4:%/&:4-"3(&45$*3$6-"5*/('3&&.64*$16#-*$"5*0/t"13*-tt'3&& A U S T R A L I A N M U S I C I A N F E A T U R E I N S I D E
INSIDE: t3&%%,3044 t"6(645#63/43&% t."3,-"/&("/ tø$645"3%
THE DRUM MEDIA • 3
F ROM T H E F RO N T WOM A N O F T H E Y E A H Y E A H Y E A H S
CO-CR CO-CREATED CO BY KAREN O & KK BARRETT. MUSIC DIRECTION DIR N BY SA SAM SPIEGEL & NICK ZINNER. DIRECTED BY ADAM AM RAPP. P.
STOP THE VIRGENS
AN EPIC MU MUSIC THEATRE EVENT FEATURING OVER 50 ARTISTS TS ONSTAGE. NSTA TAGE.
3 0 M AY – 3 J U N E O N LY. O P E RA T H E AT TRE.
MAJOR R PARTNER ER
‘ H E AV E N LY ’
STRATEGIC GIC PARTNERS RS
BRYCE DESSNER, NICO MUHLY & SUFJAN STEVENS A V I V I D L I V E C O M M I S S I O N W I T H T H E B A R B I C A N LO N D O N & M U Z I E KG E B O U W E I N D H OV E N
THREE OF NEW YORK YORK’S DEFINING CREATIVE MINDS PRESENT THEIR COLLABORATIVE TIVE NEW WORK; ‘PLANETARIUM’ - A SWEEPING SET OF SONGS DEDICATED TO THE PLANETS. N NETS.
2 8 & 3 0 M AY. C O N C E RT H A L L .
B O O K N OW S Y D N E YO P E RA H OU S E . C OM / V I V I D L I V E PARTNER
4 • THE DRUM MEDIA
Feel, Max, Time Out & SPA Present
GREEN ROOM 7.45 - 8.15 7.35 - 8.20
THE 188.8.131.52’S 6.25 - 7.10
ROYAL HEADACHE 5.10 - 5.55
STEVE WYNN 3.55 - 4.40
BELLES WiLL RiNG 2.40 - 3.25
THE LOVETONES 1.25 - 2.10
20 + ACTS 4 V E N U ES ENMORE RD. NEWTOWN
DiG iT UP! Q&A
THE SLY FOX
6.45 - 7.15
6.45 - 7.30
5.30 - 6.00
5.30 - 6.15
4.15 - 4.45
4.15 - 5.00
3.00 - 3.30
3.00 - 3.45
ALT. COMEDY DAMiEN LOVELOCK ALT. COMEDY DAMiEN LOVELOCK
KiM & SPENCER KiM sALMON SPENCER P. JONES THE GOOCH PALMS
Plus DJ’s JACK SHiT, SiLKY DOYLE, NiC DALTON,
ANDY TRAVERS, STUART COUPE, JAY KATZ and ViSUALS FROM THE SOUNDS OF SEDUCTiON
ALL TIMES SUBJECT TO CHANGE. PLEASE CHECK THE FINAL SCHEDULE ON SHOW DAY @ DIGITUP.NET.AU
SUNDAY ENMORE THEATRE NOTES LIVE • GREEN ROOM LOUNGE • THE SLY FOX
NOTES • GREEN ROOM LOUNGE • THE SLY FOX
ON SALE NOW & SELLiNG FAST • Tix FROM TiCKETEK.COM & DiGiTUP.NET.AU ‘Gold Watch’ - Hoodoo Gurus Greatest Hits out now! FEELPRESENTS.COM • HOODOOGURUS.NET THE DRUM MEDIA • 5
‘BARCHORDS’ OUT NOW NEW SINGLE ‘LOST IN THE LIGHT’ CURRENTLY SINGLE OF THE WEEK CU C URR RREN ENTL TLY IITUNES TU U
ALSO TOURING NATIONALLY WITH BAHAMASMUSIC.NET | CHUGGENTERTAINMENT.COM 8 • THE DRUM MEDIA
FRIDAY 27TH & SATURDAY 28TH APRIL THE YORK THEATRE, SEYMOUR CENTRE ON SALE NOW!
WWW.SYDNEYCOMEDYFEST.COM.AU, WWW.TICKETEK.COM.AU, PH: 132 849 OR IN PERSON AT THE VENUE BOX OFFICE AND ALL TICKETEK OUTLETS
SPECIAL GUEST ALL SHOWS
BRUCE GRIFFITHS WWW.FEELPRESENTS.COM WWW.HENRYROLLINS.COM
THE DRUM MEDIA • 9
SYDNEY ROLLER DERBY LEAGUE & DRUM MEDIA PRESENT...
THE MC HAMMERS VS
THE ICE ICE BABIES PLAYERS TO WATCH FOR: HATERADE #801 PIVOT, MC HAMMERS //////////////////////////////////////////
BOUT #1 WARM-UP
21 APRIL 2012 AT SYDNEY OLYMPIC PARK SPORTS CENTRE
WINNIE BRUISE #25S JAMMER, ICE ICE BABIES
THE BLACK N’ DECKHERS VS
THE LITTLE DEAD RIDING HOODS PLAYERS TO WATCH FOR: VICIOUSHIRE CAT #09TAILS JAMMER, BLACK N DECKHERS
10 • THE DRUM MEDIA
SPEED DEMON #68 JAMMER, RIDING HOODS
THE DRUM MEDIA • 11
th f e or ha m rperl hoy te
900 PRINCES HIGHWAY, TEMPE PH: 9559 6300 www.valvebar.com.au WED 18TH 7PM
THURS 19TH 7PM
FRI 20TH 7PM
SAT 21ST 6PM
POST ROCK SHOW WITH SUPPORT FROM: “SMOTHERBOX” , “GODS OF RAPTURE” , “FOUULHAWK”
PUNK ROCK SHOW WITH SUPPORT FROM: “SAY IT FOREVER” , “SEEK THE SILENCE” , “CLOUD FOUR”
IRON MAIDEN TRIBUTE SHOW WITH SUPPORT FROM: “DAMAGE INC” - METALLICA TRIBUTE BAND
BLUES ROCK SHOW WITH SUPPORT FORM “THE BLAND” , “SOUTH DEVINE” , “JACK ANDERSON BAND” SUN 22ND 2PM
SUNDAY STAMPEDE MUSIC SHOWCASE FEAT: “LIMITED HEADSPACE” , “THE GRAND UNION” , “THAT’S THE LAST STRAW” , “COREDEA” , “TOM ELLIOT”
COMING UP: Wed 25 April: Punk Rock Show feat: “Nudist Colonies Of The World” , “Prevailing Disorder” , “Matty Efﬁn Morrison” , “Pawn Magz” , “Excitebike” ; Thu 26 April: Jazz Garage Fusion Show feat: “Helpful Kitchen Gods” , “Call To Colour” and many more ; Fri 27 April: Heavy Metal Show feat: “Portland” and many special guests ; Sat 28 April: 4pm: “Not Another Sequel Just Another Prequel” Album Release Show with support from “Genedefect” , “Paintbox City” , “Blackened They Rise” , “Syko Sapien” , “Amodus” , “Stellar Addiction” ; Sun 22 April: 1pm: AC DC Pinball Game Release Party feat: “Dirty Deeds” AC DC Tribute Band, many pinball machines on “Free Play” and Ofﬁcial release of AC DC Game
For band bookings please email firstname.lastname@example.org
Bistro open Lunch and Dinner !!
