May 27 Cambridge Hotel BOY & BEAR: May 30 State Theatre, May 31 Newcastle Uni, Jun 1 ANU Bar, Jun 2 Waves, Jun 17 Entrance Leagues Club
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 COBRA STARSHIP: Feb 28 The Hi-Fi 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 MADISON VIOLET: Feb 29 Lizotte’s Kincumber ENTER SHIKARI: Feb 29 The Metro MACHINE HEAD: Feb 29 UNSW Roundhouse BAD RELIGION: Feb 29 The Hi-Fi 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 SLOW CLUB: Feb 29, Beach Road Hotel, Mar 1 Goodgod 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 ZAKK WYLDE’S BLACK LABEL SOCIETY: Mar 1 The Metro LAMB OF GOD: Mar 1 UC Refectory UNDEROATH: Mar 1 The Factory ICICLE: Mar 1 Sly Fox ODDISEE: Mar 1 Civic Underground REBEL SOULJAHZ: Mar 1 Selina’s ERIC BIBB: Mar 1 Sutherland Entertainment Centre, Mar 8 & 21 The Basement, Mar 9 Joan Sutherland PAC, Mar 20 Lizotte’s Central Coast, 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 2 Red Rattler EUGENE ‘HIDEAWAY’ BRIDGES: Mar 2 Lizotte’s Kincumber, Mar 3 Lizotte’s Dee Why, Mar 4 Lizotte’s Newcastle UKULELE ORCHESTRA OF GREAT BRITAIN: Mar 3 Canberra Theatre Centre, Mar 4 IPAC, Mar 6 Sydney Opera House Concert Hall, Mar 7 Newcastle City Hall STEVE BUG: Mar 3 Chinese Laundry 52 • THE DRUM MEDIA
RUPAUL: Mar 4 The Metro BLACK LIPS: Mar 4 Annandale Hotel 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 Lambton, 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 SKRILLEX: Mar 7 Enmore Theatre THE CHECKS: Mar 7 Beach Road Hotel PENGUIN CAFÉ: Mar 7 City Recital Hall BEN SOLLEE: Mar 7 The Basement Circular Quay, Mar 21 Street Theatre, Mar 22 The Vanguard NEW ORDER: Mar 7 Hordern Pavilion JESSIE J: Mar 8 Hordern Pavilion THE RAPTURE: Mar 8 The Metro ROOTS MANUVA: Mar 8 The Hi-Fi STEVE GRIMMETT: Mar 8 The Patch, Mar 9 The Basement, Mar 10 Sandringham Hotel NANO STERN: Mar 8 Camelot Lounge SHARON SHANNON: Mar 8 The Factory FATBOY SLIM: Mar 8 Enmore Theatre A-SIDES: Mar 8 Sly Fox TETE*: Mar 8 King’s Cross Hotel DIE ANTWOORD: Mar 9 Enmore Theatre JAMES MURPHY & PAT MAHONEY*: Mar 10 The Metro WILD FLAG: Mar 13 Manning Bar JOHNNY CLEGG: Mar 15 Enmore Theatre MICHAEL ROTHER: Mar 17 Oxford Art Factory ADAM ANT: Mar 23 Enmore Theatre 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 ANGELIQUE KIDJO: Apr 2 Sydney Opera House Concert Hall 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 MACEO PARKER: Apr 13 & 14 The Basement Circular Quay FU MANCHU: May 3 The Hi-Fi ANDREW WK: May 10 The Standard THE MACCABEES: May 10 Metro Theatre
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 COME TOGETHER*: Jun 9 Big Top Luna Park SYDNEY BLUES & ROOTS FESTIVAL: Oct 25 – 28 Windsor * indicates new or amended listing this week
Cobra Starship’s electro-pop/punk quickly got the kids moving and dancing, a combination of keytars and dual male/female vocals seemingly a popular ingredient of their musical recipe. Smile For The Paparazzi was a particular fan favourite and they were visibly ecstatic to be there. Just a brief stroll away, In This Moment made their first appearance in these parts. Presenting largely forgettable metalcore, their numbers were surely boosted by male punters keen for a look at well-dressed frontwoman Maria Brink, who screamed and crooned with conviction.
BAD RELIGION @ SOUNDWAVE PIC BY KANE HIBBERD structures on fire and flames leaping from the front of the stage. This wasn’t what those revival preachers had in mind when they talked about fire and brimstone – but it was a whole lot more fun. But metal does not live by spectacle alone and thankfully Watain had the songs to back up the theatre. Their Dissection-styled harmonies rang clear into the dark night and formed a fitting end to a very well-run and successful Soundwave festival. Mark Hebblewhite Sporting five-sixths of a new lineup, US metallers Chimaira are an almost entirely different entity in 2012. Only frontman Mark Hunter remained from their previous incarnation, energetically leading new recruits and fans dedicated enough to arrive before midday through their paces. Effervescent vocalist Trevor Strnad should not be allowed to remain shirtless in public, but The Black Dahlia Murder defied less-than-stellar sound with their crushing death metal. Blast beats, Carcass-inspired riffing and At The Gates-esque melody didn’t disappoint. In the absence of an Australian Weezer tour, for some the next best thing may be Saves The Day delving into said band’s classic Pinkerton album, but there weren’t many of them present. The American rockers tried hard, but their small crowd was apathetic at best. One of the most anticipated bands making their Sydney debut were Steel Panther. The LA crew’s dead-on, yet loving glam metal parody was even funnier live, because such a platform enabled them to engage in extended bouts of banter amid the hilarious songs. Hand mirrors, hairspray, choreographed stage moves and a killer ballad in Community Property ensured plenty of converts. On the topic of being converted, this reviewer had long been on the fence about hard rock outfit Alter Bridge. However, cracking latest album, AB III, (ahem) altered that perception and opener, Slip To The Void, immediately showcased frontman Myles Kennedy’s golden pipes. Stadium-friendly hooks and guitarist Mark Tremonti’s frantic leads delivered the goods. Slash dropped by for closer, Rise Today, earning a rapturous reception. A Day To Remember’s popularity is undeniable – and in the view of their many thousand devotees in attendance, their melodies are also irresistible. The definition of a crowd-pleasing performance, punters were moshing to metalcore beatdowns one moment and passionately belting out sugar-coated pop/punk choruses the next – and adoring every second. Frontman Dez Fafara once likened going back to Coal Chamber to doing school again. Well, judging by the boisterous crowd greeting their first shows in a decade, plenty of others were willing to return to that era of their lives. While attacking the task with vigour, the goth-nu metallers blew their wad too early, kicking off
Appearing far more comfortable than on their previous festival tour of Australia, Mastodon was in brilliant form. Packing riffs with more muscle than Dwayne “The Rock” Johnson, they had also tightened up the live vocals, previously the only major shortcoming of their performances. Owing a hefty debt to ‘70s hard rock, they leant heavily on latest slab, The Hunter, (including widespread singalong Curl Of The Burl) and with a few other gems (Megalodon, Blood And Thunder) also being injected, dominated all before them. You anticipate Marilyn Manson will be volatile. Egomaniacal. Perhaps even throw a tantrum. But you still expect an entertaining show for your troubles – and this didn’t deliver on any front. Flat vocal delivery, an utter lack of energy and half-hearted renditions of the likes of Rock Is Dead and Sweet Dreams were the main issues. Visibly inebriated, ranting aimlessly and yelling and arguing with crew members didn’t help. The diehards still seemingly derived some modicum of enjoyment, but large sections openly heckled before a belated return for closer, The Beautiful People. What a mess. Who knows what the future holds for Iowa’s multiman metal juggernaut, but for both Slipknot and their fans this was all about the here and now. Opening with a wave of pyrotechnics and a hugesounding first track in (sic), mainman Corey Taylor’s stage presence continued to belie his none-toolarge frame, as the expected on-stage mayhem and elaborate props and production values ensued. The likes of Wait And Bleed, The Heretic Anthem and Psychosocial elicited immeasurable audience participation from those both within and outside the rammed D-Barrier. Fallen bassist Paul Gray was also acknowledged, much to the delight of the maggots. Meanwhile over at the metal stages, Zakk Wylde’s Black Label Society were shredding up a storm with their high-octane fare. Extended guitar solo aside, a blistering Godspeed Hellbound and well-received Stillborn kept the grizzled frontman’s most passionate of devotees sated. A 40-minute festival set was far from the ideal environment for The Devin Townsend Project to properly deliver their message, but the rubber-faced Canadian did his utmost to create a sense of atmosphere, via an expansive light show and Ziltoid video footage. Sarcastically shouting metal clichés between songs, he was flanked by a tight band helping create that colossal wall of sound. Beginning with a ferocious I Am Hell, Machine Head’s collective bellies were so full of fire they could have begun spitting lava. A crystal clear mix, song selections seamlessly blending old and new and a rabid crowd contributed to one of the strongest sets this reviewer has seen from the quartet. Charismatic frontman Robb Flynn had fans doing his every bidding, inciting circle pits with ease. A monumental Locust, thrashed-up Aesthetics Of Hate and Imperium were among the highlights. Overall it was an exceptional closer to an action-packed day. Brendan Crabb
COAL CHAMBER @ SOUNDWAVE PIC BY KANE HIBBERD
executed set of irresistible indie melodies, without forfeiting a sense of subtlety and live intimacy.
party, bringing three very distinct styles of music to an at-capacity venue full of students.
Once the UniBar’s sound technicians co-ordinated themselves with Millions, the band’s skill became clear. They’re a tight little group making music that seems nostalgic for the indie rock scene of the 1990s – a sort of lo-fi sound, pure, unflinching rock‘n’roll. Their guitar-heavy arrangements call to mind an endless youth, late night house parties and angstridden love affairs. With each song, Millions seemed to gain in confidence and it quickly became clear that, as well as neat arrangements, the band’s lyrics are grunge-rock fables for the big kids – “Kiss the boys and make them cry/ I want to make you mine.”
HUDSON MOHAWKE, RUSTIE, DRO CAREY, WORLDLIFE, ROLEO MANNING BAR 25/02/12
First act Roleo is a young Sydney producer who makes deep, experimental hip hop in the style of US West Coast heroes Flying Lotus, Gaslamp Killer, DJ Nobody and Nocando. It was a short 30-minute set of thick syrupy beats and glitchy percussion all chopped up and arranged in a way that was easy to digest. Roleo avoided complicated experimentation and delivered a solid, accessible set of danceable tunes that focused on catchy 4/4 explorations while still enjoying the huge range of textures that the genre plays with.
THE CAIROS @ SPECTRUM. PIC: JOSH GROOM
THE CAIROS, CHICKS WHO LOVE GUNS SPECTRUM 25/02/12
Although stylistically chaotic punk five-piece Chicks Who Love Guns and Brisbane indie lads The Cairos may seem incompatible, in a live setting the two acts seamlessly complimented one another through a mutual energetic forcefulness and a defiantly absent artist/ audience barrier. This missing allegorical ‘wall’ breeds a more interactive performance, asserting a level of comfort between the band and crowd, thus leaving space for heightened musical experimentation. Splashing vitriol on the Spectrum floor and warming up the modest-sized crowd were Sydney boys Chicks Who Love Guns, who brought their own infectious brand of hyperactive punk to the stage, infusing their set with an essence of refreshing contempt and relentless urgency. With collective screeching vocals, sloppy pounding rhythms and anthemic guitar breakdowns, this lack of solidarity and mutinous attitude resuscitates while vividly resembles insubordinate ‘80s and ‘90s American punk bands such as Fugazi and Negative Approach. Joining the crowd on the floor to thrash and throwdown three minutes of cyclical God Love And Satan, Chicks Who Love Guns’ dense wall of sound is amplified by layered breathy group vocals and adrenalised guitar riffs. As headliners The Cairos hit the stage, there came a soothing change of pace, with accessible indie tunes being broadcast, inspiring dancing feet across the small venue. With melodic, Southern Caleb Followillstyle vocal nuances, Listening Party features an epic instrumental breakdown that significantly amped the crowd and showcased the band’s insurmountable drive and eclectic audial talents. Unlike the previous act, The Cairos delivered a tight set, which was harmonious with their polished and refined musical aesthetic. Closing the set with the summery guitar interlude of We All Buy Stars, The Cairos managed to actively involve the crowd through a fluidly
Worldlife, also hailing from Sydney, brought some big sounds spinning cuts that straddled many genres. UK funky, wobble, big beat, dubstep and future r’n’b all featured in a lengthy set that perhaps could’ve done with more discipline. It began to wear thin after an hour and, while it was mixed well and they kept it interesting, it began to wear out its welcome by being a little too aggressive. Dro Carey is another young up and comer who covers a deeper side of bass music. It wasn’t as warm as the earlier sets, but it was complex, well delivered and, more importantly at this time of night, it was energetic. Crunchy, gritty beats tripped over each other and pulsing bass lines pushed everything forward. It was a heavy set that transitioned well into the main acts. Rustie has been described as a pioneer of a new form of bass music – maximalism. The idea is that so much sound is produced, there is absolutely no breathing room left. Beats, percussion, chords, samples and whatever else he finds are thrown together in a huge wall of noise that, despite its schizophrenic nature, still manages to remain listenable. The theory for its popularity is connected to the current state of our attention spans – or lack thereof. Whatever the case, Rustie brought the noise and together with Scottish spazz-hop alchemist Hudson Mohawke they created a fantastic neon blitzkrieg of urban bass music, hip hop, post dubstep and cannibalised pop. They cut into each other’s work, toing and froing between known pieces and ad hoc arrangements. It was a high-energy set that created an intense atmosphere that everyone was enjoying. There’s a strange inclusive nature to their work that got everyone dancing together. It’s the lack of focus that stops you from getting “lost” in the music as it never lets you feel settled like drum’n’bass or techno does. There was constant interaction as the music changed so quickly and forced the audience to find a new way of accessing it. Sometimes the bass, sometimes something else. It was a great show – always interesting, always entertaining and completely exhausting.