TRIVIA WITH KEVIN
$500 PRIZE POOL
Thurs 5 Apr
OPEN MIC NIGHT
Fri 20 Apr
Sat 21 Apr
ATE HIS ROCK
12 • THE DRUM MEDIA
Weekly Jackpot 7.30pm
Open Mic Night 7.30pm
BYO Instruments (PA Provided) Rock up to play
email@example.com | www.thelaunchsquad.com.au
THE DRUM MEDIA • 13
WEDNESDAY 18 8.00PM FREE (FRONT BAR)
THURSDAY 19 7.00PM $10.00(DOOR)
FRIDAY 20 8.00PM $10.00(PRE) $15.00(DOOR)
SATURDAY 21 3PM
ROLL OVER RACISM, FEAT: GAY PARIS
+ MOUNTAINS + THE NIGHT + CHRIS NETO + SHINOBI + SIREN LINES
+ HOODLUM SHOUTS + LO! + SHANGHAI + BRAVE IT THROUGH THE NIGHT + FIREARMS + ONSLAUGHT + THE INCREDIBLE KICKS THURSDAY 26 7.00PM $8.00(DOOR)
TRANSVAAL DIAMOND SYNDICATE
$10.00(PRE) $15.00(DOOR) SATURDAY 28 7.30PM $18.00(PRE) $25.00(DOOR)
+ GUTHRIE + DUBIOUS COMPANY + BREAKING ORBIT + SOLKYRI
+ WARBRAIN + RELENTLESS + CIVIL WAR + FIXTURES
MINUS HOUSE PARADIGM MURDER BY DEATH (USA) ‘GOBOOKEM.COM’
CNR OF GEORGE + SWANSON ST
ERSKINEVILLE 3 DOORS FROM THE RAILWAY STATION
P 9565 1441 ROSEOFAUST@BIGPOND.COM
TUES 24TH APR
ANZAC DAY EVE SPECIAL
FRI 27TH APR
DOG TRUMPET WITH BERNIE HAYES
9PM They formed the band in 1990 to record and play their original songs. Reg and Peter were long-time members of Mental as Anything but they left the Mentals at the dawn of the third Millennium to concentrate on their artwork. T he live line up has Reg and Pete on guitars, Bernie Hayes on bass and backing vocals, Jess Ciampa on drums and backing vocals plus guest harmonica from Peter Mitchell. They are currently touring their new album River of Flowers gaining 4star reviews from SMH and The Australian
FRI 4TH MAY
9PM The Bravados are: Andy Miles, singer from The Andy 500, FolkUMate and the Tall Shirts. Bernie Hayes, who also plays bass with two ex-Mentals in Dog Trumpet and in the Shouties. Elmo Reed on guitar from formerly the Gadﬂys. Steve Junor from the Delroys on keyboards. Lachie Dengate, drummer from Panacea, Red Rivers' band and Satellite V. The Bravados drink deep from those golden years between when Elvis was inducted and the Beatles arrived, when Rock met Tin Pan Alley, when songwriters made their cheesy rhymes an infectious.
14 • THE DRUM MEDIA
Founder of JFK and the Cuban Crisis and Love Gone Wrong with his band John Kennedy's 68 Comeback Special released the new CD, Is This Not Paris?. Referring to the Paris of the Inner West - Newtown. The Kennedy's trademark Urban and Western mix of pop, rock, folk and country and gives it a ﬁlmic twist. John Kennedy's 68 Comeback Special are making a rare Sydney appearance and will be playing songs from their new album.
THE DRUM MEDIA • 15
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
COOGEE SAT APRIL 21
TRIPLE SHOT OF ROCK
MICK SUN APRIL 22
THURSDAY 19 APRIL
FEATURING: JO FABRO AND MICHAEL WHEATLEY
Collaborate!! nights feature 2 of the hottest artists from the ihearmusic.com community. Each artist plays a one hour set, then for the ﬁnale the 2 artists collaborate by bringing their unique talents together. One plus one is three! PLUS GUEST DJ BRENT CLOUGH from THE NIGHT AIR.
FRIDAY 20 APRIL
GANG OF BROTHERS
+ SHELLEY SHORT
WITH GRACE SENITULI, LIONEL COLE AND BUDDY SIONO
+ THE WINTER STATION
Awesome live R&B and funk with the Martinez Brothers and guests.
SATURDAY 21 APRIL
FEATURING: EVELYN DUPRAI & LILY DIOR
The ﬁnest in danceﬂoor jazz, supersoulful vocals and futuristic heavyweight funk. Led by Rick Robertson (saxes, Directions in Groove), and featuring vocalists Evelyn Duprai and Lily Dior. Funky treats and tasty beats from an allstar crew, including Gerard Masters (keyboards), Phil Slater (trumpet), Jon Pease (guitar, vocals), Alex Hewetson (bass), Ian Mussington (drums), Jeremy Borthwick (trombone) and Aykho Ahkrif (percussion). International club sounds played live, by arguably the ﬁnest aggregation of groove players and singers on the Sydney scene. “Brilliant, cool and funkilicious”.
Tickets & info from www.coogeediggers.com.au
COOGEE DIGGERS 9665 4466 CORNER BYRON & CARR STREETS
SONIC MAYHEM ORCHESTRA
MONDAY 23 APRIL AND EVERY MONDAY + SPECIAL GUEST BEN HAUPTMANN
SMO’s Monday night gig has become Sydney’s place to be, nonstop jazz action with 10-piece band, plus guests, followed by a free-wheeling jam session. Guest this week is Freedman winning guitarist BEN HAUPTMANN who has worked with Paul Grabowsky, Katie Noonan, Bertie Blackman, Lior, King Curly, Son Veneno, James Morrison, The Alcohotlicks, The Translators, Ten Guitar Project, Steve Hunter, Andrea Keller, Dale Barlow. SMO 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 Angus Gomm (trumpets), Dave Panichi (trombone), Greg Cofﬁn (piano), Gordon Rytmeister (drums) and Karl Dunnicliff (bass). Rockin’ the room til very late.
$12 STEAK & ALE DEAL
TUESDAY 24 APRIL
Album launch. Natasha is probably best known for her work touring as a backing vocalist for Tina Arena, Ricki-Lee, Jessica Mauboy, Richard Clapton and Delta Goodrem (to name a few) but she has also been working steadily on her own project and is now ready to release her ﬁrst full length album, “Light This Fuse”, a premium mix of rock and funk with a big heart of soul. As you would expect, Natasha has as stellar line up of musicians for this special night and is giving a free copy of her album to all those who pre-purchase their tickets on line. www.bluebeat.com.au
FRIDAY 27 APRIL
PROFESSOR GROOVE & THE BOOTY AFFAIR PRESENT
TUE-FRI 12-3PM -/. 4/
THE HISTORY OF FUNK (PART 2) WHEN FUNK MET DISCO
After a massive Part 1 last week comes Part 2 of the greatest story ever told! Brought to you by the Professor and his totally kicking academic minions, including the Jman (Phd in Comparative Soul), Slick Rick Sanford (Dip Ed. in Stoneage Bitchology), Michael di Francesco (The Original Roman), Brother Calvin Welch (he was THERE!!!), and some Special Guests all bringing their own historical ﬂavas. Three funkin’ big sets from 10pm plus FBi Radio’s FUNK FLASBACK DJ’s STEPHEN FERRIS & JOSH BEAGLEY til 3am.
TIX ON SALE NOW - SEE WEBSITE FOR MORE
AMBRE HAMMOND & MARCELLO MAIO - THUR 26 APRIL, ROOTS RUNNIN’ - SAT 28 APRIL DIG PRODUCTIONS PRESENTS... SCOTT, RICK, TIM AND ALEX FROM DIG - FRI 4 MAY, SENANI - THURS 10 MAY BLAXPLOITATION #2 - SAT 19 MAY FROM MELBOURNE INTERNATIONAL JAZZ FESTIVAL, CHRIS POTTER (USA) WITH THE JAZZGROOVE MOTHERSHIP ORCHESTRA - MON 4 JUNE, SAMUEL YIRGA - SAT 9 JUNE
KITCHEN OPEN LATE FRIS AND SATS
DELICIOUS LATE NIGHT TAPAS 16 • THE DRUM MEDIA
7%$ 4(5 &2)
RIOT HOUSE COMEDY TUESDAY’S
$5 PINTS @ 5PM -7PM
RIOT HOUSE COMEDY SLIDERS & CIDERS $15: 2 SLIDERS & BULMERS SCHOONERS GET SCHNIT FACED
$10 Chicken SCHNITZEL, $12 PARMI’S
DJ’S FROM 5PM
$5 SPIRITS, $10 COCKTAILS FROM 7PM
DJ’S FROM 10PM
$5 SPIRITS, $10 COCKTAILS FROM 9PM
Ginger & Drum 34 OXFORD ST SYD
ENTry $10 Tickets available at www.qbar.iwannaticket.com.au
THE DRUM MEDIA • 17
THE SANDRINGHAM HOTEL 387 KING STREET NEWTOWN / 9557 1254 S YEAR WWW.SANDO.COM.AU BOOKINGSCONTACT SANDO@ATOMICDROP.COM.AU WWW.MYSPACE.COM/THESANDRINGHAMHOTEL
& The Bangin’ Rackettes among many. We have one Gum Ball pack, which includes a double pass to the festival as well as a selection of CDs from the various acts performing to give away, but be quick – entries close Thursday. Pack to be collected from The Drum office.
WED 18 APR
MICHELE MADDEN (TOURETTES/MELDRUM) + STEVE LUCAS (X) + BLACKIE (HARD-ONS + NUNCHUKKA SUPERFLY) + RICHARD THE SOUND GUY
$10 SUZY CONNOLLY + CHARLIE HORSE + RUSHING DOLLS + MATT PURCELL AND THE BLESSED CURSE
THU 19 APR
ONE MONSTER GUM BALL PACK
Friday 27 and Saturday 28 April, sees the ever-popular Gum Ball festival taKE OVER Dashville in the Hunter Valley. Headlining are Custard, joined by Jinja Safari, Ash Grunwald, Vika & Linda Bull, Wagons, Mat McHugh, Front End Loader, Sietta and Clairy Browne
NEW FROM GOSSLING
You’ve heard the first single, Wild Love, from the new EP, Intentional Living, from Melbourne’s Gossling, and Saturday 28 April, you can hear the whole EP and more live, when Helen Croome brings the band up from Melbourne to launch the EP at The Basement in Circular Quay and we have three double passes to the show to give away.
FOR MORE GIVEAWAYS THIS WEEK HEAD TO FACEBOOK.COM/DRUMMEDIA AND CLICK ON THE GIVEAWAYS TAB
***DOORS OPEN 7:00PM***
FRI 20 APR
LINES OF CHARLIE + BROKE DOWN ENGINES + CAPITOL + THE NIGHT
SAT 21 APR
THE GO SET
+ HANDSOME YOUNG STRANGERS + THE VEE BEES $12 PRE-SALE / $15 DOOR SALE TICKETS ON SALE NOW AT WWW.OZTIX.COM.AU
SUN 22 APR
"I-94 BAR PRESENTS"
REDUNDANT TECHNOLOGY + SPECIAL GUESTS
EVERY MON TUES 24 APR
SANDO SKETCH CLUB ***FREE ENTRY*** "FEEL PRESENTS"
THE FLESHTONES (USA) + STEVE WYNN (USA)
$36 PRE-SALE / $40 DOOR SALE TICKETS ON SALE NOW AT WWW.OZTIX.COM.AU
COMING SOON WED 25 APR ---
THU 26 APR ---
FRI 27 APR ---
MICHELE MADDEN (TOURETTES/MELDRUM) + ANDY GOLLEDGE + ADAM BLACKSMITH ADRIAAAN + FACE COMMAND + JON KENNER AND THE OILY RAGS + PLIGHT OF THE MYSTICAL DUGONGS
KADE & THE KARNEEZ
(THE RUCKMAN RECORD LAUNCH) SAT 5 MAY ---
DALLAS FRASCA *** WWW.OZTIX.COM.AU ***
SAT 19 MAY ---
PAUL COLLINS (USA)
STREET LEVEL BAR WED 18 APR ---
BERNIE HAYES (SOLO)
+ $3 SCHOONERS OF SANDO LAGER THU 19 APR --FRI 20 APR --SAT 21 APR ---
SUN 22 APR --MON 23 APR --TUE 24 APR ---
JOHNATHAN DEVOY + SPECIAL GUESTS VIDEO JUKE BOX DAVE TICE AND MARK EVANS 4PM-7PM DJ KAKI 8PM-LATE THE SLOWDOWNS UNHERD OPEN MIC ADAM PRINGLE AND FRIENDS – FUNKY AS F#CK + TOOHEYS $6 NEW JUGS (7-8PM)
----------------DJ’S BISTRO----------------OPEN 7 DAYS SERVING GREAT PUB FOOD ALL NIGHT
18 • THE DRUM MEDIA
T H E D R U M M E D I A I S S U E 1 1 0 6 T U E S D AY 1 7 A P R I L 2 0 1 2 Giveaways – Check it out for free stuff and head to Facebook for more! 18 The Front Line hits hard with industry fact and conjecture, plus Backlash and Frontlash. 20 Foreword Line – the latest news on tours, releases and more. 22 Sean Caskey from Last Dinosaurs has always thought about immortality and being remembered in death. 28 From busking on the streets of Sydney to sold-out shows across the nation. Passenger chats about this marvellous journey. 30 “The beard revolution is well and truly underway,” proclaim The Beards. 31 Glenn Thompson from Custard is a fan of smaller festivals…not too much hoo-ha getting in and around. 32 Redd Kross have been rocking for some time now, but bassist Steve Macdonald assures Drum, time hasn’t straightened them. 34 The beauty about working with other people is that you are opened to new opportunities and a new vision says Mark Lanegan. 34 Pond have grown up a little and proved they’re not just stoner idiots. 36 “We’re just normal looking dudes,” says metalcore band August Burns Red. 36 Mick Thomas tell us all about his travels, in particular, his love for Portland. 37 Touring with some huge names in the past, Natasha Stewart has learned many tricks to keep her going solo. 37 “We decided that if we want to try to really crack Australia, it might make sense to move there,” explain The Feelers. 38 Six60 may not be on the radio or signed to a label, but they have a huge following. 38 On The Record reviews new release albums and singles from Children Collide, Nicki Minaj, Rufus Wainwright 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 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, Brendan Crabb, Brent Balinski, Bryget Chrisfield, Celline Narinli, Chris Familton, Chris Maric, Craig Pearce, Cyclone, Dan Condon, Danielle O’Donohue, Dave Drayton, Fiona Cameron, Gloria Lewis, Guy Davis, Helen Lear, 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, 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
James McGalliard gives us tales from the Mother Country in London Fields. 43 The electronica’s a little leftfield and the soul’s futuristic with Huwston giving us Bebop & Rocksteady. 43 Viktor Krum asks you to Get It Together with the latest in hip hop. 44 Dave Drayton gets Young & Restless with all ages goings on. 44 Adam Curley muses on all things pop culture The Breakdown. 44 Cyclone gives you urban and r’n’b news in OG Flavas. 44 Michael Smith delivers some Blow with jazz and world music news. 45 Go south as you enter Pedro Manoy’s Swamp Shack. 45 Dan Condon features the world of blues and roots with Roots Down. 45
This Week In Arts plans your upcoming schedule; the well-dressed Smart Casual chaps discuss their fondness for regional shows; Scottish comedian Craig Hill reveals the perils of playing in Southeast Asia; Cultural Cringe wraps up the week’s arts news and whispers. 46 We preview the 2012 Audi Festival of German Films; The Story of Mary MacLane By Herself, In The Penal Colony and Les Liaisons Dangereuses reviewed. 47 Made You Look visits The Dailies; Henry Rollins prepares for his return to Australia. 48
It’s all here: gig reviews, tour guide, what’s happening this week, charts, gig guide plus Dig It Up! times, random shit and more. Be prepared for Record Store Day! We’ve got you covered right here. We feature a special Australian Musician supplement. The Classies – need a singer/bassist/drummer/any other service/product you can think of? Your answer is here. And on iflog.com.au.
49 60 63 73
ADVERTISING DEPT email@example.com Brett Dayman, James Seeney, Andrew Lilley iflog.com.au
ART DEPT firstname.lastname@example.org Dave Harvey, Matt Davis 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 ST PLEASURES
AND MUSIC GREAT FOOD LIZOTTE’S SYDNEY O OF MARRYING TW
BUY NOW AT TUES 24 APRIL
02 9984 9933 AWARDED BEST ENTERTAINMENT RESTAURANT IN SYDNEY
19 APR 20 APR
28 APR 29 APR
Drum Media & Lizotte’s presents Live and Local Think Rock n Food Trivia Brian’s Famous Jazz & Chilli Crab Night Daryl Braithwaite Stephen Mahy (Jersey Boys) Afro Moses W Aya Larkin O N N PE O (Skunkhour)
SOSUEME 5TH BIRTHDAY
LIVE: YESYOU, ELIZABETH ROSE, FURNACE & THE FUNDAMENTALS
DJS: ALISON WONDERLAND, SOSUEME, JOYRIDE PSEUDO ECHO
THUR 26 APRIL
PSEUDO ECHO + SPECIAL GUESTS
WED 30 MAY
LIZOTTE’S CENTRAL COAST 17 APR
19 APR 20 APR 22 APR
27 APR 28 APR 29 APR
'DO IT LIKE THAT' LIVE
02 4368 2017
Jon Gomm (UK) Lizotte’s presents Live and Local Daryl Braithwaite Mick Thomas Lazy Sunday Lunch with Michael Peters Think Rock n Food Trivia Afro Moses Aya Larkin Pete Hawkes & Phil Emmanuel
DOORS OPEN 6PM. FREE ENTRY ALL NIGHT. TOM UGLY
AWARDED BEST ENTERTAINMENT RESTAURANT IN AUSTRALIA 17 APR
18 APR 19 APR 20 APR 26 APR 27 APR 28 APR
Australian Surf Movie Festival Wednesday Night Big Band Mick Thomas Daryl Braithwaite Jon Gomm (UK) Aya Larkin (Skunkhour) Pete Hawkes & Phil Emmanuel
Calling all artists for Live and Locals! Contact firstname.lastname@example.org Lizotte’s Sydney 629 Pittwater Rd Dee Why
Lizotte’s Central Coast Lot 3 Avoca Dr Kincumber
Lizotte’s Newcastle 31 Morehead St Lambton
w w w . l i z o t t e s . c o m . a u
FRI 20 APR
ENOLA FALL, JORDAN SLY DJ: KRISTY LEE
SAT 21 APR
SALOONS, IRON BAR HOTEL
LIZOTTE’S NEWCASTLE 02 4956 2066
DJ: BERT & BERNIE
FIRE! SANTA ROSA, FIRE!