Words fail to explain the boundless energy of Northeast Party House. It’s frenetic, kinetic, crazy music, with no band member standing still for so much as a moment. The soaring pitch of the synthesiser seemed to slide from one note to the next, whilst both guitarists were melodic and active, driving the pace and energy of the music. The otherworldly keys provided a nice contrast with the rock sound of the rhythm section. One guitarist took up a balloon, sucked in some helium, and said, “Thank you, everyone!” These are the bad boys your mother warned you about; the wild party animals. Northeast Party House make good entertainment and even better music. Jessie Hunt
DEATH CAB FOR CUTIE, DAPPLED CITIES ENMORE THEATRE 24/02/12
Dappled Cities have spent many years – dating back to before they were of age – developing their sound and gaining a following in Sydney. Their sound is
Death Cab For Cutie stunned their audience into silence with the slow, steady opening chords to Army Corps Of Architects and by the time Ben Gibbard’s gorgeous, distinctive vocals began, the entire audience were watching silently, with rapt expressions. The band then moved unflinchingly into The Ice Is Getting Thinner, a song that, contrastingly, brings forward Death Cab’s sometimes understated rhythm section. The track exhibits the emotionally charged power that the band is capable of; their trademark combination of prodigious musicality and honest, powerful, emotive lyrics. If the audience were stunned by tracks from Death Cab’s earlier albums, their reaction to Crooked Teeth – from arguably the band’s most successful album, 2005’s Plans – was ecstatic. The crowd cheered as soon as that electric guitar riff started and then sang along throughout the track. There’s a certain poetry in all Death Cab tracks, a sort of incandescent darkness—“You’re so cute when you’re slurring your speech/ But they’re closing the bar and they want us to leave.” Gibbard was excessively at ease with the audience, especially highlighted in his description of the setting of Grapevine Fires. The beguiling beauty of the keys in this track very nearly stole the show away from the dark poetry of the lyrics: “The firemen all worked double shifts… they knew it was only a matter of time.” The band left Gibbard onstage for the acoustic track, I Will Follow You Into The Dark. Gibbard’s beautiful voice was joined by hundreds of others, as the crowd murmured along, a little reverentially, with him. The song was performed with elegance and poise, which only heightened the tragedy in the lyrics. Because of that miserable, mellifluous poetry behind all Death Cab songs, it is possible to miss the heavy, prodigious musical talent that provides a frame for each track. In a live show, it becomes so much clearer that Death Cab For Cutie members are not ordinary musicians; they each have understated but unmatched skills on each instrument, creating songs which are beautiful – incredible even – lyrically and musically. Jessie Hunt
NORTHEAST PARTY HOUSE, NANTES, MILLIONS WOLLONGONG UNIBAR 23/02/12
As well as being the Triple Treat Tour, Thursday night at University of Wollongong’s UniBar was the end of O-Week Party. This tour brought the
Wed 29 FEB: Thurs 01 MAR: FOR FO MORE IN UR O CHECK E WEBSIT tel theoxfordho .com.au
In the last few months, Nantes sure have been putting it around, playing slots on festival bills as well as their own shows. Whether it’s all that practice, or courtesy of a recent recording session, the band have improved out of sight since the New Year, playing each track with a deft certainty, with planning on rehearsal on their side as well as raw skill. Their opening track was grunge rock with a sort of warped, otherworldly, synthetic edge. Those complex, complicated drums really stood out, as did that tiny little xylophone segment. With pounding rhythms, enthralling synthesiser lines and thoughtful, painstaking lyrics, Nantes play effortless music that has clearly been created with much effort. Believe the hype about Nantes – they are artists.
beautifully put together, tight, but with the perfect level of frank emotion. In Sydney, their following is so great that it would have been in danger of eclipsing anyone other than tonight’s headliners.
FRI 03 FEB:
DEATH CAB FOR CUTIE @ ENMORE THEATRE. PIC: ANGELA PADOVAN
FAMILY AFFAIR: Wayne G presents an exclusive musical showcase of talent in a full length show. MARY KIANI: Album Launch Mary sings live with special guests. FOR THE LOOKOUT: MARDI GRAS PARADE VIEWING S/ Q EN UIRIEGS (SEE WEBSITE FOR DETAILS) BOOKIN hotel rd tia@theoxfo u 11PM: SWAGGER - G&L HIP HOP/R&B .a m .co ON ALL 4 FLOORS OF THE HOTEL
LEVEL ONE . 134 OXFORD STREET DARLINGHURST . PH: 8324 5200 themusic.com.au
THE DRUM MEDIA • 53
Vibrant acoustic dance music featuring powerful Cuban rhytmms and stunning vocal harmonies? Wow that’s a challenge! Listen to the irresistible combination of Musica Linda as they explode at The Lewisham Hotel on Wednesday.
PRINCE GOES TO TOWN TIME FOR GOODBYES
Renowned Sydney-based rock band Peregrine is disbanding after 12 years of being a touring band. This Saturday, they play their final show – in “the room where it all started” – The Basement in Circular Quay. They’ll be accompanied by Wes Carr.
OPEN INVITE Four-piece rock and electronic crew, Fushia invite everyone to come hear their new EP, Open Invite, and their single release, Brunswick St. Young and Brisbanebased, the crew are bringing their alternative indie style to The Star’s Rock Lily on Wednesday, Oxford Art Factory on Thursday and The Lansdowne Hotel on Saturday.
SAILING HOME After a month-long struggle to get their frontman back in the country, the Set Sail trio have reunited to once again tour the country. Lead singer Brandon Hoogenboom was deported to the United States after mistakenly playing shows with the wrong visa making their show this Thursday at University of NSW one brought to you by the Harbour Agency and the Australian Government!
CUBAN FINGERS Representing the next generation of Cuban jazz pianists, Havana-born Marialy Pacheco brings her talents to her new home Australia. Set to deliver a commanding performance at SIMA’s Sound Lounge on Friday, experience her native Cuban rhythms with a blend of jazz.
28 BRIDGES After a sensational show at Sydney’s Basement, Eugene Hideaway Bridge’s tour along the east coast continues. Bridges takes on three shows in NSW this week at Lizotte’s in Kincumber on Friday, Lizotte’s in Dee Why on Saturday and Lizotte’s in Newcastle on Sunday. Come help him celebrate his 28th tour since 1999 and experience his much-acclaimed new album, Rock And A Hard Place.
GUITAR HEROES Newtown’s Sandringham Hotel presents Night of the Living Guitars this Friday presenting four legendary musicians. Starting the night will be Peter Northcote, arguably the most recorded guitarist in Australian history with input in 90 per cent of the ads on our TVs and radios. Sharing the stage will be Tim McMillan Band, Dave Carr’s Fabulous Contraption and Grandmaster Monk.
JEZ SET, GO! The English invade Australia again, or more specifically Wollongong‘s City Diggers Club this Friday. Leading the fleet is Durham’s Jez Lowe, turning ordinary people with ordinary lives into universal characters with his colourful lyrics and songsmith wit. Fiddle player Kate Bramley will accompany him with Cornwall’s finest musician Alistiar Brown in support.
After six long years, Bonnie ‘Prince’ Billy returns to Australia supporting his 16th studio album, Wolfroy Goes To Town. Billy’s porch-strummin’ ramshackle sound is a blend of Americana, folk, roots, country and indie rock guaranteed to tear Sydney’s Opera house Concert Hall down on Monday. Joining him is Cairo Gang, singer Angel Olsen and drummer Van Campbell performing songs that span Billy’s prolific 17-year career.
GOODGOD SLOW DOWN Indie pop duo Slow Club is coming all the way from the UK to prove why they are one of this summer’s musical highlights. Rebecca Taylor and Charles Watson have been friends and partners in rock for almost a decade and are playing two Sydney shows,the at Beach Road Hotel on Wednesday and GoodGod on Thursday. Their album, Paradise, described as a take on doo-wop with a frazzled, fragile representation of soul-inspired rock, is as great as it is live.
HARDCORE CHAOS Four legendary hardcore bands have joined together to co-headline a much anticipated Sidewave. Hatebreed have been annihilating mosh pits throughout the globe for 17 years, while Raised Fist, all the way from Sweden, add to the brutality. Both Cro-Mags and Biohazard have combined and experimented with heavy metal and hardcore, bringing more chaos and destruction to Newcastle’s Panthers today.
FYI: JURASSIC FBi host another weekly Jurassic Lounge After-Party this Tuesday. This week will feature Oceanics DJs and FBi’s Johnny Lieu for your post-Jurassic pleasure with free entry and happy hour-priced drinks!
SUMMER RAIN Grammy Award-nominated American singer and bestselling author, Belinda Carlisle returns to Australia this Saturday at Revesby Workers Club. Gaining worldwide recognition as the lead vocalist with the all-female band The Go-Gos, Carlisle continues her success as a solo artist, with hits such as ‘Summer Rain’ and ‘Leave A Light On,’ which topped charts internationally.
Boy & Bear’s drummer Tim Hart steps away from his drum kit and grabs a guitar instead as he travels along the east coast on a solo tour. Despite being on tour with Boy & Bear for the majority of 2011, Hart managed to write an album’s worth of material and is set to showcase those folk tales. Supporting Hart is Patrick James and Luke Thompson, performing at the Kings Cross Hotel on Saturday and Wollongong’s Yours & Owls on Sunday.
BLOW ME Hailed as the British flag bearers for the post-hardcore movement, Attack! Attack! plans on blowing Australia away just as they have the UK. Joining them are The Cab and River City Extension, all acts in the massive Soundwave tour. This night will be a mixture of hardcore to indie folk to punk, all at The Annandale Hotel for an 18+ event on Wednesday.
Arguably one of the most influential electronic artist in the history of dance music is Aphex Twin. Last on Australian shores in 2004, his long-awaited return will not disappoint with an extremely special and rare Future Music sideshow. Joining him is Mark Pritchard, who will command you to dance at the Enmore Theatre this Friday.
New on the scene and delivering their own concoction of dance, pop/punk and electrorock straight to you, Music Sound Dance will be supporting Will & The People (UK) this Wednesday at the Sandringham Hotel. Their single, Hello Hello, is set for release in a few weeks’ time, so head on down for a sneak preview. 54 • THE DRUM MEDIA
How many releases do you have now? Three. How long did it take to write/record? Six months. Was anything in particular inspiring you during the making? Being the last part of a small series of three, I had been determined to develop and grow over the making of these EPs. There have been so many hurdles to overcome and so many twists and turns in my life that I think to come to a place where I was proud of what I had written was what really mattered. What’s your favourite song on it? Dreams Of You And I. Will you do anything differently next time? I think I’ll do a lot of things differently next time. Better songs (isn’t that what all songwriters say?), explore the production with less restraint and chase with more ferocity the sound I want to arrive at. I think also taking on board that the music-making part is just the first half of our work. The advertising and marketing is just as important and takes up a lot of time. I’ll be a lot more ready for that next time!
Talented Sydneybased singer and songwriter Sam Joole presents his new album, The Crescent And The Moon, featuring ten original compositions, and which was recorded in five countries spanning Chile to Australia, receiving great reviews, at Beaches in Thirroul on Wednesday.
The Townie welcomes back the always popular Reggae Sessions starting this Friday with a mix of ska, dub and reggae. Get caught in the rhythmic crossfire with Addison Road, Frieda’s Boss and Alotta Presha and get your fix at the Town Hall Hotel in Newtown.
What’s the song about? Guiltless one-night-stands. When you’re young you can happily sleep around content in the knowledge there are many years left in which to get desperate and cling to a partner. Is this track from a forthcoming/ existing release? It’s from our debut album, Batmania, released last year. How long did it take to write/record? It evolved slightly over the years, but essentially it took a very short time to write. Recording was very quick too as we record all our songs live. Was anything in particular inspiring you during the making? Nothing I can say here. What’s your favourite part of the song? The double-time section at the end. I think it musically sums up the playful exuberance of the vocal. Or if you want the non-wanky answer, it’s bad-arse. Do you play it differently live? Everything’s rockier live. We approach our live performance differently to how we record. When you record you progressively add more until the song forms itself. When you play live you don’t have that luxury, so we tend to add more with the four instruments we have.
For more info see: www.lissamusic.net
Will you be launching it? Friday – Spectrum
Three of Hip Hop’s best producers perform under one roof this Friday night. Hailing from Washington is Oddisee, who is regarded as one of the best producer and MCs in the game. Joining him are Katalyst, playing an exclusive DJ set, and M-Phazes, who is one of the most in demand local hip hop producers right now. Catch them together at Civic Underground.
SKIN-ME Sydney’s rhythm-driven, noisy three-piece, Skinpin have announced more shows through March, starting with this Thursday at Newtown’s Sando. Promoting the release of their debut album, Shifting Sands, the trio will be joined by Dr Fungi and other special guests.
LAZY SANDOS The Cool Charmers will be joined with members of The Johnnys, Psychotic Turnbuckles and Huxton Creepers this Sunday for a lazy Sando afternoon. It’ll be free entry at Newtown’s Sandringham with added dancing girls, beers, free prizes and classy entertainment, as if you needed any more incentives!
TAOS 4 SURE
Having just returned from a short promotional tour of the States, Taos is back home to once more take up his residency at the Coach and Horses Hotel, Randwick every Wednesday night.
Headlining The Annandale Hotel this Friday is the Sydney-based foursome machine, Shezbot. The rock band known for all the pretty songs but all the wrong lyrics has been described as a show that you will not easily forget. Supporting them is Partisan Code, Winslows Cancer and Moose Test.
In celebration of Mardi Gras and everything feline, The Vanguard present to you a show called Pussy Love. The Bertie Page Clinic presents Doc Holiday Takes The Shotgun and The Prehistorics. So come head down on Thursday and enjoy some, um,... pussy.
BLINDFOLDS OFF Bringing their very own swaggering brand of indie psychedelic roots and rock’n’roll to Bondi’s Beach Road Hotel are The Blindfolds. Among other things, the band is celebrating their inclusion on the new garage and indie rock compilation, Riot On Sunset Strip #29. So come support them as they support Lapis Sky this Thursday.
FIRST SEED RIPE
THE FEARLESS VAMPIRE KILLERS I WON’T STAY TOO LONG
Will you be launching it? I am launching it at The Basement Circular Quay with Mark Wilkinson, this Thursday, then take to the road alongside Mark Wilkinson to Wollongong (Yours & Owls) Friday and Canberra (The Front) Saturday and Sunday.
HIP HOP HIP
BOY AT HEART
DANCE TO THE MUSIC
LISSA SMALL STEPS – PART THREE
Three-time ARIA Award winner Katie Noonan and her acclaimed trio Elixir (Steve Magnusson and Zac hurren) return to NSW to once again celebrate the release of their second album, First Seed Ripening. Elixir will perform their own original pieces as well as covers of works by Joni Mitchell and others at Joan Sutherland Performing Arts Centre Penrith on Thursday.
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 play Thursday 1 March at Selina’s.