FRI 27 APR
FIRE! SANTA ROSA, FIRE!
KOOL THING, JORDAN MILLAR
COMING UP SIETTA, POLAR NATION, THE WALKING WHO, TAYLOR AND THE MAKERS, RED INK, THE LEISURE BANDITS, SPLIT SECONDS, UNDERLIGHTS, PEAR SHAPE
UPSTAIRSBERESFORD.COM.AU OR 8313 5050 FOR GIG INFO HAPPY HOUR BEFORE 8PM FRI & SAT. DINNER & SNACKS AVAILABLE
PRIVATE BOOTH & VENUE BOOKINGS 8313 5000 THE DRUM MEDIA • 19
INDUSTRY NEWS WITH SCOTT FITZSIMONS email@example.com
PRINCE PROMOTER ADMITS: ‘THERE’S NO LAW TO STOP SCALPING’
Gary Van Egmond, co-promoter with Michael Chugg of the upcoming Prince tour, has admitted that there is little they can do about stopping people scalping tickets to the upcoming shows given the lack of federal legislation for scalping. Speaking to Your Daily SPA Van Egmond said, “Any [scalped tickets] we see on Facebook, we pull down straight away. But really, there’s no law – that’s what the problem is. If there was a law [against scalping], that’d be great. Naturally we try and stop it if we can but it’s not that easy, [as] what Michael [Chugg] went through with Radiohead for instance.” In that instance in late February this year, Radiohead’s arena shows sold out in minutes and scalped tickets appeared on online auction websites for inflated prices shortly after. Chugg told theMusic.com.au’s daily newsletter Your Daily SPA then that, “The response to these Radiohead shows is a perfect example of the ongoing issues with ticket scalping and Chugg Entertainment hopes that the voices of impassioned Radiohead fans will be heard,” he said, adding that he “implores the forum to continue so that both the federal government and state governments will pay attention and introduce enforceable anti-scalping legislation throughout Australia. On a higher level, concert promoters across the country, along with LPA [Live Performance Australia] need to be involved in driving a change.” The LPA have repeatedly rejected calls from promoters including Chugg and Michael Gudinski for federal anti-scalping legislation
Sydney shoegaze-y four-piece The Laurels released their debut EP Mesozoic to acclaim last year and will look to follow it up with their debut album, to drop in the second half of 2012. Last week the band announced a deal with indie label Rice Is Nice, to release the record, which is being produced by Liam Judson of Belles Will Ring (responsible for Cloud Control’s Bliss Release). The Rice Is Nice stable includes Seekae, Richard In Your Mind and Straight Arrows. Perth’s criminally underrated Eleventh He Reaches London have signed to Hobbledehoy Records, with a view to releasing their third album in 2013. The band’s most recent work Hollow Be My Name (2009) was a visceral and unrelenting take on the Australian identity. Announced via the label’s website, they say that reissues of the band’s earlier material (their debut album The Good Fight For Harmony was released in 2005) are in the works. They describe the band’s sound as “an orchestra of unease, an anti-manifesto of poetry and personal history”.
SELECT SIGNINGS AND RESTRUCTURE Select Music has undergone changes recently, with a swag of new artists added to the agency’s roster and staff shuffles in an office restructure. Bob Evans (the solo moniker of Jebediah frontman Kevin Mitchell), Seth Sentry, Step-Panther, The Preachers and Argentina have all joined the roster. They join existing artists like Lior, Ball Park Music, San Cisco, Bluejuice, Don Walker, DZ Deathrays and more. In the office Sean Cullen has joined the Select team as Venue Consultant/ Booking Assistant. There have also been promotions for Katie Rynne and Casey O’Shaughnessy, who add Junior Agent to their titles.
VIDEO GIANT VEVO LAUNCHES IN AUS
Most recognisable through its channels on YouTube for major label artists, Universal Music Group and Sony Music Entertainment’s video streaming service VEVO has launched in Australia. The website (www.vevo.com) houses 45,000 music videos and original content and claims to generate 3.3 billion streams around the world, per month. A joint venture between Universal and Sony, it was created to keep control of music videos online and launches in Australia via a partnership with MCM Media and VEVO. The free content is available online, on XBox and on mobile and includes built-in social media integration. MCM Media’s CEO Simon Joyce said, “From both a music and technology perspective, VEVO has been a huge success internationally. It’s also playing a key role
to theMusic.com.au. Most recently, following the Radiohead incident Suzanne Daley, LPA’s Director Policy And Programs told theMusic.com.au, “We are not convinced that legislation is the answer to this problem and continue to focus on consumer education. Consumers don’t always understand that if they buy a ticket from a scalper they risk the tickets not arriving, having their tickets cancelled at the venue, or not getting the seats they ordered.” in changing the way audiences consume music, as we move from the traditional model of owning to streaming – accessing all the music videos we want, wherever we are, on whatever device we choose. Australian audiences now have video access to their favourite artist like never before.” VEVO’s International Senior VP added, “Australia has everything you need to make VEVO work – a technology savvy country, audiences renowned worldwide for their music passion and a vibrant and diverse music scene.”
NEW YORK TIMES CALL BLEEDING KNEES CLUB ‘BRATTY WHINERS’
Young Queensland garage-surf-punk band Bleeding Knees Club have had their debut album Nothing To Do previewed on the New York Times’ website, in which they sing the praises of their “elemental attitudes and poses”. Describing them as ‘brats’, and singer/drummer Alex Wall’s style as ‘whining’, they write that despite coming a couple of years after the low-fi wave the album stands as a highlight of the genre. Other locals to be featured by the influential New York Times this year include Gotye, Grace Woodroofe and Oren Ambarchi.
COLD CHISEL PIPPED BY BOY BAND
Cold Chisel’s second comeback album No Plans has debuted in the ARIA Album Chart at number two, as Australian music buyers remain in the grip of One Direction fever. The No Plans set is the Australian pub rock icons’ first studio album since 1998’s reformation release The Last Wave Of Summer. Chisel have previously had four number one albums, including The Last Wave Of Summer. But while the album was held from number one by One Direction’s Up All Night, No Plans did debut at number one on the Digital Albums Sales Chart, knocking the UK boy band to the second spot. The new album also fired up back catalogue sales for Chisel, with The Best Of Cold Chisel – All For You moving from 39 to 26 and singer Jimmy Barnes’ solo best-of Hits also back in at 49. The Best Of Cold Chisel – Vision set also re-entered the Music DVD Chart at 34.
GOTYE TOPS NORTH AMERICAN CHARTS
it had in other territories. However when Canadian band Walk Off The Earth‘s cover of Somebody That I Used To Know became a viral sensation, the original took off there and has spent 16 weeks climbing toward number one. It reaches the top spot just weeks after fellow Australian Sia held the top spot in Canada with her Flo Rida collaboration Wild Ones. In the US, Gotye and Kimbra’s single has climbed from three to two in its 14th week in the Hot 100 there. The song also remains number one in France and on the US Rock Songs chart. It has also taken off in the US Dance/Club Play chart, this week jumping from 21 to 13.
it’s pretty hard on opposite sides of the country, but if we see each other we’ll still catch up and have beers and talk shit. I don’t hate him or anything. It’s just… yeah.” The album saw the band hit Sydney’s Big Jesus Burger Studios with American Eric J (who engineered Weezer’s Red Album) and local lad Scott Horscroft and, according to the press release, it “sounds like a band that has matured with age, with a continued focus on developing their own world around them”.
TRIAL KENNEDY SPLIT
Melbourne’s Masketta Fall have won round two of the Red Bull Bedroom Jam’s online competition with track Without You. The guitar-pop outfit take their dues from the likes of Story Of The Year and Good Charlotte. The competition encourages unsigned bands to upload tracks to the Red Bull Bedroom Jam website, the tracks are then ranked via a ‘buzz’ chart which is determined through social media interaction and shares. A winner is announced each fortnight, with winners advancing to the next stage of the competition – a live show. Eventual winners will be given the opportunity to perform at a major music festival as well as record at Red Bull’s Sydney studios. Entries for bands to enter are open from now until September.
Trial Kennedy announced their split on their Facebook on Monday 16 April. The Melbourne band released two albums, New Manic Art in 2008 and Living Undesigned last year. After a number of EPs that garnered them major supports and festival appearances the band were picked up by Sony for their first album, which cracked the top 25 on the ARIA Album Chart. Following that album cycle they went independent for Living Undesigned, which snuck into the top 50. The band’s statement read, “Friends, lovers and all people who have supported Trial Kennedy over the years. We come bearing some news… Some news that the band has decided to call it a day. For a number of reasons all of us in the band have chosen to close down the project that is Trial Kennedy.” They announced a farewell tour for June.
SUGAR ARMY: NEW LABEL, NEW ALBUM, MEMBER WOES
Perth rockers Sugar Army have signed with Shock’s new imprint Permanent Records for the release of their new album, Summertime Heavy, which was revealed exclusively on theMusic.com.au last week. In conversation with Danielle O’Donohue, the band’s frontman Patrick McLaughlin admits that the departure of bassist Ian Berney, who left the band to join Birds Of Tokyo in April of last year, severely hindered the way the band operated. Instead of opting for a straight replacement, the band enlisted two session players to fill out their live sound. “Everyone has input into the sound and adds their ideas. Taking Ian out of that meant the sound was going to change quite a bit,” McLaughlin said. “I think bringing in one person was going to be like, ‘There’s the replacement guy.’ We figured if it’s going to be different let’s make it quite different, a new phase if you like.” The new phase hasn’t necessarily meant the band is completely gelling as a five-piece, though. “When we’re rehearsing and getting ready for the live thing – we’ve had two new guys in our band now for about six months – it’s really starting to feel like a proper band again. But it definitely still feels like a three [piece].” Though one thing is for certain, there was never any danger of the band ceasing to exist after Berney’s departure. “No – that never crossed anyone’s mind,” McLaughlin said. “It was bizarre. When it initially happened it was such a shock. It was totally out of leftfield. We were like, ‘Alright, well, what are we going to do now?’ We had a meeting the day after and said, ‘Do you want to keep doing this?’ and everyone was like, ‘Yeah’. There was never a doubt really.” McLaughlin admits that tensions were running pretty high immediately after Berney left the band, but said that things have settled now. “Yeah – we’re fine now,” he said. “At first it was kind of weird. We weren’t in a very good place with Ian, but I’ve caught up with him a few times. We’re over it now. It was kind of hard at the time but what’s the point. “I don’t know if we’ll be really close but he’s living over [on the east coast] now anyway, so
Song Summit have announced they will be giving eight lucky songwriters the chance to pick the music brains of Gotye and Adalita at the upcoming conference through a competition being run by triple j Unearthed. Applicants who want to win the opportunity have to register through Unearthed and upload their tracks by Sunday 6 May. The event has also announced its Backstage Pass program. This initiative is aimed at primary and secondary students and will give them the opportunity to hone their songwriting skills with the likes of Josh Pyke, Jake Stone, Rai Thistlethwayte and Tim Levinson (Urthboy). Tickets are available to the program now. Song Summit takes place at the Sydney Convention & Exhibition Centre on Saturday 26 – Monday 28 May.
MUSIC VICTORIA ANNOUNCES PRIZES FOR MEMBER DRIVE
Victoria’s peak music industry body Music Victoria has announced prizes for its upcoming membership drive, which will run from Monday 18 to Monday 30 April. The first ever drive of its type by the body, the not-forprofit Music Victoria, which is part of the Australian Music Industry Network with bodies from other states, represents contemporary music. In recent times they’ve been involved with baggage allowances for musicians on Qantas and Virgin flights as well as the live entertainment prior to Australian Rules games in the AFL. Membership fees range from $22 as a student price to $550 for the Gold category, one of which was recently taken out by Melbourne promoter Michael Gudinski. By signing up during the drive you go into the draw for a range of prizes which include coffee and biscotti with Henry Wagons, development workshops with Jen Cloher, Michael Parisi and Karen Conrad, a Toff In Town membership, tickets to the Blues Train, Frontier Touring gigs, gigs at the Northcote Social Club and Corner Hotel as well as various books and CDs. Ambassador Mick Harvey said, “The more people that get on board the Music Victoria membership campaign, the stronger it will become and the sooner it will be able to benefit everyone.”
Oh hi there themusic.com.au. My you’re looking mighty fine.
They’ve been selling tickets for however many years now and there is still an inability to cope with demands for when major events go on sale. Yes, we had Prince problems.
GOT THE MUSIC IN YOU
The only good thing to come of that whole crazy episode of a half-eaten bit of toast being auctioned off online was that the money went to charity. Let’s hope the winning bidder comes through with the goods and delivers and it wasn’t a hoax.
music 20 • THE DRUM MEDIA
SONG SUMMIT’S SCHOOL PROGRAM
FRONTLASH ONE DIRECTION’S TOAST
Gotye’s international smash Somebody That I Used To Know, featuring Kimbra, has taken over the upper reaches of the North American charts. The Australianbased singer’s hit has knocked Justin Beiber’s Boyfriend off the top of the Canadian Hot 100, where the song initially had failed to stir record buyers in the same way
MELBOURNE BAND WIN RED BULL’S SECOND ROUND
ONE DIRECTION’S TOAST Really? $100,000 for a bit of toast on an online auction site? What teenage fan has that kind of money (you’d wanna hope it was a teenage fan)? Or, what parent gives them the money for it?
THE DRUM MEDIA • 21
NEWS FROM THE FRONT
TOUR NEWS LADYHAWKE BANG! BANG! ROCK’N’ROLL Joining August Burns Red and Blessthefall when they hit Panthers Newcastle Thursday night are The Storm Picturesque, while it’ll be Shinto Katana joining them in the Metro Theatre Friday. Regular American visitors The Mountain Goats have invited Catherine Traicos & The Starry Night to join them when they play the Metro Theatre Sunday 6 May and The Clarendon Guesthouse in Katoomba Tuesday 8.
The voice behind tracks like My Delirium and Paris Is Burning, Ladyhawke will tour both Australia and her homeland New Zealand in support of her new album, Anxiety. The record will be released in Australia on Friday 25 May with tour dates scheduled for Wednesday 18 July at The Metro, Thursday 19 at Cambridge Hotel in Newcastle and Friday 20 at ANU Bar, Canberra.
Bang! Bang! Rock’n’roll will be opening for Andrew WK when the American hits the Standard Thursday 10 May, for his Groovin’ The Moo Sydney sideshow.
TOO GOOD AN OFFER
Tijuana Cartel spent the front end of 2011 riding high on the wings of their breakthrough single, White Dove, and it’s follow-up, Letting It Go. After a well-earned break over the New Year, they’re back, and prepping a new live show, in support of a new single. Offer Yourself is the band’s first release since third album, M1. To hear their new single plus some more of their new material, head along and check out the Offer Yourself Tour, which hits Oxford Art Factory Friday 25 May and The Northern Hotel in Newcastle Saturday 26.
The Brian Jonestown Massacre/The Raveonettes have added a second Sydney show, Saturday 26 May at the Oxford Art Factory, their first Art Factory show Thursday 17 having sold out completely. Brisbane band The Cairos have just released their debut EP, Colours Like Features, and get to show it and more off in the best way possible – opening for Americans, Mutemath, Wednesday 16 May at The Hi-Fi. In June, The Cairos get to do the support thing again, this time with Deep Sea Arcade, playing the Cambridge in Newcastle Friday 1, the Standard Saturday 2 and the Transit Bar in Canberra Thursday 7. After selling out their first show, Boy & Bear have added a second and final show at the State Theatre Tuesday 29 May. Having already sold out 11 of his 15 national Flying Tour dates, Melbourne rapper 360 has been obliged to add a few more dates, including Friday 29 June at the Metro, where he’ll be joined by Spit Syndicate and Bam Bam. The national theatre tour recently announced by Matt Corby, who will be joining The Temper Trap, 360 and Stonefield in Dalby, Queensland, for triple j’s One Night Stand, has completely sold out, which for Sydneysiders means if you missed out on getting tickets to his three Metro Theatre shows Tuesday 12, Wednesday 13 and Thursday 14 June, you totally missed out.
Sporting new single, Change Of Heart, Melbourne’s Kingswood join Stonefield and The Delta Riggs, who are touring their new EP, Talupo Mountain Music Vol II, on their Bad Reality Tour, which comes to the Patch in Wollongong Thursday 26 April, the Standard Friday 27 and the Cambridge in Newcastle Saturday 28. Kid Confucius drummer Bart Denaro has a new band, the six-piece Briscoe, and they’re showcasing forthcoming debut album, Friends Ago, and second single, Day Job, at FBi Social Friday 4 May, The Phoenix Bar Canberra Saturday 12, The Patch in Wollongong Friday 13, the Lansdowne Thursday 24 and the Great Northern in Newcastle Saturday 9 June.
BOY & BEAR
Annual hardcore event, Hardcore 2012 is back this year, sporting both local and international guests. Resist and Trial and Error will hold the event on the weekend of Saturday 7 – Sunday 8 July at the Hi-Fi. The full lineup for Saturday 7 July’s over 18s show includes Terror, Mindsnare, Ceremony, Miles Away, Break Even and I Exist, while Sunday 8 July’s all ages show will see Terror, Ceremony, Break Even, Miles Away, Extortion, Iron Mind, Warbrain, Vigilante, Survival and Civil War on the bill. Tickets are on sale now.