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HAVE YOU HEARD
HAVE YOU HEARD
Bridie King, singer and piano player extraordinaire, launches her brand new album this Friday at Notes. The album, Blue Ivories, is already being nominated as her best album ever. The evening will also feature special guests Pat Powell with Narelle Evens and Katie Glendenning.a
BRIDIE KING What do you think is your greatest strength? The comments I get most are for the danceability and the choice and variety of blues and boogie. The instrumental factor is popular too with a minimum of singing. If you could time travel back to any gig in history which would it be and why? The Young-Holt Trio at a home gig somewhere in Philadelphia circa 1960. Love their soul jazz pianist Hysear Watson, the rhythm section was very funky and probably the most comedic music ever. What movie do you think your music would best accompany and why? A so far unmade romantic comedy set on a train with a background of amazing scenery. Train rhythm goes with boogie woogie, landscapes with my chilled feels and dashes of humour in the script and the music. What is your favourite song lyric and why? Contemporary zydeco Louisiana hit of 2009, Cupid Shuffle, where it says “it don’t matter if you’re young or you’re old, we will show you how it goes, down down do your dance”. Favourite hangover cure? A heavy night out on tea with caffeine needs a drastic health cure: a hair of the dog! Walk Wally the dog in Bicentennial Park, followed by a walk to Victoria Park and a 30 lap swim, followed by breakfast of fruit, nuts and low fat yoghurt, walk home and pass out. When and where are your next gigs? Friday – Notes (album launch)
SWING MCNULTY Moving audiences since 1985 with her rich, expressive voice with a deep sense of swing is Chris McNulty. Direct from New York, McNulty is coming to her original hometown Sydney for one show only at Surry Hill’s Venue 505 this Saturday. She has a natural feel for the blues and an impressive ability to improvise that’s so worth experiencing.
KID DEMO Sydney’s up and coming singer and songwriter, Kid Vegaz has demos circulating not just within Australia but Singapore as well. Facebook awareness and support has jumped from one to a thousand, making it only a matter of time that Kid Vegaz will be a familiar name on our radios. His music is fresh but you can judge it for yourself at The Gaelic on Wednesday.
HI-TEN FOR 2SER Sydney’s 2SER community radio station celebrates the tenth anniversary of their radio show, Groove Therapy, with a live broadcast. Starting back in 2002 by radio presenter DJ Frenzie, Groove Therapy has evolved into an essential weekly listen for lovers of dance music and grooves. It is now one of the longestrunning continuous DJ mix shows in the country and live performances from Meem, Rephrase, Flatwound, D Funk and other guests at the UTS Loft Bar in Ultimo will begin the festivity on Friday afternoon.
PORK STOMP After seven consecutive years at The Tamworth Country Music Festival, The Pigs have stirred up enough fans and fuss to come tour the east coast. Stomping through Sydney’s Empire Hotel, The Pigs will perform their bluegrass-fuelled pop covers and originals on Friday.
VILLAGES REPUBLIC Their video leak of their first single, Villages, to rage ended up seeing them make the program’s top 50 music videos of the year. A rock band with grand ambitions, emotional songs and a determination to move people, Fairchild Republic officially release that single, Villages, at Oxford Art Factory on Saturday. 56 • THE DRUM MEDIA
UK-based Dutch producer Jeroen Snik — otherwise known as Icicle — is one of the most highlyrespected producers in the electronic music game. Combine that with the glorious sounds of Inhale and you have an unmissable concert, this Thursday at the Sly Fox Hotel in Enmore.
TAKE SHELTER IN THE CABIN
Your music is…? Indie rock/power pop Which acts inspired you to produce your own music and why? So many – we all dig lots of different music but here’s some common ground: MC5, Pixies, BJM, Stones, Nirvana, Clash, Sebadoh, Stooges, MBV, Fumes and most recently, the mighty Cave! Why: passion, dedication, enthusiasm and show off behaviour all factor in quite heavily. What’s your wildest ambition for your music? Rolling Stones world tour 2013... In all seriousness though, to continue what we’re doing, which is having a ton of fun and laughs every week, cranking the volume to eleven and downing frosty suds. Also to form a Rack&Ruin covers band called Rick&Rowan, complete with turtlenecks, goatees and cigarette holders.
Disorganised Australian folksters Cabins play a show with America’s Manchester Orchestra this week: Sunday 4 at the Hi-Fi.
TIME FOR A BATH, UNGUS
Sydney’s ungus ungus ungus will be playing material from their new album, Time For Your Bath, at The Sandringham Hotel this Wednesday in a night of funk rock psychadelia. They’re supporting reggae-soaked Brit pop visitors Will & The People, along with M.S.D. and earth2audio.
IF LOOKS COULD KILL
Sydney-based indie rock band, Rack&Ruin, will launch their debut album, Staring Daggers, this Saturday at the Landsdowne Hotel. Also playing will be Model School, Bloody Kids, Gas
Why should we come and see you? If you love music, passion, energy and moments of clarity, Rack&Ruin is the band for you!
Wylde Band and Kristen Adams in a packed night of multi-genre music, so no one misses out, and with free entry you have no excuse.
JAM AT THE STAG The Bald Faced Stag Hotel will be open for the Musos club jam night this Wednesday, February 29, which, as you know, only come around once every four years, so it’s Leap Year Wednesday. Entry is free and it kicks off around 8pm, so get down and don’t forget your instrument.
YOU BEAUTY The Flamin’ Beauties will be playing the Crown Hotel in Sydney this Friday from 8pm. They’re sure to play your favourite tune, so get down for 8pm. Entry is free.
BORN TO DIE Alt.country artist Jen Cloher will be playing her first headline show in over a year at The Vangaurd, Newtown this Thursday. Her anticipated third album, In Blood Memory, is due for release later this year, but you can still get your fill, with her collectors’ EP, Born To Die, on sale throughout the night. Supporting her will be The Trouble with Templetown and Tigertown.
MA FOR THE COURTYARD Hailed as a cross between Bjork and Hall & Oates, Sydney’s own pop duo, MA, will be performing live at the Seymour Centre’s Courtyard Sessions this Friday. Entry is free, so don’t miss out on the chance to see one of Sydney’s biggest upcoming bands.
THERE’S A SWARM FRONT COMING
What’s your greatest rock’n’roll moment? Phew. Once again, so many. We played with Deniz Tek and New Christs in our previous band. Going from hero worship to witnessing what down to earth cats they are first hand was sure something to see. Deniz even let Az play his guitar, which was previously owned by Fred ‘Sonic’ Smith. Next available at: Our Staring Daggers album launch, Saturday at the Lansdowne Hotel.
HEAT WAVES Soundwave presents a sidewave that is too hot, heated and stupid to miss. Some of the most exciting acts that pop rock has to offer are gathered on one stage with A Rocket To The Moon, The Ready Set, The Summer Set and The Dangerous Summer. Each band are proven to make crowds across the globe dance, mosh and sing their hearts out so catch them all at The Annandale Hotel tonight.
TAKE A HOLIDAY Catch indie trio The Holidays alongside Hansom, Devola, Bernie Dingo and Maia this Friday night at Kit and Kaboodle. It’ll be a night of indie pop and dance you’d be crazy to miss.
YOU MINX Winner of the ‘She Can DJ’ competition and fresh from playing alongside David Guetta in Ibiza, DJ Minx plays at Sydney’s Ivy this Saturday night. She’ll be accompanied by Ember, Oh Glam, Taras, Jon De Beers and Dark Star.
LO FIVE Along with old favourites Professor Groove & The Booty Affair, a new funk band will be kicking off this Saturday at Blue Beat in Double Bay. They are Lo Five, a duo of music veterans attempting to bring something new to music.
IT WON’T BE A DRAG This Sunday, infamous drag queen RuPaul will put on his longest Australian show. With a lineup that features The Margaritas, The Wild Spirit Aerialists, DJs Jimmy Dee, Dan Murphy and Kitty Glitter, this is surely one of the most anticipated Mardi Gras events this season.
WAITING GAME This Friday, Waiting For Ninaz makes a very special first-ever appearance at the Annandale Hotel. The band features members of various acts, including Headache, Pretty Polly Mine and Scottish hardcore merchants Desalvo. The tunes will have a bit of ‘grunt’; hardcore music that slaps you ‘round the face. Sharing the bill will be Winslow’s Cancer, The Moose Test, Partisan Code and Shezbot.
MELBOURNE’S PROGRESSIVE HEAVY MUSIC SCENE IS IN FINE FORM IN 2012 AND THREE OF ITS FINEST ARE CELEBRATING WITH A TRIPLE BILL. TWELVE FOOT NINJA AND JERICCO WILL BE JOINED BY NEWCOMERS CIRCLES ON THE NATIONAL SWARM TOUR. IT HEADS TO THE BASEMENT IN CANBERRA ON THURSDAY, THE PATCH IN WOLLONGONG ON FRIDAY AND THE ANNANDALE HOTEL ON SATURDAY. HERE WE GRABBED TWELVE FOOT NINJA VOCALIST KIN, FETAH SABAWI (KEYBOARDS/SAMPLES) FROM JERICCO AND CIRCLES DRUMMER DAVE HUNTER TO TALK ALL THINGS ABOUT THE MELBOURNE PROGRESSIVE MUSIC SCENE AND SWARMING. So the tour is called the Swarm tour – where do you think the progressive metal scene is swarming? Kin (Twelve Foot Ninja): Into infinity and beyond! And hopefully this year, a lot of it will swarm overseas. Dave Hunter (Circles): Well I can’t speak for everyone, but from my personal experience punters seem to be more open-minded when checking out bands. I think the fact that bands are experimenting a bit more and exploring different avenues within the genre, we’re only going to see more diversity and less clones in the scene. Fetah Sabawi (Jericco): The scene is amazing at the moment especially in Melbourne. This outburst of originality is becoming too eclectic to be labelled “Prog”. Longer songs (or “epics”), more complex time changes and more complex conceptual ideas are maybe a starting point for many bands, but it’s not the destination. The first three years of a band’s life will usually define who they become. If they keep writing. All being members of the Melbourne progressive heavy scene, presumably you all know each other well. Tell us a dirty secret about one of the other bands on the bill. K: Well, Circles started out as a Christian rock/ boy band called The Apostles. And we’ve heard rumours that Jericco (also a boy-band) sleep standing up. But we will confirm that on tour! DH: Well you all know the rule...”What goes on tour stays on tour”. Haha! Maybe anyone who reads this should come out to the shows and find out for themselves. There will be no shortage antics with 15 dudes on the road for a month.
FS: Roy from Jericco and Russ from Twelve Foot Ninja are having a bromance. It’s no secret... What’s a moment in your set where the crowd is guaranteed to swarm the stage? K: Most likely during the outro of one of our songs, Portrait #2. DH: Our track, Clouds Are Gathering, is always a crowd favourite. We’ve found that it’s almost the track that the crowd is waiting for, ready to unleash their newfound vocal skills. Definitely a high point in the set. FS: Any time we get a chance to play in front of an audience is appreciated. Any time in the set would be a good time for a swarming. What can punters expect of the Swarm Tour? K: A great and eclectic lineup of bands who’ll all be showcasing their own brand of groove-oriented heaviness. So each show is guaranteed to be energetically massive! Get on it! DH: A solid lineup of bands who have busted their chops to deliver an amazing show. We’re all really stoked to be teaming up on this one and we won’t be satisfied until a sufficient amount of face melting has been achieved! FS: Some of the best independent live alternative rock and metal fusion bands in the country doing what they do best. The Annandale, The Evelyn, The Enigma Bar are all Iconic live music venues and should be supported. This is why we are very proud of this tour and all the great bands participating.
country’ stuff from the ‘70s like Waylon Jennings and Gram Parsons and then further back to Hank Williams and Johnny Cash and stuff. Some of the stuff’s a bit more acoustic, but we can definitely do the more country rock’n’roll end of things as well.”
THEY MIGHT HAIL FROM BRISBANE AND DRAW THEIR MEMBERS FROM A PRETTY DIVERSE GENE POOL, BUT RATTLEHAND ARE PURE ALT.COUNTRY/ AMERICANA. MICHAEL SMITH TALKS TO HARMONICA PLAYER STEVE WALLIS. Brisbane six-piece Rattlehand came together a couple of years ago when the band’s singer and guitarist Josh Shelton was fronting at the time, The Black Arts, fell apart and he found himself writing a bunch of songs in a very different vein to the Flaming Lips/ Drones-influenced stuff he’d been writing ‘til then. “He basically started looking around his friends who would be into that sort of music,” harmonica player Steve Wallis explains. “We were all in quite different bands – I was playing in a sort of a hip hop thing and our lead guitarist was playing in a hardcore punk band – but I guess we were all playing then going home and listening to more country stuff. “I guess we’re all very big fans of the ‘outlaw
for a second record, so we were working that up. “But at the same time he and I had been doing a lot of collaborative co-writing work on a bunch of new songs and also drawing in Joel and Cam [Grindrod], our new bass player and we kind of took both options to the label and they were really excited about both, but we were really digging on the new tunes that were all co-written. So we pushed ahead with that and that’s how The Dead Leaves came about really. It’s an evolution out of Matt’s solo career, but they’re two very different projects.”
Joining Shelton and Wallis in Rattlehand are Josh Rippingale and Glen Jarvis (also from The Black Arts) on guitar, Luke Bushell on bass and Renton Breen on drums. So what drew so diverse a collection of musicians to “outlaw country”? “Good honest music,” is how Wallis sees it. “It’s a sort of music that doesn’t have a lot of pretence to it; it’s just good songwriting – good songs and you just dress ‘em up with nice guitars and harmonies and it sounds great. You don’t need a whole of either image or overproduction to make it into something viable; we can just write a good song and play it and it fits, you know?”
THE ALBUM THEY’VE RELEASED ISN’T THE ONE THE DEAD LEAVES EXPECTED TO RELEASE, BUT AS GUITARIST ANDY POLLOCK TELLS MICHAEL SMITH, IT WAS THE RIGHT ONE ANYWAY.
Which is just what you get with Rattlehand’s eponymous debut album, which is already getting some international, or at least the Dutch seal of approval. “I think there’ve two reviews now,” Wallis laughs. “They popped up and we’ve put them through Google-Translate and had a chuckle. They sound positive, from what we can see in translation.” WHO: Rattlehand WHAT: Rattlehand (Plus One) WHEN & WHERE: Friday 2 March, The Junkyard Maitland; Saturday 3, The Phoenix Bar, Canberra; Sunday, Lansdowne Hotel
Looking for something to do this Sunday afternoon? Cora James will be singing at the North Ryde RSL with John Hill and Jim Finn. Their whiskey-soaked blues is the perfect soundtrack to end the week. Music starts at 2pm, so make sure you don’t miss them.
The Sandringham Hotel will play host to an important event this Monday night: Sydney band Disco Is Dead, are releasing their single, Make You Mine. With support from Sydney Girls Choir and The Malverns, the whole evening promises to be remarkable.