ROCKIN’ THA CLIFF
World-renowned DJ and producer, Trevor Rockcliffe, will be bringing a five-hour-long set to The Metro on Sunday 10 June, alongside the three-hour set from Simon Cadwell (FBi Radio). Rockcliffe produced Visions Of You, alongside Blake Baxter, which some of the world’s finest electronic producers queued up to remix. Catch him live to
22 • THE DRUM MEDIA
NOINY NOI NOI
Southern California’s Steve Poltz is one of the most loved songwriters of his generation and is now on tour around Australia once again. The tour follows his recent album release, Noineen Noiny Noin, and he’ll be hitting up a bunch of venues to share his new and old material. Find him at The Basement in Circular Quay Saturday 5 May, Lizotte’s in Kincumber Sunday 6, Brass Monkey Monday 7 and Lizotte’s in Newcastle Tuesday 8.
THE OCEAN hear his fusion of vocals, funk and techno.
CROSSING THE OCEAN
DON’T MISS THE TRAIN
American pop rock/band, Train, have announced an East Coast Australian tour to lead into the release of their sixth studio album, California 37, kicking off in Sydney Opera House’s Concert Hall on Thursday 7 June. Train have long been supported in Australia, most notably in 2002 for their Drops Of Jupitor single and 2010 when Hey, Soul Sister, was the number one airplay track of the year. That was certified five-times platinum. San Francisco-based Matt Nathanson will support for the dates. Tickets go on sale 9am on Monday 23 April.
Adele Pickvance and Glenn Thompson have been playing music together for an awful long time. Probably best known together as members of The Go-Betweens in their final incarnation, these two musicians are also both very skilled songwriters, so it makes sense that they would come together to make some music of their own and Adele & Glenn allows them to do just that. They have their debut album, Carrington St, all recorded and ready for release and they’re setting out on a quick tour of the East Coast to share these songs with their patiently waiting fans. Sydney’s show takes place at The Vanguard on Thursday 24 May.
MINI-FEST MILES HIGH
Trial Kennedy have announced their split via Facebook. The band posted a lengthy message: “Friends, lovers and all people who have supported Trial Kennedy over the years. We come bearing some news… Some news that the band has decided to call it a day. For a number of reasons all of us in the band have chosen to close down the project that is Trial Kennedy…” The Melbourne band released two albums, New Manic Art in 2008 and Living Undesigned last year. They’ll be playing their final shows with main support from My Echo. Say farewell at Oxford Art Factory Friday 15 June with After The Fall and Lovers Jump Creek, and Cambridge Hotel in Newcastle on Saturday 16 with The Delta Lions and Sendfire.
Joining Pigeon when their Cataclysm tour brings them to Yours & Owls in Wollongong Friday 27 April are Jenny Broke The Window and Moonbase Commander, while Saturday 28 at Upstairs Beresford it’ll be Saloons, Deer Republic and F.R.I.E.N.D/s.
The Trouble With Templeton AKA singer/songwriter Thomas Calder has been invited to join Husky on their latest national tour, which hoves into Oxford Art Factory Thursday 3 May – sorry, sold out – and Saturday 5.
TRIAL AND ERROR
Melbourne beatmaker Galapagoose AKA Trent Gill, brings debut album, Commitments, to The Gate this Saturday night.
Wavves will be supported throughout their forthcoming national tour by Sydney lo-fi surf pop duo Sures, the tour hitting the Oxford Art Factory Tuesday 15 May.
Lovers of psychedelic rock will be pleased that the Eight Miles High mini-festival is coming to Sydney. The event is a mix of garage pop, surf rock and shoegaze, with a bunch of bands to perform, including Melbourne four-piece Witch Hats, ‘70s-influenced Sister Jane, Grand Atlantic, Buried Feather, newbies Bloods and surf guitar kings Atom Bombs. The festival takes place Friday 15 June at the GoodGod Small Club.
Berlin’s progressive metal collective, The Ocean, have finally announced a long overdue debut Australian tour. Over the past 12 years, The Ocean have woven in and out of post hardcore, progressive rock, metal, doom, post-rock and ambient experimentations with every release, the sound also altered by their continual lineup variations. They’ll be hitting up the Canberra’s ANU Bar Tuesday 22 May with special guests LO!, and Sydney’s Annandale Hotel Wednesday 23 with special guests yet to be announced.
LOVE THE PLANET’S SOUND
Having spent much of the past two years living in their adopted second home of Berlin, Germany, busily selfproducing two EPs as well as supporting many international acts such as Warpaint, Karen Elson and Holy Fuck, Planet Love Sound have returned home for the official release of their EP, Part 1. The Melbourne-based psychedelic/ experimental pop act will be launching the second single, My Shadow, off their EP at FBi Social in Sydney with 1929 Indian and Jason & The Lyrebirds Sunday 13 May.
FIGURE IT OUT
The already enormous Creamfields bill has just gotten a little bigger with the announcement of the addition of Indiana-bred DJ and producer Figure just a few weeks before the first date of the festival. Figure has had a number of top ten tracks on Beatport in recent years and is widely considered one of the most exciting artists in the world of dubstep today. His name adds a solid dose of cred to a bill that already features the likes of David Guetta, Above & Beyond, Dirty South, Alesso, Excision, W&W, Giuseppe Ottaviani and many more. The festival also announced set times for each festival date, and you can grab them at creamfields.com.au.
One of Australia’s favourite international DJs returns! James Zabiela reminds all that DJing is not just DJing, but a performance art. Enter the world that Zabiela creates on Saturday 5 May with two sets; one during the day at the Chinese Laundry Boat Party, and one in the evening at the land-locked Chinese Laundry.
The Woohoo Revue have dropped their brand new album, Moreland’s Ball, and have announced a string of shows to celebrate and maybe give a little bit of a ‘Woohoo!’ This latest offering of the Melbournebased band is another instalment of absolute dance floor mayhem. Catch the sextet live and experience their live energy when they play The Great Northern in Newcastle on Wednesday 25 April, The Vault on Thursday 26, The Vanguard on Friday 27, Brass Monkey on Wednesday 2 May, Yours and Owls in Wollongong on Thursday 3, White Eagle Polish Club in Canberra on Friday 4 and Katoomba RSL on Saturday 5.
LIGHTING HIS WAY
Melbourne singer/songwriter, Simon Astley, is on a high at the moment due to the release of his new album, City Lights, in March via Regal Records. Astley will now be hitting the road in support of that very album. You can catch him at The Excelsior Hotel on Friday 27 April and in The Valve Bar on Saturday 28.
THE DRUM MEDIA • 23
NEWS FROM THE FRONT
THE PURPLE ONE
Megastar Prince has announced dates for an Australian arena tour that will see him playing his ‘greatest hits’. The first show on Friday 11 May at the Allphones Arena in Sydney has already sold out with the second show on Saturday 12 currently selling quickly (at time of writing). Prince has been rumoured to tour Australia for years, with various festivals linked to the music icon, but a tour hadn’t eventuated till now. His last visit was in 2003. This tour will see Prince bring his full arena production to Australia with a 360-degree stage. PRINCE
FEEL ZEN WITH ZHEN The debut record from singer-songwriter Sui Zhen, Two Seas, is said to reflect the experiences of the artist (whose real name is Becky Freeman) when travelling the world over the past couple of years and features equal parts soaring and delicate vocals. It will be released on Friday 4 May and not long after that she is getting out on the road, performing a bagful of shows around the country in support of the record, the former Red Bull Music Academy participant making sure few parts of the east coast go unvisited over the next couple of months. She gets the whole band together for the big album launch dates alongside Fanny Lumsden, hitting Newcastle’s The Lass’O’Gowrie Friday 1 June, FBi Social in Sydney Sunday 3, Black Bear Lodge (with Epithets) Wednesday 6, Yours and Owls, Wollongong (with Obscura Hail)
Wednesday 13, and The Front Café & Gallery, Canberra Thursday 14 (with Daniel Champagne).
IRISH LOVE Damien Leith has now released his sixth studio album, Now & Then. Fans had already gotten a taste of the new album with Beautiful, a new version of Leith’s classic, co-written with Alex Lloyd. In support of the album, Leith will be heading out on a national tour. He’ll be performing at the State Theatre in Sydney on Saturday 6 October. Members’ presale tickets will be on sale this Wednesday 18 April at 9:30am. Tickets to the general public will be available this Friday at 9:30am.
GIGS WITH GUGLIELMINO Brisbane avant-garde musician, Edward Guglielmino, is back with a second album,
Sunshine State, set to drop on Saturday 19 May. He will be kicking off a tour, starting in his hometown, then heading to Sydney’s Oxford Art Factory on Friday 22 June for a free show with support from Charles Buddy Daaboul of No Art.
Regarded as one of the world’s leading tenor saxophonists, Chris Potter will be playing an exclusive Sydney show, along with the acclaimed Jazzgroove Mothership Orchestra at Blue Beat in Double May on Monday 4 June. With 15 albums under his belt, Potter will be delivering a quality live set that showcases the skills he’s honed over his extensive touring alongside artists such as Paul Motian, Dave Holland, Herbie Hancock and many more. Supporting the evening will be Kristin Berardi as well as a special performance from the Western Australian Youth Jazz Orchestra.
IN BRIEF Green Day are currently in the studio recording not just one but three full albums! The trilogy, titled ¡Uno!, ¡Dos! and ¡Tré!, will be released in September and November this and January next year respectively. Grace Knight releases her new album, Keep Cool Fool, this Friday. Melbourne-based artist Sui Zhen releases her debut album, Two Seas, Friday 4 May, while on the same day, Brooklyn, New York four-piece Here We Go Magic release their new album, A Different Ship, Friday 18 May sees Hobart, Tasmanian duo The Scientists Of Modern Music, release their second album, A Personal Universe, the same day also seeing the release of the debut album, Ufabalum, from Squarepusher AKA Tom Jenkinson, and the debut album, I Predict A Graceful Expulsion, from Canada’s Cold Specks, while Saturday 19 Brisbane’s Edward Guglielmino releases his second album, Sunshine State. Ty Segall & White Fence release their new album, HAIR, Friday 25 May, the same day also seeing the release of the new album, The Absence, from American jazz artist Melody Gardot, the debut solo album, Here Come The Bombs, from former Supergrass frontman, Gaz Coombes. Legendary prog rockers Rush release their new and 20th studio album, Clockwork Angels, Friday 8 June, as do New York five-piece The Walkmen their new album, Heaven, and US trio Pop Etc, formerly The Morning Benders, their self-titled debut album as such. Melbourne five-piece House Vs Hurricane release their new album, Crooked Teeth, Friday 29 June, the same day seeing the release on Blu Ray and DVD of Kasabian: Live! Live At The O2 – Special Edition, featuring Kasabian captured in concert December last year.
British Techno Pioneer \\
TREVOR ROCKCLIFFE 5hr Set
SIMON CALDWELL (FBI Radio) 10 June the Metro Theatre 10am till 6am Tickets $55+bf ticketek.com.au
24 • THE DRUM MEDIA
JUNE BANK HOLIDAY WKND
THE DRUM MEDIA • 25
NEWS FROM THE FRONT
SUNDAY 15 APR
BLUEGRASS JAM SESSIONS JIMMY MAC OH WILLY DEAR & GUESTS WITH VARIOUS ARTISTS
(IN THE COURT YARD)
TUESDAY 17 APR
(INDIE ROCK ORIGINALS)
FLESHING IT OUT
Friends of The Hoodoo Gurus and out here for Dig It Up!, The Fleshtones have just announced that they will also be performing a headline sideshow at The Sandringham Hotel on Tuesday 24 April, to keep all fans – whether attending Dig It Up! or not – satisfied. And joining The Fleshtones will be former Dream Syndicate frontperson and another invitee of the Hoodoo Gurus on Dig It Up! Steve Wynn. Don’t miss the intimate and exclusive show. Tickets are on sale now.
SIP OF CHAMPAGNE
With a brand new EP comes a national tour! Daniel Champagne will be hitting the road to celebrate the release of Real Live. The EP is said to capture the energy and spiritual atmosphere of Champagne’s show-stopping live performance, which he’s honed over the past four years on the road. He’ll be launching the EP at Camelot Lounge in Marrickville on Friday 11 May with more shows at Kincumber’s Lizotte’s on Thursday 3, Newcastle’s Lizotte’s on Friday 4, Yours and Owls in Wollongong on Thursday 7 June and The Front in Canberra on Thursday 14 and Friday 15.
WEDNESDAY 18 APR
KIRKVOIDS & GUESTS (COUNTRY ROCK & BLUES)
7:30-11PM JAY BRANNAN
BLINDED BY BEAUTY
Texan native, Jay Brannan, will be returning to Australia for a string of East Coast shows throughout June. This will follow the release of his second full-length, Rob Me Blind, which is set to drop in Oz on Friday 1 June, and the release of the first single off that album, Beautifully, on Monday 30 April. Catch him play an intimate show at The Standard in Sydney on Saturday 30 June.
THURSDAY 19 APR
(CLASSIC ROCK COVERS) GREAT FUN NIGHT FOR ALL
HUGE TOUR FOR THE NEW KIDS
FRIDAY 20 APR
7 PIECE BAND PLAYING CLASSIC SOUL, JAZZ, ROCK & FUNK
THEM APPLES THE BLACKBYRDS & GUESTS
FEATURING RICHARD LAWSON EX LIME SPIDERS
Gold Coast band, Nine Sons Of Dan, have released their highly-anticipated new single, Diamond Skin, to radio and will later be releasing it digitally on iTunes from Friday 27 April. This is the first single to be lifted from the band’s forthcoming EP, The New Kids. And to celebrate, they’ll be taking the new single to the road with a huge national tour. Catch ‘em at the Cambridge Hotel in Newcastle on Friday 13 (18+) with The Cavalcade, The Virtue and Broadway Mile, the Youth Arts Warehouse in Gosford on Saturday 14 (all ages) with The Never Ever, The Monster Goes Rawr, Northie (DJ Set) and Love & Satellites, and The Lair at The Metro on Sunday 15 (all ages) with This Sanctuary, Cupid Against Venus and Forever Ends Here.
SATURDAY 21 APR (INDIE ROCK ORIGINALS)
NINE SONS OF DAN
After travelled the globe for the past three years, Kate Miller-Heidke has announced a national tour, following the release of her brand new album, Nightflight. The album sees Kate meditating on homesickness, mortality, love and surrender. Special guests will be The Beards when she graces The Metro stage once again, Thursday 23 August.
SUNDAY 22 APR
KINGDOM OF JONES & GUESTS (COUNTRY, FOLK, BLUES)
To coincide with the release of their second single, Shock, Gasoline Inc have announced a string of dates around the country. The single is taken from the band’s brand new five-track EP, The Wanted One, and demonstrates the band’s ability to write straight-up feelgood rock songs. They’ll be hitting up The Town Hall in Newtown on Friday 18 May. 26 • THE DRUM MEDIA
TRIP TO THE BAHAMAS
Already confirmed to support City And Colour on their national tour this coming May, Canadian artist, Bahamas, will be performing his own headline show in Sydney at FBi Social on Thursday 17 May. Bahamas is the musical pseudonym of Toronto-based, singer/songwriter/guitarist Afie Jurvanen, whose captivating melodic songs have already earned him a devoted fan base.
The Home of Live Music Since 1973 FRIDAY 20 APRIL
WEDNESDAY 25 APRIL R O C K L I LY P R E S E N T S
PETER NORTHCOTE Peter Northcote, winner of MUSICOZs â€˜â€?BEST INSTRUMENTALISTâ€?, and Brydon Stace come together for a night of technicolour music and classic rock lunacy.
JAMES MORRISON (SOLD OUT) (UK) A one-off, intimate acoustic show. NB: Doors open at 7pm, music at 8.30pm
JON GOMM (UK) + ANDY SORENSON
WED 18 APR THU 19 APR
Virtuoso guitar player with over 2 million YouTube hits
ELIXIR (KATIE NOONAN) + BRIAN CAMPEAU
SAT 21 APR
Singing superstar Katie Noonan in an evening of sublime music
THE WORLD IN THE BASEMENT
TUE 24 APR
PARISIAN RENDEZ VOUS
THU 26 APR
FLOYD VINCENT & THE CHILDBRIDES
FRI 27 APR
With Carlotta Charlie Centanni, Jason Bruer & Maz Mazak
A cabaret adventure through Paris via song, tap dance, music, street art & burlesque
+ NATIVOSOUL Two party bands team up for a night of dancing and revelry.
+ STEVE SMYTH
TAKE A LOOK
GOSSLING The radio darling launches her third EP
SAT 28 APR
COMING SOON @ THE BASEMENT IN APRIL:
;OL:[HY7[`3PTP[LK()5;OPUR(IV\[`V\YJOVPJLZ*HSS.HTISPUN/LSW ^^^NHTISPUNOLSWUZ^NV]H\;OL:[HYWYHJ[PZLZ[OLYLZWVUZPISLZLY]PJLVMHSJVOVS.\LZ[ZT\Z[ILHNLK `LHYZVYV]LY[VLU[LY[OLJHZPUV
MAY 1: JAMES D SMITH (WICKED) MAY 4: HOTEL CALIFORNIA EAGLES SHOW MAY 5: STEVE POLTZ (CAN) MAY 6: BRIAN CADD & RUSSELL MORRIS JOIN US FOR HAPPY HOUR IN THE GREEN ROOM BAR 4.30PM â€“ 6.30PM THUR & FRI
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Musicians are a creative bunch. Last Dinosaurs, so named after band members Sean Caskey and brother Lachlan interpreted two Japanese names to get the word dinosaur, are just one of a number of bands and artists who looked to the animal kingdom for inspiration.