Singer/songwriter Matt Joe Gow introduced himself to local audiences in 2009 with a solo album, The Messenger, but even then, the seeds of what would become The Dead Leaves were already in place, as guitarist Andy Pollock explains. “I’ve been working with singer Matt Joe Gow for a number of years now, initially on his solo material, so once we tracked that we put together a band to tour that. That’s when Joel [Witenberg], our drummer, came on board. Then, from the second half of 2010, we started work on some new material and at that point we sort of had two things going on. On the one hand Matt was working up a bunch of his solo material
As a solo artist, Gow’s writing takes him along more of an alt.country/folk/troubadour road, while with The Dead Leaves – the same lineup – as is evident on their debut album, Cities On The Sea, are much more a rock band, though leavened by a classic, spacey early ‘80s guitar band feel wrapped around Gow’s evocative vocals. “I wanted to take almost an orchestral approach to the writing and the arranging,” Pollock expands, “and use layer upon layer of guitars and different sounds and textures. And it’s not just guitars – it’s adding horns and strings and keys and backing vocals and bells and any number of different things to effectively build the intensity and those ebbs and flows, rather than just kicking in real hard.” WHO: The Dead Leaves WHAT: Cities On The Sea (Liberation) WHEN & WHERE: Friday 2 March, Goodgod; Saturday 3, Old Manly Boatshed
YOUR NANNA’S FOLK
With 12 years of recording under his belt, British soul and folk-tronic master Bonobo finally makes his first trip to Australia. He’ll be making a few tour stops this week — Friday sees him at The Metro, whilst Sunday sees him at Playground Weekender.
Oxford Art Factory will get a dose of folk music this Thursday, when singer Fanny Lumsden performs live at The Gallery Bar. Also performing will be Hello Vera and Lily So and Co. Entry is free, so head along and check out some of Sydney’s best folk bands.
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A DAY TO REMEMBER, THE USED, YOU ME AT SIX: Roundhouse, UNSW - Kensington A ROCKET TO THE MOON, THE READY SET, SUMMER SET, THE DANGEROUS SUMMER: Annandale Hotel - Annandale ADAM PRINGLE + FRIENDS: Sandringham Hotel, street level ALTER BRIDGE, STEEL PANTHER: Enmore Theatre - Enmore BLACK VEIL BRIDES: Bald Faced Stag - Leichhardt CARL MORGAN QUINTET, BEN VANDERWAL: 505 - Surry Hills DAVE WHITE EXPERIENCE: Coogee Bay Hotel - Beach Bar DEVIN TOWNSEND PROJECT, MESHUGGAH, DREDG: Factory Theatre - Enmore HATEBREED, RAISED FIST, BIOHAZARD, CRO-MAGS: Newcastle Panthers - Newcastle West OCEANICS DJs, JOHNNY LIEU: Kings Cross Hotel - Kings Cross PETER HEAD: Harbour View Hotel - The Rocks RED BULL SILENT DISCO feat, CALLING SICK, SPOON-GHEDDI, ALEX MAC, BRIZZ, SHY GUYS: Beach Palace Hotel - Coogee ROB HENRY: Observer Hotel - The Rocks RYAN ADAMS: Sydney Opera House SONGS ON STAGE feat., BEN OSMO, STARR WITNESS, BORIS SLADAKOVIC, OLIVER GOSS, P&A, RUSSELL NEAL: Dee Why RSL SONGS ON STAGE feat., CARL STEWART BAND, INICIATE, BRYCE COHEN BAND, DANIEL HOPKINS & THE GENERIOUS FEW: The Basement - Circular Quay THE LOST PROPHETS, KIDS IN GLASS HOUSES, VERSAEMERGE: Metro Theatre - Sydney THEY CALL ME BRUCE: Maloneys Hotel - Sydney
ANDY MAMMERS DUO: Maloneys Hotel - Sydney ATTACK! ATTACK!, THE CAB, RIVER CITY EXTENSION: Annandale Hotel - Annandale BAD RELIGION, STRUNG OUT, STREET DOGS, THE MENZINGERS: The Big Top, Luna Park BERNIE MCGANN QUARTET: 505 - Surry Hills
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CATHEDRAL, PARADISE LOST, TURISAS: Factory Theatre - Enmore COBRA STARSHIP, FOREVER THE SICKEST KIDS, THESE KIDS CROWNS, KILL HANNAH: The Hi Fi Entertainment Quarter - Moore Park DAN SPILLANE: Coogee Bay Hotel - Beach Bar DIRTY DEZIRE, RATTLESNAKE, SMOKIN MIRRORS, DREAMER’S CRIME, SYLVAIN: Valve Bar - Tempe DJ PAULY: Marlborough Hotel - Newtown ENTER SHIKARI, LETLIVE, YOUR DEMISE: Metro Theatre - Sydney GOODNIGHT DYNAMITE: O’Malleys Hotel - Kings Cross JEREMY SAWKINS BAND: Hawkesbury Jazz Club - Richmond JESS DUNBAR: Summer Hill Hotel - Summer Hill JIMMY VARGAS, LILLIANA SCARLATTA: Blue Beat - Double Bay JOHNNY CASINO: Sandringham Hotel, street level LAST DINOSAURS, TOUCAN: Spectrum - Darlinghurst LIVE & LOCAL: Lizottes Sydney - Dee Why LUNCHBREAK feat, RICHARD IN YOUR MIND: Kings Cross Hotel (afternoon) - Kings Cross MACHINE HEAD, CHIMAIRA, SHADOWS FALL, TIMES OF GRACE: Roundhouse, UNSW - Kensington MADISON VIOLET: Lizottes Central Coast - Kincumber MARILYN MANSON, COAL CHAMBER, WEDNESDAY 13, MOTIONLESS IN WHITE: Enmore Theatre - Enmore MARK WILKINSON: Lizottes Newcastle - Newcastle MIKE BENNETT: Observer Hotel - The Rocks MUSICA LINDA: Lewisham Hotel - Lewisham MYE: Artichoke Gallery Café - Manly OCEANICS, THE TROUBLE WITH TEMPLETON, EVAN & THE BRAVE, PACLWOOD: Kings Cross Hotel - Kings Cross OH WILLY DEAR: Town & Country Hotel - St Peters PARKWAY DRIVE, ANOTHER DAY REMAINS: Shoalhaven Entertainment Centre PETER HEAD: Harbour View Hotel - The Rocks SCHOOL OF ROCK: Great Northern Hotel - Newcastle
SONGS ON STAGE feat., SIMON LI, BLACK DIAMOND, LAURA WENDLING, DARREN BENNETT, + GUESTS: Cat & Fiddle Hotel - Balmain SONGS ON STAGE feat., TAOS, GAVIN FITZGERALD, JOHN CHESHER, + GUESTS: Coach & Horses Hotel - Randwick SONGS ON STAGE feat., SENANI, DANE LLOYD, RHUBEE NEALE & KEN SMITH, RUSSELL NEAL, + GUESTS: Evening Star Hotel - Surry Hills SONGS ON STAGE feat., RACHAEL JAMES, DANIEL HOPKINS, + GUESTS: Taren Point Hotel - Taren Point SONGS ON STAGE feat., MISS GRAY, CALLUM WYLIE, THE WILDBLOODS, VINCENT PHAM, OLIVIA JEAN, HELMUT UHLMANN: UTS Loft Bar, UTS - Broadway SONGWRITERS & PERFORMERS feat, THE SPHINXES, EMAD YOUNAN, GREG SITA: Cookies Lounge and Bar - North Strathfield SYSTEM OF A DOWN: Sydney Entertainment Centre TRUTH (NZ), HYDRAULIX, FARJ & PAUL FRASER, PABLO CALAMARI, CLOCKWERK, ELLA LOCA, LIGHTS OUT, SMS VS HYPA: World Bar - Kings Cross UNGUS UNGUS UNGUS, WILL AND THE PEOPLE, M.S.D, EARTH2AUDIO: Sandringham Hotel, upstairs WILDCATZ: 3 Wise Monkeys - Sydney ZOLTAN: Mean Fiddler Hotel - Rouse Hill
ALEKS & THE RAMPS, READABLE GRAFFITI, WATERFORD: ANU Bar - Canberra ACT ANDREW DICKESON QUARTET: Dome Bar - Surry Hills ANDY MAMMERS: Dee Why Hotel - Dee Why CAMBO: Observer Hotel - The Rocks CASEY DONOVAN: Brass Monkey - Cronulla COOKIN IT UP GREEK STYLE: Lizottes Sydney - Dee Why CRAIG THOMMO: RG McGees - Richmond DJ KRUSH, TIGERMOTH, DJ ABILITY, DJ BENTLEY: Upstairs Beresford - Beresford Hotel ELIXIR FEAT. KATIE NOONAN: Joan Sutherland Perf Arts Centre, Penrith
ERIC BIBB, STAFFAN ASTNER, SUZY CONNOLLY: Sutherland Entertainment Centre - Sutherland FOUR YEAR STRONG, I AM THE AVALANCHE, FIREWORKS, CONDITIONS: Manning Bar, Sydney Uni - Camperdown GANG OF BROTHERS, VICTOR MARTINEZ: Camelot Lounge - Marrickville GREG FLEET, JEFF GREEN: Harold Park Hotel - Glebe HIT SELECTION: 3 Wise Monkeys - Sydney JAZZ FACTORY: Great Northern Hotel - Newcastle KIRIN J CALLINAN, THE GOOCH PALMS, GHASTLY SPATS: Kings Cross Hotel - Kings Cross LATE SHIFT: Scruffy Murphy’s - City LISSA, MARK WILKINSON: The Basement - Circular Quay LOUNGE SOUNDS: Artichoke Gallery Café - Manly MARTY from RECKLESS: Coogee Bay Hotel - Beach Bar MASTODON, GOJIRA, KVELERTAK: The Hi Fi - Entertainment Quarter - Moore Park MATT CORBY, TIN SPARROW, EMMA DAVIS: Oxford Art Factory, Live Art Space MATT PRICE: Northies Cronulla Htl- Sport Bar MICHAEL MCGLYNN: Greengate Hotel - Killara MONIQUE DIMATTINA: 505 - Surry Hills ODDISEE, KATALYST, M-PHASES: Civic Hotel - Sydney OLIVIA NEWTON JOHN, SYDNEY SYMPHONY ORCHESTRA, ALFIE BOE: Concert Hall, Syd Opera House PARKWAY DRIVE: Cooma Ex Servicemans Club PETER HEAD: Harbour View Hotel - The Rocks PETER HUNT: Red Lion Hotel - Rozelle PROPAGANDA feat., CHRIS MOODY, URBY, M.I.T, DAN BOMBINGS: World Bar - Kings Cross RAOUL GRAF: Gymea Bay Hotel - Gymea SAM & JAMIE TRIO: Maloneys Hotel - City SAM MCNALLY, JO ELMS, TRACEY CAMPBELL TRIO: Blue Beat - Double Bay SKINPIN, C.O.F.F.I.N., DOCTOR FUNGI, BOXING WITH GHOSTS: Sandringham Hotel, upstairs SLEEPMAKESWAVES, + GUESTS: Macquarie Hotel - Port Macquarie SLOW CLUB: GoodGod Small Club - Sydney
SONGS ON STAGE feat., STUART YOUNG, CAROLYN WOODORTH, + GUESTS: Kogarah Hotel - Kogarah SPRUNG MONKEY, THE GRAINS: Great Northern Hotel - Byron Bay STEVE TONGE: Harbord Beach Hotel - Harbord THE CUBAN BROTHERS: Ivy, Pool Club - Sydney THE HEADLINERS: Bradbury Inn - Bradbury THINK ROCK N FOOD TRIVIA: Lizottes Newcastle - Newcastle TOM TRELAWNY: Marlborough Hotel - Newtown TONY WILLIAMS: Pioneer Tavern - Penrith TWELVE FOOT NINJA, JERICCO, CIRCLES: The Basement - Canberra, ACT UNDEROATH, DREAM ON DREAMER, THE SMOKING HEARTS: Factory Theatre - Enmore WEST TIGERS HOME HEROES BAND COMPETITION: Valve Bar - Tempe ZAKK WYLDE’S BLACK LABEL SOCIETY, HELLYEAH, BLACK TIDE, HOLY GRAIL: Metro Theatre - Sydney
AGT: Belmore Hotel - Newcastle ALISTAIR BROWN, JEZ LOWE, ALISTAIR BROWN: City Diggers - Wollongong ALL STAR SALUTE TO QUEEN: Taronga Zoo - Mosman AM 2 PM: Revesby Workers - Revesby ANDY MAMMERS: Massey Park Golf Club - Concord APHEX TWIN, MARK PRICHARD, HARMONIC 313: Enmore Theatre - Enmore ARIEL PINKS HAUNTED GRAFFITI, ERIK OMEN, GENEVA JACUZZI, RICHARD IN YOUR MIND: Oxford Art Factory, Live Art Space ARMCHAIR TRAVELLERS DUO: Padstow RSL - Padstow AUSTRALIAN PLAYED: Bull & Bush - Baulkham Hills BEN FINN: Northies Cronulla Htl- Sport Bar BEN KWELLER: The Hi Fi - Entertainment Quarter - Moore Park BENN GUNN: Penrith Panthers - T.C’s BILLY & I DUO: Kirribilli Hotel - Kirribilli BLIND VALLEY, FUSHIA, THE OCEANICS: Oxford Art Factory, Gallery Bar - Darlinghurst BONOBO: Metro Theatre - Sydney CALIFORNICATIONRED HOT CHILLI PEPPERS: Bomaderry Hotel - Bomaderry
COOKIN IT UP GREEK STYLE, with TONY TSONIS: Lizottes Newcastle - Newcastle COOL TIDE: Kincumber Hotel - Kincumber, Central Coast CUMBIA MUFFIN: Camelot Lounge - Marrickville DAN LAWRENCE: Harbord Beach Hotel - Harbord DAN SPILLANE: Red Cow Hotel - Penrith DAVID AGIUS DUO: Crows Nest Hotel (early) - Crows Nest DJ MATT ROBERTS: The Watershed Hotel - Darling Harbour DJ MIKE SILVER, + SPECIAL GUESTS: Cohibar - Darling Harbour DJ TONE: Oatley Hotel - Oatley DOUBLE BARREL: Unity Hall Hotel - Balmain EBONY & IVORY: Matraville Hotel - Matraville ELEVATION-U2 SHOW: Engadine Tavern EMERSON: Great Northern Hotel, Tiki Bar - Newcastle ENDLESS SUMMER BEACH PARTY: East Leagues Club - Bondi Junction ENDLESS SUMMER BEACH PARTY: Eastern Suburbs Leagues EUGENE HIDEAWAY BRIDGES: Lizottes Central Coast - Kincumber FALCONIA FRIDAYS feat, THE HOLIDAYS, HANSOM, DEVOLA, BERNIE DINGO, MAIA: Kit & Kaboodle - Kings Cross FANTINE, CAMDEN, PHEBE STARR, DJ ATHSON: Upstairs Beresford - Beresford Hotel FIVE ELIZA: 505 - Surry Hills FLAMIN’ BEAUTIES: Crown Hotel - Sydney FOO FIGHTERS SHOW: Heathcote Hotel - Heathcote GARY JOHNS DUO: Hillside Hotel - Castle Hill GEOFF RANA: Observer Hotel (late) - The Rocks GEORGIES PLAYGROUND: Warners at the Bay GIRLS TALK: Kingswood Sports Club - Kingswood GREG FLEET, JEFF GREEN: Harold Park Hotel - Glebe HARD ROCK RISING feat, ANIMAL, SHEPPARD, SUBSTATION X: Hard Rock Café Darling Harbour HOORAY FOR EVERYTHING: Stacks Taverna - Darling Harbour IGNITION: Crows Nest Hotel (late) - Crows Nest) IGUANA: Cessnock Supporters Club INTIMATE LOUNGE MUSIC: Fairfield RSL, Supper Club
JAMES FITZG: Shelbourne Hotel - Sydney JAMES MORRISON: The Basement - Circular Quay JJ DUO: Club Rivers - Riverwood JOHN FIELD DUO: PJ Gallaghers - Drummoyne KIRK BURGESS: Chatswood RSL - Chatswood KURT WILLIAMS: Panthers North Richmond LATE SHIFT: Marlborough Hotel - Newtown LITTLE & SANDERS: Vineyard Hotel - Vineyard LOVE THAT HAT: Nelson Bay Diggers Club LUKE DIXON: Parramatta RSL - Parramatta LUKE ROBINSON: Grand Hotel - Rockdale MA: Courtyard Bar, Seymour Centre - Chippendale MANDI JARRY: Castle Hill RSL - The Terrace MARIALY PACHEO TRIO: Sound Lounge, Seymour Centre - Chippendale MARK TRAVERS: Castle Hill RSL - Cocktail Lounge MARTYS PLACE: Hornsby RSL MATT JOE GOW & THE DEAD LEAVES: GoodGod Small Club - Sydney MICK THOMAS: The Front - Canberra, ACT MOHI CHASE: Oasis on Beamish Hotel - Campsie MONTEZUMA: Orana Hotel - Blacksmiths MOONLIGHT DRIVE: Exchange Hotel - Newcastle MUM feat., DEATHSQUARE, THE OTTOMAN’S, THE GRISWOLDS, LYYAR, JULIA WHY?, THE VENUSIANS, HEART ATTACK MACHINE, MUM DJ’S: World Bar - Kings Cross NEILL BOURKE: O’Malleys Hotel - Kings Cross NEON INDIAN: The Standard - Surry Hills NEXT BEST THING: Sutherland United Club NO BEEF PATTY with, STU & FRIENDS: Artichoke Gallery Café - Manly OLIVIA NEWTON JOHN, SYDNEY SYMPHONY ORCHESTRA, ALFIE BOE: Concert Hall, Syd Opera House ONE HIT WONDERS: Campbelltown Catholic Club PANORAMA: 3 Wise Monkeys - Sydney PAPA PIKO & THE BIN RATS, HAILER, RARGO, IN MEASURES, RABBIT HOLE DJs: Kings Cross Hotel - Kings Cross PETER NORTHCOTE, TIM MCMILLAN BAND, DAVE CARR’S FABULOUS CONTRAPTION, GRANDMASTER MONK: Sandringham Hotel, upstairs
PLAYGROUND WEEKENDER feat, CHIC, NILE RODGERS, FAT FREDDYS DROP, BOY AND BEAR, ROOTS MANUVA, UNKLE SOUNDS, MODESELEKTOR LIVE, NEON INDIAN: Del Rio Resort - Wisemans Ferry PLEASURE & PAIN THE DIVINYLS SHOW: Wentworthville Leagues POP FICTION: Club Marconi - Bossley Park RAPTURE: Parramatta Leagues - Firehouse RATTLEHAND: The Junkyard - Maitland RAVE ON: Belmont 16’s - Belmont RED HOT NUMBERS: Engadine RSL - Engadine REGGAE SESSIONS feat, ADDISON ROAD, FRIEDA’S BOSS, ALOTTA PRESHA: Town Hall Hotel - Newtown ROB HENRY: Observer Hotel - The Rocks SHEZBOT, PARTISAN CODE, WINSLOWS CANCER, MOOSE TEST: Annandale Hotel - Annandale SIX DEGREES: Mr Big Stuff Café Maroubra Beach SKYZ THE LIMIT: Penrith Gaels Kingswood SONGS ON STAGE feat., BLACK DIAMOND, RUSSELL NEAL, + GUESTS: Bowral Hotel - Bowral STEVE TONGE: Great Southern Hotel - Sydney TED NASH: Collingwood Hotel - Liverpool THE AUSTRALIAN PINK SHOW: Scruffy Murphy’s - City THE BAD BAD THINGS: Duke of Wellington Hotel New Lambton THE BIG BANG: The Stag & Hunter Hotel - Mayfield THE FEARLESS VAMPIRE KILLERS, + SPECIAL GUESTS: Spectrum - Darlinghurst THE GRATES, NEW NAVY, CAMERAS: Manning Bar, Sydney Uni - Camperdown THE HAVELOCKS, EMERSON: Great Northern Hotel - Newcastle THE LEVYMEN: Hotel Jesmond - Jesmond THE LONELY BOYS: Ivanhoe Hotel - Manly THE PIGS: Empire Hotel - Annandale THE RATTLE: The Mark Hotel - Newcastle THE ROCKER FELLERS: Charlestown Bowling Club THE USUAL SUSPECTS: Overlander Hotel - Cambridge Park THIRD TIME LUCKY: East Hills Hotel - East Hills
FREE POOL 6.00 - 10.00 TUES
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$10 JUGS OF CASCADE PALE $10 BUFFALO WING BUCKETS 6PM – 10PM
SATELITTE V ALL LIVE SPORT ON THE BIG SCREEN
DARLEY ST BISTRO OPEN DAILY 12.00 - 9.30PM SUNNY COURTYARD - WEEKLY SPECIALS - CHILDREN WELCOME BOOKINGS: PHONE 9517 1133
THE DRUM MEDIA • 59
TOM & DAVE SHOW: Mean Fiddler Hotel - Rouse Hill TRILOGY: Coogee Bay Hotel - Beach Bar TROY CASSAR DALEY: Lizottes Sydney - Dee Why TWELVE FOOT NINJA, JERICCO, CIRCLES: The Patch - Fairy Meadow TWITCHO: Tall Timbers Hotel - Ourimbah WHITE BROS: Quakers Inn - Quakers Hill WILDCATZ: Mounties - Mt Pritchard YOUNG DOCTEURS, THE TURPS: Town & Country Hotel - St Peters
ACOUSTIC RELIEF: Riverwood Inn ALEKS & THE RAMPS, MEGASTICK FANFARE, SHANNA WATSON: GoodGod Small Club - Sydney ALL STAR SALUTE TO QUEEN: Taronga Zoo - Mosman AM 2 PM: Coogee Bay Hotel - Beach Bar ANDY MAMMERS: Harbord Beach Hotel - Harbord BARNSTORMING - THE BARNES/CHISEL SHOW: Budgewoi Soccer Club BELINDA CARLISLE, DAVE WILKINS: Revesby Workers, Whitlam Theatre BEN FINN DUO: Ettamogah Hotel - Rouse Hill BLUE MOON QUARTET: Fairfield RSL, Supper Club CANYONS: Transit Bar - Canberra ACT CARL FIDLER: Observer Hotel (early) - The Rocks CHRIS MCNAULTY: 505 - Surry Hills CHRIS PATON: Northies, Sports Bar - Cronulla COASTAL CRAZE: Nelson Bay Diggers Club COLLINS CLASS, THE PIXIEKILLS, DINKIE BIKE, THE GUNN SHOW, THE IVORY DRIPS: Valve Bar - Tempe COOKIN IT UP GREEK STYLE: Lizottes Central Coast - Kincumber COVER NOTES DUO: Kingswood Sports Club - Kingswood CRAIG THOMMO: Crown on McCredie - Guildford DANIEL LAWRENCE: Sir Joseph Banks Hotel - Botany
DAVE TICE & MARK EVANS: Sandringham Hotel, street level DAVID AGIUS BAND: Rock Lily - The Star Casino - Pyrmont DES GIBSON: Lansvale Hotel - Lansvale DIRTY DEEDS - AC/ DC SHOW: Beaches Hotel - Thirroul DJ MIKE SILVER: Cohibar - Darling Harbour DOUBLE BARREL: Maroubra Junction Htl DR LOVE: Duke of Wellington Hotel New Lambton DR ZOOM DUO: Royal Federal Hotel ELECTRIC BLUES JAM: Central Coast Hotel - Gosford ELIXIR FEAT. KATIE NOONAN: Brass Monkey - Cronulla ENDLESS SUMMER BEACH PARTY: Campbelltown Catholic Club EUGENE HIDEAWAY BRIDGES: Lizottes Sydney - Dee Why FEARLESS VAMPIRE KILLERS, THE OWLS, BRISCOE: Great Northern Hotel - Newcastle FREE FALLIN’: The Stag & Hunter Hotel - Mayfield GARY JOHNS: Castle Hill RSL - Castle Hill GRAND THEFT AUDIO: Exchange Hotel - Newcastle GREG BYRNE: Ettamogah Hotel (afternoon) - Rouse Hill GREG FLEET, JEFF GREEN: Harold Park Hotel - Glebe HIT SEEKERS: RG McGees - Richmond J CONNEXION: Carousel Inn - Rooty Hill JAMES CHATBURN: Charlestown Bowling Club JOHN FIELD DUO: Penrith Panthers - T.C’s JOHN WATSON: Kirribilli Hotel - Kirribilli JOSH MCIVOR: Brewhouse - Marayong KAREN LYNNE BLUEGRASS CIRCLE: Katoomba RSL - Katoomba KIRK BURGES DUO: Engadine Tavern LIES N DESTRUCTIONGUNS N ROSES SHOW: Colyton Hotel - St Marys LOVE THAT HAT: Warners at the Bay MACSON DUO: Kellys on King - Newtown
GIG OF THE WEEK
Aphex Twin, the mysterious ambient mastermind behind Windowlicker and countless other tunes, is playing an extremely special and rare sideshow as part of the Future Music Festival tour. Not seen on Australian shores since 2004 and known to shun the spotlight, the long awaited reappearance of his live show has been highly anticipated and is bound to thrill fans. One of the most influential electronic artists in the history of contemporary dance music, Aphex Twin aka Richard David James has been twisting minds since his debut EP Analogue Bubblebath back in 1991. Covering terrain from ambient to acid, techno and noise, he’ll be supported by Mark Pritchard. Witness this special performance on Friday at the Enmore Theatre.
MARIALY PACHEO TRIO: Sound Lounge, Seymour Centre - Chippendale MARK TRAVERS: PJ Gallaghers - Drummoyne MATT JONES BAND: Rydges - Parramatta MESA GROOVE: East Leagues Club - Bondi Junction METALLICA SHOW: South Hurstville RSL MICHAEL MCGLYNN, RECKLESS: Mean Fiddler Hotel - Rouse Hill MIKE MATHIESON, CHRIS ALEXANDER: Manly Leagues Club - Brookvale MJM, DREW MERCER: Shelbourne Hotel - Sydney MONCHILD, 3HUNDREDS, MAX SMART: Kings Cross Hotel (late) - Kings Cross NICKY KURTA DUO: Narrabeen Sands - Narrabeen NOISEWORKS, IAN MOSS, RICHARD CLAPTON, DRAGON, 1927, CHOIRBOYS: Bimbadgen Winery - Hunter Valley ONE HIT WONDERS: Tracks, Epping Hotel - Epping ONE NON BLONDE: Brighton RSL - Brighton ORIGINAL SIN - INXS SHOW: Lone Pine Tavern - Rooty Hill
PANORAMA DUO: 3 Swallows Hotel - Bankstown PAUL SUN TRIO: Epitome Café - Lane Cove PEACHY: Bayview Tavern - Gladesville PETE GELZINNIS: Waratah Rugby Union Club - Newcastle PETE HIBBERT: The Mark Hotel - Newcastle PETER HEAD: Harbour View Hotel - The Rocks PEYTON, GARCON GARCON, DJ BETH YEN, F.R.I.E.N.D.S DJs: Upstairs Beresford - Beresford Hotel PHIL TWEED: Toukley RSL - Toukley PLAYGROUND WEEKENDER feat, SEEKAE, ARIEL PINKS HAUNTED GRAFFITI, LANIE LANE, NANTES, MANCHESTER ORCHESTRA, HUDSON MOHAWKE, THE CUBAN BROTHERS, CANYONS: Del Rio Resort - Wisemans Ferry RATTLEHAND: The Phoenix Pub Canberra, ACT RELOAD: Warilla Bowling Club - Warilla RETRO GROOVE: Illawarra Leagues RICK FENSOM: Newport Arms Hotel - Newport
BLUES CRUISE The Sydney Blues Society Presents
FIONA BOYES BAND SUNDAY 4TH MARCH
11.45am on the Rocks Rhythm Boat from #6 King Street Wharf $35 for members $45 for non-members Book early to avoid disappointment!
Call Robyn Baxter on 0437 991 461 or order tickets online via PayPal
www.sydneyblues.org Food and drinks are available for purchase on board, no BYO please. 60 • THE DRUM MEDIA
SAM & JAMIE BAND: Crows Nest Hotel (late) - Crows Nest) SFX feat., DRAWCARD!, WE BUILT ATLANTIS, THE CAVALCADE, UNCORRECTED: St James Hotel - Sydney SMELLS LIKE THE 90s: Penrith RSL, Castle Lounge SONGS ON STAGE feat., MASSIMO PRESTI, ESTHER LAMB, MYSTERIOUS PRINCE COWBOI, EMILY WONG, SALLY PENNY: Royal Exchange Hotel - Marrickville SONGS ON STAGE feat., MEN WITH DAY JOBS, RUSSEL NEAL, + GUESTS: Terrey Hills Tavern - Terrey Hills SONS OF MERCURY: Macarthur Tavern - Campbelltown SOUTHLAND: Jannali Inn STAMP OUT DISCO: Town & Country Hotel - St Peters STEPHANIE JANSEN: Northies, Northies Bar - Cronulla STEVE TONGE: Observer Hotel (afternoon) - The Rocks SUNSET RIOT: Notes Live - Enmore TAOS: Victoria Hotel - Orange THE AUSTRALIAN NIRVANA TRIBUTE: Blue Cattledog Hotel - St Clair THE BEEZ: Camelot Lounge - Marrickville THE DEAD LEAVES: Old Manly Boatshed - Manly THE DEEP: The Belvedere Hotel - Sydney THE FEARLESS VAMPIRE KILLERS, + SPECIAL GUESTS: Great Northern Hotel - Byron Bay THE LEVYMEN: Cessnock Supporters Club THE LONELY BOYS: Mercantile Hotel - The Rocks THE MODEL SCHOOL, RACK & RUIN, BLOODY KIDS, GAS WYLDE BAND, KRISTEN ADAMS: Lansdowne Hotel - Broadway THE SWEET JELLY ROLLS: Artichoke Gallery Café - Manly THEY CALL ME BRUCE: Engadine RSL - Engadine TIM HART (BOY & BEAR), PATRICK JAMES, LUKE THOMPSON: Kings Cross Hotel - Kings Cross
TIME MACHINE: Penrith Gaels - Kingswood TOTALLY GA GA AUST. LADY GAGA SHOW: Wangi Wangi RSL - Wangi Wangi TOUCHWOOD: Appin Hotel - Appin TRAPPED UNDER ICE, RELENTLESS: Bald Faced Stag - Leichhardt TRIO ROYALE: Belmore Hotel - Newcastle TROY: Beauford Hotel - Mayfield TROY CASSAR DALEY: Lizottes Newcastle - Newcastle TWELVE FOOT NINJA, JERICCO, CIRCLES: Annandale Hotel - Annandale ULTIMATE JOEL: Blacktown RSL - Blacktown VIP: Marlborough Hotel - Newtown VOODOO EXPRESS: Orana Hotel - Blacksmiths WES CARR, PEREGRINE: The Basement - Circular Quay WHAM! feat., POW POW, NIC JOHNSON, HANNAH GIBBS, E-CATS, PIPEMIX, JOHN GLOVER, JOYRIDE, ASTRIX: World Bar - Kings Cross WILDCATZ: Wentworthville Leagues (Late) YUKI KUMAGAI, JOHN MACKIE: Well Connected Café/Wine Bar - Glebe ZOLTAN: Revesby Workers - Revesby
ALEKS & THE RAMPS, MEGASTICK FANFARE, SHANNA WATSON: Chino’s Bar - Newcastle ALEYCE SYMONDS: Royal Federal Hotel ANDY MAMMERS: Peachtree Hotel - Penrith ANTOINE: O’Malleys Hotel - Kings Cross BENN GUNN: East Leagues Club - Bondi Junction BIG BEN: The Belvedere Hotel - Sydney BLACK LIPS, CIRCLE PIT, BED WETTIN BAD BOYS: The Standard - Surry Hills BLUES SUNDAY feat, MARK HOPPER: Artichoke Gallery Café - Manly
BOBBY C: Duke of Wellington Hotel New Lambton BRENT MURPHY: Kincumber Hotel Kincumber, Central Coast CAPTAIN OBVIOUS (ACOUSTIC): Broadway Lounge - Chippendale CHIPPO DAYS: Town & Country Hotel - St Peters COOL CHARMERS, THE ESCAPES: Sandringham Hotel, street level DAN SPILLANE: Mean Fiddler Hotel - Rouse Hill DAVE CARTER: Warners at the Bay DAVE WHITE DUO: Northies, Northies Bar - Cronulla DJ BRYNSTAR: The Watershed Hotel Darling Harbour DJ TONE: Oatley Hotel - Oatley EUGENE HIDEAWAY BRIDGES: Lizottes Newcastle - Newcastle GLAMAZON feat, RU PAUL, THE MARGARITAS, WILD SPIRIT AERIALISTS, JIMMY DEE, DAN MURPHY, KITTY GLITTER: Metro Theatre - Sydney GREG LINES: Woonona RSL HAYLEY SALES: Hurstville RSL Club - Hurstville HUE WILLIAMS: Grange Hotel - Wyoming JAMES TAYLOR, ALLEY OOP, + FRIENDS: World Bar - Kings Cross JESS DUNBAR: Penrith Panthers - T.C’s JOHN LEIGH CALDER, + FRIENDS: The Clarendon Hotel - Surry Hills KAIDENCE: Gymea Bay Hotel - Gymea KELLY HOPE: Empire Bay Tavern - Empire Bay, Central Coast KRISHNA JONES: Oscars Hotel - Pyrmont KURT WILLIAMS: Waverley Bowling Club - Waverley LAZY SUNDAY LUNCH with, TROY CASSAR DALEY: Lizottes Central Coast - Kincumber MANCHESTER ORCHESTRA, CABINS: The Hi Fi - Entertainment Quarter - Moore Park MANDI JARRY, DAVID AGIUS DUO: Ettamogah Hotel (afternoon) - Rouse Hill MARTY STEWART: Parramatta Leagues - Firehouse MATT CORBY, TIN SPARROW, EMMA DAVIS: Oxford Art Factory, Live Art Space MATT PRICE: Harbord Beach Hotel - Harbord MICK THOMAS: Coogee Diggers - Coogee MIKE BENNETT: Observer Hotel - The Rocks MIKE MATHIESON, CHRIS ALEXANDER: Bankstown Trotting Club PAUL SUN, ALEX COMPTON, MONIQUE LYSIAK: Organic Food Markets, Marrickville PETE HUNT: Collaroy Beach Hotel - Collaroy PETE HUNT: Oatley Hotel (afternoon) - Oatley PETER HEAD TRIO, + FRIENDS: Harbour View Hotel - The Rocks PHILLIP CRAWSHAW, JAMES CHATBURN: Belmont 16’s - Belmont
PLAYGROUND WEEKENDER feat, GREG WILSON, BOMB THE BASS, DAMIAN LAZARUS, SHAPE SHIFTER, MELBOURNE SKA ORCHESTRA, LUNARSTEPS, PLUTO JONZE, BITROK: Del Rio Resort - Wisemans Ferry RACHEL STCLAIRE: Nelson Bay Bowling Club RATTLEHAND: Lansdowne Hotel - Broadway RECKLESS: Northies, Sports Bar - Cronulla ROB HENRY, MICKEY PYE: Observer Hotel (afternoon) - The Rocks ROBIN LEE SINCLAIR: Marrickville Bowling Club RYDE DUO: Beauford Hotel - Mayfield SATELLITE V: Botany View Hotel - Newtown SHANE MACKENZIE: Cohibar - Darling Harbour SONGS ON STAGE feat., RUSSELL NEAL, + GUESTS: Salisbury Hotel - Stanmore SPENCERAY: Coogee Bay Hotel - Beach Bar SUNDAY BEST: Great Northern Hotel - Newcastle THE BIG BANG: The Mark Hotel - Newcastle THE BLAND, JAkE McDOUGAL & BAND: Valve Bar Tempe (Afternoon) THE COOL CHARMERS, THE ESCAPES: Sandringham Hotel (afternoon) THIS SANCTUARY, COSMIC KING, THE EAGLE & CHILD, ALBERTA BROWN: Valve Bar - Tempe (Early) TIM HART (BOY & BEAR), PATRICK JAMES: Yours and Owls - Wollongong TRAPPED UNDER ICE, RELENTLESS: Bald Faced Stag - Leichhardt VIBRATIONS AT VALVE BAND COMP feat, WHERE’S RACHEL, PORTLAND, NOTHING IS SCARED, BENEATH THE SHORE, APRIL FALLS, LIMITED HEADSPACE: Valve Bar - Tempe (Afternoon) VOLATINSKI TRIO: Camelot Lounge - Marrickville YUKI KUMAGAI, JOHN MACKIE, TONY BURKYS, LEE HUTCHING, ALAN GILBERT: Cronulla RSL - Cronulla ZOLTAN: Bull & Bush - Baulkham Hills
20TH CENTURY DOG: 505 - Surry Hills CHIC feat, NILE RODGERS: Metro Theatre - Sydney GARAGE INK: Town & Country Hotel - St Peters JOHN CLEESE: Civic Theatre - Newcastle MATT CORBY, TIN SPARROW, EMMA DAVIS: Oxford Art Factory, Live Art Space MATT JONES: Brewery Bar, Novotel - Homebush
THE DRUM MEDIA • 61
BEHIND THE LINES BIT BY BIT
BROUGHT TO YOU BY
WITH MICHAEL SMITH
MADE IN LEICHHARDT
After three weeks of pre-production rehearsal, Sydney four-piece Made In Japan took themselves into Linear Recording in Leichhardt to cut their debut album, Sights And Sounds, to tape over two days with producer Paul “Woody” Annison (Red Riders, Children Collide). “We weren’t trying to be vintage in any way by recording to tape,” singer and drummer James Cooney explains. “It was more a sense of the working method because you’ve only got twenty-five minutes on a reel [of tape], so it stops you doing takes ‘til you can’t stand the song any longer. We’d only do two or three takes of each track and usually there would be more than one to get the message across. It was a really good, fun way to work; it was a lot of pressure but it was really rewarding and it happened really fast. Then we transferred it into Pro Tools.”
SOUND BYTES Canadian band Grim Skunk decided to come to Sydney’s Damien Gerard Sound Studios in Balmain to track their new album with New York producer Gus Van Go, utilising a vintage Ludwig drumkit courtesy Billy Hyde and an assortment of classic guitars and amps courtesy Hoodoo Guru Brad Shepherd. Pulp guitarist Richard Hawley recorded his sixth album, Standing At The Sky’s Edge, due in May, at Yellow Arch Studio, which sits inside a converted abandoned Victorian factory workshop and for which he is the “resident guitarist”, in his hometown Sheffield, UK, last year. The new album, Choice Of Weapon, from UK veterans The Cult, was recorded in New York City, Los Angeles, up in the Californian high desert and in their own Witch Mountain Studios in the Hollywood Hills over five months, July through December, last year. Producer Bob Rock (Metallica, Bush) put the finishing touches on the work of co-producer Chris Goss (Queens Of The Stone Age, U.N.K.L.E.). Engineer Tim Carr (Matt Corby, The Herd, Ernest Ellis) has just mixed the next release from Muscles at Studios 301 Sydney. DZ Deathrays went into White Room Studios in Mt Nebo for two weeks last year to record their forthcoming debut album, Bloodstreams, with Richard Pike of PVT and Neil Coombe. Perth four-piece Serial Killer Smile flew in one of Singapore’s best producers, Roland Lim to record, produce and engineer all but the drums on their debut EP, The Elephant In The Room, before handing things over to Anthony Cormican for mixing at Crank Studios in Northbridge, WA, then Leon Zervos for mastering at Studios 301 Sydney. Canberra six-piece Hands Like Houses recorded their debut album, Ground Dweller, at Chango Studios in Orlando, Florida, with Cameron Mizell (Sleeping With Sirens, Woe Is Me). Catherine Traicos is currently in Pocket Full Of Stones studio in Melbourne suburb, Richmond, recording a new solo album with producer Nick Huggins (Whitley, Kid Sam). Toy Boats recorded their debut EP, Diamond Teeth, with Sam Johnson at 3 Phase Studios in Melbourne. Indiana prog metal five-piece The Contortionist are currently in Audiohammer Studios in Orlando, Florida, recording their second album with producers Jason Suecof and Eyal Levi (August Burns Red, The Black Dahlia Murder). Cancer Bats once again utilised Vespa Studios in Toronto and producers Eric Ratz and Kenny Luong for the recording of their fourth album, Dead Set On Living, due in April and of which the band’s singer Liam Cormier has said, “We really strived for that raw, off-the-floor vibe this time around.” Butch Walker (Weezer, Saosin, The Wombats) and New York-based Norwegian team Espionage, AKA Espen Lind and Amund Bjørklund, shared production duties on the new album from the Grammy Award-winning three-piece Train, California 37, recorded in San Francisco and Los Angeles. Mudgee-born and bred, country singer/songwriter Jess Holland took herself up to Brisbane to record her debut album, Introducing Jess Holland, at Touchwood Productions with Duncan Wood recording, engineering and mixing, then Andrew Edgson mastering at Studios 301 Sydney. Brisbane four-piece electro-rockers Fushia worked with fellow Brisbanite, engineer Jeff Lovejoy on their new EP, Open Invite, at Studios 301 Sydney. email@example.com 62 • THE DRUM MEDIA
BITROK’S EPONYMOUS DEBUT ALBUM REPRESENTS A SIGNIFICANT SHIFT IN DIRECTION FOR THE SYDNEY BREAKS DUO. MATT O’NEILL SPEAKS TO RYAN DICKINSON ABOUT THE COMPLICATIONS OF TAKING THE PAIR’S WORK BEYOND THE DANCEFLOOR.
itrok adopted an ambitious approach for their debut album. Renowned nationwide for their club productions and remix work, the Sydneyvia-Brisbane production duo decided to craft their self-titled debut album without limiting themselves to the dancefloor – essentially opting to transition from producers to songwriters. This could explain why the album took nearly four years to complete. “It’s a bit of a relief to have it out, actually,” Ryan Dickinson laughs. “The idea to start the album came around 2007 when we were at the ARIAs with Gotye [Bitrok having remixed Gotye for 2007’s Mixed Blood]. We decided at that point we wanted to start writing more album-based tracks and it’s come around and finished now – four years later. “The only thing we had in mind was that we wanted to make more songs than just club tracks. Insofar as genre, we didn’t really know what we were going to do,” the producer says. “There are literally hundreds of ideas on the cutting room floor and anywhere between five to fifteen tracks that were almost completed that just didn’t seem to fit. I think that’s partly why it took so long.” It’s a significant leap for any dance act to take. Aside from the simple reality of transitioning from the bassheavy arenas of club and festival systems into trebledominated environments like home listening and radio, crafting a self-contained song requires a very different skillset to producing a component part of a DJ set. “It was the great thing and the really horrible thing about opening up our sound into whatever we wanted to do,” Dickinson explains. “If you’re making dance music – a house track, for instance – you know you’re going to
start at 126BPM or whatever, you’re going to put a kick down and then a clap and then a hi-hat and then a bass line and then you can just layer up from there. When you’re not sure if you want to make a stadium-track or a chillout track or a big beat track or whatever – you kind of don’t know where to start unless you know exactly what the song is before you start writing it,” the producer laughs. “It kind of came down to just randomly going, ‘Okay, 93BPM, let’s see what happens’. It slowed the process down a lot just exploring those genres.” Navigating out of the club also meant the pair’s recording and mixing processes were greatly expanded – from recording live instrumentation and dealing with guest vocalists such as London-based MC N’Fa (formerly of 1200 Techniques) to employing Scott Horscroft (The Presets, most everyone else) on mixing duties and Mike Marsh (Massive Attack) to master the album. “When it came to mixdown, we knew we wanted to do it in a studio and we knew we wanted to work with the best people we could find,” Dickinson says of Horscroft and Marsh’s involvement. “We were really digging The Presets, saw that Scott was credited as mixer and shot him an email and he was really into it. Mike was pretty straightforward. He’d mastered most of our favourite albums. “The majority of the album was actually recorded in my spare room at my old apartment in Brisbane. Just about everything was recorded there. The only exceptions
were we went to a studio to record live drums and a lot of guest vocalists just recorded their parts and sent them to us,” he says of the recording process. “It was actually important to us to get that live feeling. “You know, the bass was recorded line-in, but the guitars and drums were all mic’ed-up and played live, just to keep that natural feeling,” the producer elaborates. “Everything we do, we put through my Avalon compressor and EQ. Even if it’s just VST synths coming from Ollie’s [Bowler – Bitrok’s other producer] laptop, we’ll run them through the outboard gear to give them a bit of grit.” Yet, for all of the complications, Bitrok is far from a haphazard recording. Effortlessly juggling hip hop, breakbeat, electro, pop, rock alongside countless other genres, the pair’s debut album is polished, professional and adventurous. Its gestation may bear the scars of four years of confusion and exploration but, as a finished product, Bitrok practically sparkles. “I don’t really know what we’re expecting, if I’m honest,” Dickinson laughs. “We’re just kind of glad to have it out there, at this point. Everyone we’ve played it to have claimed to really like it but, obviously, someone sitting right next to you isn’t going to tell you that your music sucks. Really, we have no idea what to expect. We’re kind of just taking it as it comes.” Bitrok is out now through Creative Vibes
STAGE DOOR RECORDING STUDIO K.O. KAZOKAS – STUDIO MANAGER What’s the studio set up you have there equipment-wise? Yes, very wise equipment. Pro-Tools rig, DDA console, Tannoy and NS10 monitors plus near vintage outboard gear; Ibanez delay, graphics, EQs, Yamaha reverbs, Mic-Mix reverb, JBL compressors etc. Mics are AKG, Sennheiser, Calrec, Neumann, Rode, Shure and some bitza breeds that can work magic. Any tips for artists entering a studio for the first time? Watch your step. Be rehearsed and have a plan, even though you don’t know what you’re doing. Most people don’t plan to fail, they fail to plan. Trying new things in the session is fine, but costs money. If something starts to get out of hand, go back to the plan. “Be rehearsed” means the band knows the songs from A-Z. Don’t tell the engineer “we just need to work out this ending” ‘cause then you’re paying recording studio rates to rehearse. Watch for the step on the way out. Which notable artists have worked at the studio? Graham Connors, Rex Goh, Paul de Marco, Mark Evans, Mita Caruso, Out There Productions, Rod Crundwell, Lester Coombes, Daniel John, Amanda Baker, Amanda Jermyn, Isabella Hunter. All artists are “note”able or they wouldn’t be in the music industry.
Who do you have on staff and what’s their background in the industry? Engineers are Simon Tonx and Richard Smith. Simon is an ex-Sony in-house engineer who’s worked with Tina Arena, Billy Joel, Midnight Oil, Wa Wa Nee, Billy Thorpe, Shawn Mullins, Box Car, Silverchair, Mark Moffat and too many more to mention. Richard is another technical wiz who knows too much and has worked with Channel [V], Dandy Warhols, Foo Fighters, Good Charlotte, The Strokes, Coldplay, Juke Kartel, Psuedo Echo, Marcia Hines, Wendy Matthews, The Platters, The Drifters, Herman’s Hermits, Russell Morris, Amy Meredith, Daryl Braithwaite, Nathan Cavaleri, Avril Lavigne and Delta Goodrem. Both are great with handling clients and put people at ease quickly. That’s the most important part
of all, because if you’re not comfy in your recording environment, you won’t make happy music. Simple.
If you want to record at your mate’s place for cheaper… go for it. That means it’ll take you longer to save up again.
Analogue vs digital – discuss. We’re running Pro-Tools and have some analogue outboard gear. Both have their merits and downfalls. Digital is great for editing but I’d rather be rolling tape.
Do you have any in-house instruments at the studio that acts can use, or is it totally BYO? Sure! We have gear, though anyone of “note” is wise enough to bring their own. You know your sound and how to get it, so why spend time with gear that’s not yours? In the long run, it’ll end up costing you more.
Can bands bring in their own engineer or do they have to solely use a house engineer? Of course bands can bring their own engineer – he can be the producer. Been there, done that. It’s more efficient to use our engineers because they know how the studio works. New engineers can’t find this or that, where’s the whatsimabob to go here etc, which ends up costing the band more money. Is the studio capable of holding a full band at once for recording? Yep, though cosy. We’re an impoverished indie band – do you offer any deals for acts in our situation? Keep saving. If you want quality, keep saving. We have deals on ten-hour blocks and bulk bookings, but that’s it.
What’s the access to the studio like with regards to parking, flat load, etc? Access is superb. Lotsa parking, all flat load and trolleys are provided. Roll up, load onto trolley, roll to studio door and enter. Working in the studio can be arduous and we’ll need a break – what are the amenities in the local area? We have a cafe on site, espresso coffee, sambos, burgers, pies and beverages. For exotic stuff, we have menus for all the local takeaways that’ll deliver: pizza, Chinese, Thai etc. What are your contact details? Phone (02) 9565 1123, email music@ stagedoor.com.au or send pigeon.
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BEST VALUE FOR MONEY STUDIO The House of Medici is a fully equipped recording and rehearsal studio based in Leichhardt, Sydney. It has been custom built for recording music, sound scores, voiceover, audiobooks and infomercials. Equipped with the newest facilities, insanely cheap daily rates and the option of an ARIA-charting in-house engineer, the studio is open to beginners and professionals. For bookings and further information please contact Sam at 0403 260 360 or sam@houseofmedici. com.au iFlogID: 174507
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GOSPEL SINGERS Gospel singers experienced, to do lead vocals & harmonies for established gospel band based in south west sydney, styles include blues,R/ nb,rock,funk,contemporary, must be commited christian,willing to rehearse, & have a passion to serve the Lord. Email email@example.com iFlogID: 17550
HARD ROCK/BLUES GUITARIST looking for other musos to jam/start a band would like a drummer and bass player aged between 18-25 i have about 15 original hard rock songs i have recorded using a friends pro tools my influences are sabbath,acdc,zeppelin,m etallica,gunners and so many more if your keen contact Mitch 0423478128 preferably northern beaches area iFlogID: 17448 Newly formed original hard rock band looking for bassist. Inner West location preferred. Ages 16-20. Influences Thin Lizzy, KISS, Oasis, GN’R etc. Call Liam after 8pm on 0413 855 632 iFlogID: 17049 Pro singer wanted for an established 5 piece band Newcastle area covers and orginals hard rock,blues,pop,rocknroll. Exp band gigged with Angels, 2 booking agents Peter 4984 4731. iFlogID: 17156 Pro Singer wanted for an established 5 piece band Newcastle area.Hardrock,blues,pop,rocknroll covers and originals exp band gigged with Angels 2 booking agents,paid gigs Peter 4984 4731 iFlogID: 17366
Jands Pty Ltd is one of Australia’s leading maufacturers and distributors of professional audio, lighting and staging products. With an enviable reputation for providing quality audio, lighting and staging support to their clients, the Customer Support Team at Jands is looking for a high achieving Customer Support Coordinator. The Customer Support Coordinator shall: - assist with customer queries regarding products distributed and manufactured by the company; - process purchase order for the international and domestic markets; and - make regular outbound calls canvassing potential sales from industry sales leads. The successful applicant will possess: - good knowledge of professional audio, lighting and staging equipment; - sound administrative and intermediate computer skills; - previous experience working with CRM systems (desirable); - excellent communication skills and rapport building ability over the telephone; - experience with sales negotiations; - experience within the theatre industry (desirable); and - familiarity with Pronto-Xi Enterprise Management System (desirable). Jands can offer you considerable career prospects through in depth training, development and mentoring from industry professionals. This is an excellent opportunity for anyone with a passion for professional audio, lighting and staging to progress their career within this exclusive industry. If you have an unyielding desire to deliver total customer satisfaction and enjoy making contact with potential clients, please forward your resume to: Human Resources Locked Bag 15, Mascot NSW 1460 Facsimile: (02) 9582 0999 Email: firstname.lastname@example.org iFlogID: 17542
PRODUCTION FREE SHORT FILM WORKSHOP ! Get Involved in all stages of short film creation for free.Each candidate will attend an interview to get selected into the group (Equipment training- No previous experience needed). Call: 0439590185 iFlogID: 17575
Peavey Bandit 80watt 12” guitar combo 2 channel.footswitchable.great fat tone. reverb/saturation etc.USA made.VGC.$350. Ph.0428744963. Cooroy iFlogID: 13019
TRIBUTE SHOW NEEDS SOUND GUY..
VOX AC-30/6TB made in England 1997, good condition. $1800 Call: Paul 0409923954 iFlogID: 17278
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SALES & MARKETING People needed to send eMails offering a new music Book for sale. Must have own computer - payment by commission via Paypal. Contact Bill on (02) 9807-3137 or eMail: nadipa1@ yahoo.com.au iFlogID: 13289
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Band Booking Agent wanted for historic venue in Kings Cross (capacity approx 85).El Rocco needs acts Tues-Fri,Sun Generous comission offered.Immediate start. Direct Enquiries to Paul at paul.elrocco@gmail. com iFlogID: 17378
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Mainline Bass Guitar 4 string, white, made in UK, as new. Action good and looks great. $120 for quick sale. Ph. 97590970 iFlogID: 17295 Peavey 600 watt bass amplifer Head MK8. Beautiful sound, excellent condition. Plenty of power, $375. Ph. 97590970 iFlogID: 17297
S.L.H. is a venue with a mission statement.....Reviving Sydney’s live music scene 1 gig band 1 fan at a time. We have recently launched our website www.sydneylivehouse.com. Bands that register their details using the site prior to March 11th will be considered for the bring it on festival which attracts 10,000 people annually. Located at 794 Parramatta rd Lewisham. There’s plenty of untimed on street parking, easier then parking in newtown thats for sure... bus stop at the door and train station within 5 mins walk. Add to that new and upgraded P.A. and lighting rig... Its all here ready for bands agents and managers to utilize. For further information and contact details please visit www.sydneylivehouse.com iFlogID: 17459
DUPLICATION/ MASTERING CD MANUFACTURING:Acme is Australias best price CD manufacturer. 500 CD package = $765.05: 1000 CD package = $1320.00 Short run also available. www.AcmeMusic.com.au KevinW@AcmeMusic.com.au iFlogID: 13117
HIRE SERVICES For as low as $100, you get a professional sound/pa mixer system with operator for the evening. Suitable for weddings, pub/clubs band gigs, private parties etc. Infovision@yayabings. com.au. Contact Chris 0419272196 iFlogID: 15173
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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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AFFORDABLE SYDNEY PRODUCER Sydney-based producer with multiple industry contacts and experience in both band recordings and electronic/ midi sampling. Affordable rates for radioready 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 email@example.com iFlogID: 17235 Music Studio available in Roselands. Sound engineer provided, industry standard equipment and radio ready sound for an affordable cost. www.lombardoentertainment.com.au see ‘Music Studio’ 0402022973 iFlogID: 17564 RECORDING STUDIO $30ph
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, 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
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Inner west,exp teacher studied in Spain tel:02 9517 1704 iFlogID: 17597
Starting to learn the guitar, bass? or maybe you’re stuck in a rut and want to push through to the next level? Affordable and professional guitar and bass tuition in the Sydney inner west area. All styles, all levels. Jazz, Classical, Metal, Blues or whatever tickles your fancy. Equipped with a Music degree & Masters, the latest music tuition apps and music recording facilitates so you get the best results! Call Evan on 0434 266 406 or Email: email@example.com www.evanwilkinsmusic.com iFlogID: 17462
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Sean Carey (ex Thirsty Merc) is the In-House Producer/Engineer at TRACKDOWN Studios in Camperdown. Multi-platinum ARIA accredited Artist with over 10 years of production experience. Vintage guitars, microphones, gear and industry contacts! Get the most out of your songs! www.seancarey.com.au. Ph: 0424923888. iFlogID: 17384
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MUSIC MERCHANDISE BUSINESS
ONLINE BOOK BUSINESS WORK@HOME
With the friendliest and best value mastering in the business we exist to serve you and your music. > Your audio will pass delicately through the best valve and solid state outboard equipment on earth, under the microscope of a world-class monitoring system and acoustic environment, and more importantly, will be... > Utilising a skilled engineer working with numerous Indie and Major Record Labels, including EMI Music, Silverback Records and Liquid US, with credits from major artists such as FAKER, The Art, Papa Vs Pretty, Melody Black & ex members of The Sex Pistols, Blondie, The Cult and The Ramones. > Our pricing is fixed and includes the provision of a Master Red-Book CD, Master DDP DVD, Master Reference CD and a high resolution project archive. > Plus, you are more than welcome to attend the mastering session! > Song - $80 / EP - $320 / Album $600 > Contact us at; firstname.lastname@example.org / or/ 0403 435 686 /or/ www.the-butler. com > Do your music, and your wallet a favour and drop us a line. iFlogID: 17440
++ play more chinese music - love, tenzenmen ++ www.tenzenmen.com iFlogID: 14468
1000+ shirts hoodies caps etc all 100% USA imported licensed band merch & Streetwear all contacts, racking, websites, advertising material, systems, Transitional training assistance and more!. Selling as I have another business that is taking off $24,500 neg 0421648558 iFlogID: 17329
BASS Fender Jazz Bass (5 years old), 5 string, as new, hasnt been played much. $1450. Ph. 97590970 iFlogID: 17299
THE BUTLER MASTERING...
DRUMS DRUM KIT WANTED or cymbals, snares etc. Also interested in anything vintage. Ph 0419760940 iFlogID: 13232
FEMALE SINGER WANTED TO HOST REGULAR KARAOKE NITE IN CITY. BUBBLY PERSONALITY AND GOOD PEOPLE SKILLS ARE A MUST AS WELL AS THE ABILITY AND KNOWLEDGE TO SING A WIDE VARIETY OF SONGS. GOOD MONEY FOR THE RIGHT PERSON. PLEASE SEND BRIEF BIO WITH PHOTO TO: email@example.com iFlogID: 17457
Responsibilities include setting up/operation maintenance of professional pa (Supplied), and lighting gear at Pub gigs in Sydney and Central coast. Seeking LONG TERM COMMITMENT ARRANGMENT ONLY www.australiangnrshow. com More info- Ben 0438625750 iFlogID: 16941
Attention Musicians, Record Collectors, Universities, Libraries - new Book (print/cdROM/ direct download) compiling 100 years of popular music. GO TO www.plattersaurus.com web-site on how to buy. Enquiries: (02) 9807-3137 eMail: firstname.lastname@example.org iFlogID: 13287
ENTERTAINMENT FEMALE SINGER WANTED
CD / DVD
Print & Online Classifieds
COLOUR BORDER 500
Studio, live, candid or location shots with an experienced band photographer. Gigs, promos, album covers, artwork. Affordable prices, professional quality. Mobile: 0479060317 Email: email@example.com Web: music.mattgphotography.com.au iFlogID: 17374
From Robert Johnson to Eric Clapton. tel. John 0431953178 iFlogID: 16886 DRUM TUITION. Drum Tuitiojn in Stanmore with a Billy Hyde trained teacher. Dip Ed, Dip Drums. All levels and all styles taught. Beginner Welcome! Call Lee 0403307796. www. lee-carey.com iFlogID: 15519
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
For a limited time. Free online and print classifieds Book now, visit iflog.com.au
All prices include GST
VISIT IFLOG.COM.AU TO PLACE YOUR BOOKING NOW.
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 firstname.lastname@example.org Parramatta area iFlogID: 15320
PIANO: BLUES, ROOTS & POPULAR
Specialised tuition from Don Hopkins, 2nd place win, International Blues Challenge, Memphis, 2012. Improvisation, piano technique, theory. Songwriting skills. Individual sessions. Beginners to advanced. Get to where you want to be. Spaces available now. 0425201870 email@example.com iFlogID: 17606 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 firstname.lastname@example.org iFlogID: 16948
RINGO’S DRUM SCHOOL PARRAMATTA
to Blind Willie Johnson and Son House. www. acousticfingerpicking.com tel. John 0431953178 iFlogID: 16872
TEACHER TO THE STARS!
Steve Ostrow, New York voice teacher and vocal coach who discovered and nurtured the careers of Bette Midler, Barry Manilow, Peter Allen, Stevie Wonder and countless others now Sydney City based and welcoming students on all levels; beginners, advanced and performers; Rock, Pop, Classical etc. For availability call on 0408461868. For a free e-copy of my book ‘On Becoming a Singer..A Guide To How’ email me on sostrow@bigpond. net.au. Lessons include the entire scope of singing...voice production, musicianship, interpretation, performance skills etc. I look forward to hearing from you. iFlogID: 17029 THE BROADWAY VIOLIN SCHOOL. Classical European-style Violin Tuition in Glebe. Learn with Rebecca Tzigankova (BMus St Hons). www. broadwayviolinschool.com 0433 005 909 iFlogID: 17520
VOCAL TUITION for students having problems with pitch, placement and breathing. tel. John 0431953178 iFlogID: 16882 VocalHub - Sing like no one is listening! Singing lessons for vocal technique and care, audition tips and repertoire in a encouraging and supportive environment. Visit: http://www.vocalhub. com.au iFlogID: 17102 Wanted left handed electric guitar teacher Parramatta area, Contact John at... email@example.com iFlogID: 16308
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 FreeContact me for more details/previous Work iFlogID: 17406 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 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
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 0450-406-201. www.schoolofrockinnerwest.com.au iFlogID: 16990
SINGING LESSONS Voice science is out there to help improve your singing quickly. One on one lessons in hi tech multi award winning studio with fully qualified singing and performance expert. First assessment FREE. Beginners and professionals. I will help you find your voice. www.avic.com. au studio - 9588 2184 mob - 0414 453 066 Stephen Baker MRA iFlogID: 16954
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
D7 STUDIO MUSIC VID FROM $250 music vid $250. Live gig edits, multi angles, fr $125 a set, 1 live track $100. All shot in full HD. d7studio@ iinet.net.au 0404716770 iFlogID: 13368
SCHOOL OF ROCK - ZEN STUDIOS
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
VIDEO / PRODUCTION
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 iFlogID: 17264
KN!VZ Entertainment Group Ph:0415680575
Session Drummer, 26-yo, Gigging + Recording exp; Prog, Punk, House or Hip Hop. Productive and Reliable, Quality gear and transport. 0425820547 - Sydney myspace.com/megagiant
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 eMail: nadipa1@yahoo. com.au iFlogID: 13285 Professional mature-age Drummer/Vocals/ reads/back acts/shows - all styles including jazz - available for casual work. phone:(02) 9807-3137 eMail: nadipa1@yahoo. com.au iFlogID: 16562 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: firstname.lastname@example.org 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 ‘ROCK’ GUITARIST ABE LOOKING TO JOIN/FORM A SUCCESSFUL SYDNEY ‘ROCK’ BAND. (20-35) A PEP UP ‘HELL’ RATED HIS MUSIC ‘MAINSTREAM’. I DISCRIBE ABE AS A ‘LYRICAL GENIUS’ WITH ‘KILLA’ MILLION’ $ RIFFS INCL ROCK ANTHYM ‘CAUGHT BY HER EYES’. ORIGINAL ‘HARD ROCK’ INSPIRED BY SLASH, METALLICA, AC-DC ETC... PLEASE CALL ABE 0405808941 & GET READY TO BECOME A ROCK STAR! iFlogID: 17571
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 email@example.com iFlogID: 15177
MUSICIANS WANTED BANDS DRUMMER WANTED
MUSICIANS AVAILABLE BASS PLAYER
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 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
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.
Modern Rock/Metal band with influences such as reggae, blues, require drummer. Members are early 20’s with totally professional approach and long term career objectives. Gender optional. Vision and openminded approach for future projects is essential. Enthusiasm will be appreciated. This band is managed. Contact details including phone number with your application please 0425256347 iFlogID: 17593
DJS WANTED IN SYDNEY
Central coast band seeking a drummer for a four piece hard rock band needs to be over 18 and needs own gear for more information contact firstname.lastname@example.org iFlogID: 16510
Geriatric Guitarist /singer wanted to join easygoing Bass player, Drummer, ex 80s high-energy punkers to jam, gig and have a laugh. Must have own transport. Everything else flexible. Call Rick 0409 225 489 iFlogID: 17491
METAL GUITARIST WANTED Guitarist wanted for signed Sydney-based thrash/technical death metal band. Influences include Megadeth, Testament, Death, Nevermore, Obscura, Necrophagist, Decapitated, Behemoth and Fleshgod Apocalypse. We are currently playing as a 4 piece and want to add a 2nd guitarist to the lineup. Band activities will include national and international touring, writing and recording new music, and regular rehearsals in Sydney. We are looking for a skilled player with the following qualities:Professional attitude Ability to commit Access to quality gear (for live use) 18+ years old Recording and touring experience is a bonus, but is not absolutely necessary. If you’re interested and have what we’re looking for, please email us at sydney.metal.guitarists@ gmail.com iFlogID: 17538 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: info@ hornsbyinn.com.au 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 email@example.com if interested iFlogID: 17027
BASS PLAYER BASSIST needed for experimental DUB project. New genre and sound being created. Require OPEN minded, politically raged Bassist. Asian Dub Foundation influence. www.soundcloud.com/yesterdays-cub (preview Demo) contact: firstname.lastname@example.org iFlogID: 17446
Bassist with extensive experience both live and recording needed.Should be able to play a wide range of genres without hesitation (Soul/ Funk, Punk/Rockabilly, Jazz, Metal, Hip Hop etc) Must also be able to play Double Bass.If you are able to play other instruments as well that would be righteousIf this sounds like your thing get in touch as soon as possible, Contact: email@example.com iFlogID: 17495 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 METAL BASS PLAYER NEEDED FOR SOON TO BE WORKING SOUTH-SYDNEY BAND!! MUST BE EXPERIENCED AND DEDICATED, NO TIME WASTERS INFLUENCES INCLUDE LAMB OF GOD, METALLICA, SEPULTURA, SLIPKNOT, CALL MATT 0401728868 iFlogID: 17487
U2 SHOW DRUMMER WANTED
KEYBOARD/ GUITAR PLAYER WANTED
We are a management company seeking DJs with vision and openminded approach for future projects. Enthusiasm will be appreciated. Contact details including phone number with your email application please . 0451655694 iFlogID: 17591
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 WANTED 3 piece rock/pop originals band with label interest seeking experienced and talented drummer for live shows and recordings. Age 18-25, must have live gig experience, own quality equipment, have readily available method of transport and recording experience. Email undercoverband1@ live.com.au for more information. iFlogID: 17473 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 experienced energetic drummer wanted for sydney 3 piece. age 20-30. influences: ramones, damned, sabbath, nirvana, beatles etc. must be 100% committed as tour is imminent. call dee 0431317613 iFlogID: 17556
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
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 firstname.lastname@example.org iFlogID: 17304
SOUL BROTHER DRUMMER NEEDED
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
ACOUSTIC GUITARIST/ SINGER
Working 80’s concept show with agenency gigs waiting require a Keyboardist that can play some guitar and backing vox, Good gear, weely rehearsal, transport committed .The show involves wearing some 80’s rock style gear. email@example.com - 0404 492 853 iFlogID: 17489
Post rock sleepmakeswaves,pelican, inspired band seeks keys, bass to complete lineup, rehearse zen st peters, call 0401056876. iFlogID: 17509
BON JOVI THE SHOW
Bon Jovi The Show requires a guitarist that believes he is Richie Sambora. Desired Guitarist MUST be fluent in blues, slide, shred, acoustic guitar, and be a strong singer, most importantly a BON JOVI FAN. If this sounds like you please call Brett 0408 285 440. Must have own transport,”No time wasters’. Check us out @ bonjovitheshow.com. au or Facebook. iFlogID: 17532
FEMALE SINGER & DRUMMER 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: 17505 GUITARIST AND BASS PLAYER WANTED.Guitarist and Bass player required. Penrith Area .Mature Age.Regular social rehearsals. Music style ranging from 60’s pop to Swing Blues. 043 279 0076 iFlogID: 17569
GUITARIST NEEDED PRONTO
guitarist with decent effects setup and the ability to play a range of dynamics needed for band playing originals by singer songwriter alex dean. gigs booked and material already written and ready to go. music we like and may sound like: sonic youth, radiohead, nick cave and the bad seeds, grizzly bear, pj harvey, deerhunter. music can be heard at triplejunearthed.com. au/alexdean if you have similar tastes and like the music you hear, please contact alex on 0409771952. **only people between the ages of 20-30 please.** iFlogID: 17579
GUITARIST WANTED Singer/songwriter looking to collaborate with a guitarist and/or keyboard player to perform covers and originals at small gigs around Sydney. An easy going personality and reliability are essential. iFlogID: 17481
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
QUIRKY FOLK BAND 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 band needs fun, passionate and creative drummer with own transport and gear. Established band who have been gigging regularly, with FBi Radio and Drum Media support. We have our own warehouse space for regular recording and rehearsing. Unique sound but with influences from QOTSA, Radiohead, Foo Fighters + many more. Check out www.TaylorKingMusic. com for sample music and details. Phone: 0415 608 779 iFlogID: 17604
Sydney based Funk band who plays originals and covers seeks a keyboardist. Needs good gear and own transport. Contact rhyseaquilina@ gmail.com. iFlogID: 17281
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 susiehurley@live. com or 0404 067 051 iFlogID: 17382
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
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
GIG POSTERS & ALBUM ART
The Clue is looking for a keyboard player (organ, el. piano, synth, etc. all good) for original bluesrock songs. Email firstname.lastname@example.org to express interest. iFlogID: 16851
SEEKING SOLO ENTERTAINERS
Need a poster for your next gig? Need album art for your latest recording? Maybe a band tshirt? Check out my work at: WWW.BRIDIEALLAN.COM Email me at : DESIGN@BRIDIEALLAN.COM iFlogID: 17410
Central Coast based Hard Rock originals band seeks a guitarist with a good sound and good gear 19-26 email email@example.com for more info. iFlogID: 16794 Dead In Motion needs rhythm guitarist. Heavyrock, 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
CUSTOM MADE MUSICIAN PLUGS
A competent guitarist with amplified acoustic guitar to perform with singer and keyboard player, performing light background music at weddings and other functions. From Illawarra or Southern Sydney suburbs, and singing ability desirable. Call Mark 0421289937 after 3pm. iFlogID: 17554
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
WANT A RECORDING DEAL? Star Management can provide you with a Publicity Campaign that will deliver your music to over 1000 industry contacts including record label A&R, management, music press, music blogs and more. www.starmanagement.com.au and see ‘Publicity Campaign.’ iFlogID: 17558
SUNSET RIOT SEEKS BASS PLAYER
WE WITHOUT SEEK BASS PLAYER
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
Drummer wanted for U2 tribute show. Phone Sasha on 0431 567 058 iFlogID: 17387
BASS PLAYER WANTED
A fusion of Psychedelic Alternative Rock and Post Modern Punk, We Without drench hypnotic percussion and rolling bass lines with whirling distorted guitars, cinematic synth and stargazing vocals. Influences Include: Deftones, Kasabian, The Butterfly Effect, MUSE. Gigs booked, 2nd EP in pre-production. Call Chad on 0409991854 www.wewithout.com iFlogID: 17573
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
Bass player wanted for soft rock originals. Call Steve 0422934425 iFlogID: 17507
ECLECTIC BASSIST WANTED ORIGINAL ‘ROCK’ GUITARIST
Looking to join band. I’m alright. Influences Inc Charles Bukowski, Rodney Dangerfield, Christina Milian ect. firstname.lastname@example.org iFlogID: 17588
MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with a variety or artists and strives to offer quality & creative Music Videos. Visit www.immersionimagery.com email email@example.com iFlogID: 13825
Auditions for bass players, drummers, guitarists. If you love L7, Hole, Bikini Kill, Magic Dirt, Steel Panther, heavy hard fast rock ‘n’ roll this is the band for you. Looking to tour with well-known USA band at end of year. Serious musicians only. Please call Mel 0401 017 275. iFlogID: 17577
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
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 firstname.lastname@example.org or visit www.popfilms. com.au iFlogID: 17273
ATTENTION ALL CHICK ROCKERS
We manage several types of Solo performers including piano bar performers, stand up comedians, and more. We are seeking solo performers for our expanding data base of entertainers. This will enable you to maximise your full potential as a performer, supported by our unique style of management. We welcome circus acts, gymnasts, musicians, comedians, all styles of solo performers. 0451655694 iFlogID: 17502
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 email@example.com iFlogID: 17051 Energetic and charismatic singer wanted to front a newly founded hard rock band with a groove. Must have easy access to Bondi 2-3 times a week. Preferred age:18-26. Call Jonno0412362425. iFlogID: 17483
EXP FEMALE ROCK VOCALIST
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 firstname.lastname@example.org or Troy on 0400 275 154 for further details and audition dates. iFlogID: 17421 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
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 Star Management has a pop song library of orginal hit potentials which can be yours to own! Pick your song, write and record your voice and have it sent to leading industry people including record label A&R, music press, management, radio and more, or start from scratch with our leading studio producer. www.startmanagement.com.au iFlogID: 17562 The Clue is looking for a singer for blues-rock original songs. Email email@example.com to express interest. iFlogID: 16853
For a limited time. Free online and print classifieds Book now, visit iflog.com.au
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DIPLOMA & DEGREE COURSES IN: Games Design 3D Animation Graphic Design Games Programming Web Design & Development
Come and try a course for a day – Study Day April 14th This is an opportunity to experience a full day of hands-on training in your chosen ﬁeld, with industry-experienced instructors, for only $40.
Call 02 8241 5300 to Register
CRICOS Codes - 03204G (QLD) 00312F (NSW) 02047B (VIC) 02431E (WA)
Published on Feb 27, 2012
Published on Feb 27, 2012
Drum Media is a Sydney icon. The people behind Drum virtually invented what has come to be known as street press. For over 15 years, Drum ha...