LAST DINOSAURS ARE MORE MUSICIANS THAN ARTISTS, FRONTMAN SEAN CASKEY TELLS STUART EVANS, AS THEY CHAT ABOUT HAPPY MELODIES WITH SAD LYRICS, THE DISBELIEF THAT A GREAT NUMBER OF PEOPLE LIKE THEIR MUSIC AND THE CHALLENGE OF CREATING A STORY WORTH REMEMBERING.
t time of writing, all the members of fledging Brisbane collective Last Dinosaurs are under 23 years of age. The Brisbane boys have been steadily plugging away, mastering their music, live shows and tightening their sound since 2007 and for lead singer and guitarist Sean Caskey, it has been a long but rewarding experience thus far. Caskey formed Last Dinosaurs with his high-school friend and drummer Dan Koyama, who was followed by Caskey’s younger brother Lachlan and bassist Sam Gethin-Jones. Despite their youthfulness, they display a level of maturity way beyond their years. “I certainly have ambitions to take the band as far as I can. All of this has happened so quickly that it’s hard to believe,” says Caskey. The adage, time waits for no man, is certainly applicable for Last Dinosaurs – they have progressed from playing one person shows a few years back to now packing out venues. It has been one hell of a ride for the boys and Caskey reveals that he owes a debt of gratitude to his father. “Back when we first started,” he laughs, “my dad used to drive us all to Sydney to play gigs as we were all too young to drive!” Caskey reflects on the band’s progress for a moment before choosing his next words. “It’s awesome and ridiculous, particularly the last year or so. We started at the bottom – to playing gigs in front of only my dad – to where we are now, with an album. I still can’t believe that so many people like us and our music.” For all band members, Last Dinosaurs formed with a clear vision – to bring musicality back to live music. “We wanted to focus on instrumentality. At the time we formed, a lot of others bands were using little more than a guitar and calling themselves a band. I certainly respect what those artists do, but they are more artists than musicians. With Last Dinosaurs, we are more musicians than artists.” The vision that brought the band together is, of course, shared with many rock acts – the point of difference with the Brisbane boys is their collective mutual love of contemporary music, from American rockers The Strokes to French band Phoenix. The latter influence would cement the band’s bond. Caskey chuckles, “All of us love Robert Smith and The Cure as well and we really like a lot of modern bands. The Strokes were certainly an influence for me as they were the reason I started to play guitar. I like Phoenix for their perfect Fender sound though.” Caskey surmises that when The Last Dinosaurs formed in 2007 and n writing songs, the wider focus of bands at the time was tilted towards gloomy and murky lyrics. Caskey sees the attraction. “I am fascinated by melancholy and wanted to write happy melodies with sad lyrics. I like writing happy melodies and every time I start to write a song it generally turns out to have an element of melancholy.” His fascination with melancholy comes courtesy of animated Japanese films he used to watch. But not everyone ‘gets’ the morose words that Last Dinosaurs continue to cleverly weave into melody. “I hope people get an emotional connection to our music, but I understand how people may not listen to the lyrics as I generally always pay attention to the melody first.”
Case in point is their track, Hawaii, which on the surface is a supposedly upbeat pop song. “Hawaii is strange and 28 • THE DRUM MEDIA
Caskey states that the majority of lyrics throughout In A Million Years were written from a different perspective; a futuristic standpoint. “All lyrics were written from a future perspective as I tried to distance myself by writing that way. I call it futuristic nostalgia,” he laughs.
very ironic as it’s supposed to be a sad song, not the happy song that most have interpreted,” Caskey explains. Their Back From The Dead EP, released in 2010, set the tone for bigger and better things. With its uptempo and danceable harmonies, Back From The Dead was well received by the media and fans alike. The EP also exposed the songwriting ability of Caskey and Koyama to the public. That Last Dinosaurs supported Lost Valentinos and current pop favourites Foster The People has only added weight to their already stellar reputation. Since the band first found success after posting their demo to triple j, they’ve continued to stick their collective necks out. In Australia, they’ve signed to Brisbane label Dew Process – home to The Grates – and have now released In A Million Years, their debut album.
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In music history terms, Last Dinosaurs are at the commencement of their musical expedition and they’ve taken their time in recording In A Million Years. “It has been a long process but somehow we did it,” Caskey admits. “Around eighty per cent of songs on In A Million Years were written in the last six months. There has been a lot of pre-production and slogging it out but I am very glad we took our time.” Of course, there is a caveat with In A Million Years as the pop element - drums and the Fender-like sonic reverberations - scream out for commercial love, yet the lyrics continue to tell a deeper and dark story of universal struggle. At its core, In A Million Years has
And in more good news for the band, they’ve recently signed with UK label Fiction, home of Kaiser Chiefs and Crystal Castles. The UK has taken to Last Dinosaurs with a raging appetite – the more they hear of the retro ‘80s pop beats emanating from Last Dinosaurs, the more they apparently want. “I still can’t believe that the label wanted to sign us. I couldn’t believe it when I first found out and it’s pretty exciting about what the label can help us achieve.” Honolulu and Zoom, the singles that are doing most damage in Australia and the Motherland, contain elements of what the band is about. “Zoom is about fire fighters who start fires and the reasons and meaning behind it, so I guess the song struck a chord.” Still, those who have followed the band’s progress will not be too surprised to see how they’ve advanced and are garnering an ever-increasing fanbase. For some, Last Dinosaurs may be perceived as youngsters simply having a good time, strumming around with guitars. However, with a few years of touring already under their belts, they know all about the demands that the industry expects. “So far we’ve been pretty chilled about it all and we try very hard to do things right. I like doing media interviews but not film.” The latter is a pity as Caskey is gearing up to appear in a music video. “I don’t like being filmed at all as I feel like an idiot,” he jests. But sometimes acting the fool has comprehensible benefits. Their stage presence, persona and attitude take their collective carefree spirit to another level, and they
I’VE ALWAYS THOUGHT ABOUT IMMORTALITY AND WHAT IT WOULD BE LIKE TO BE REMEMBERED IN DEATH. TO DIE KNOWING I’LL BE REMEMBERED IS A COMFORTING THOUGHT.”
a running narrative of relationships and the struggle between mortality and immortality, or those things most important to the human spirit. Yet beneath the melancholy sits a message of positivity – the overlying pop components in the songs, arrangements and heart-felt lyrics reveal a level of depth and substance A candid Caskey explains that his grandfather died during the album’s construction, adding that the best way to preserve his memory and legacy was to think about him habitually. It all links back to his and the album’s overriding message of immortality. “I’ve always thought about immortality and what it would be like to be remembered in death. To die knowing I’ll be remembered is a comforting thought. The challenge is creating a story worth remembering.”
are known to play around with a few gimmicks onstage, including donning pirate hats and fake moustaches. Yet unlike the giant reptiles after which they are named, Last Dinosaurs are looking increasingly far from extinct. If the future needs to be written, Last Dinosaurs are in no hurry to write it. “We’ve done everything right and have made our songs as tight as possible. We always try to step up to make sure we always improve.” WHO: Last Dinosaurs WHAT: In A Million Years (Dew Process/Universal) WHEN & WHERE: Saturday 21 and Sunday 29 April, Oxford Art Factory; Sunday 22, Transit Bar, Canberra
Was (Not Was) famously climbed up the charts back in the late ‘80s with their annoyingly catchy Walk The Dinosaur, while Marc Bolan plumbed for the Big Daddy of all Dinos when he selected his band name, the infamous Marc Bolan and T. Rex. Not to be outdone, Dinosaur Jr got in on the act and so, too, did Dinosaur Feathers. And then things got a little strange. Follow the evolutionary tract from dinosaurs to, well, anything really. Animals crop up here, there and everywhere. If Marc Bolan was compensating for a lack of goods south of the equator by naming his band after the biggest and most fearsome creature the world has known, then what is the explanation and rationale behind Arctic Monkeys, The Black Crowes, Counting Crows or even The Mountain Goats? Surely there was a reason behind Damon Albarn naming his group Gorillaz and not pigeons, while John, Paul, George and Ringo would have had reason to name themselves after an insect. Modest Mouse obviously have an explanation, likewise The Wombats, Eagles, Crazy Frog and The Pussycat Dolls, the latter interchanged with another animal – the Pussycat Moles. Echo liked bunnies so much that he named his band after them (the Bunnymen) and Adam was so into ants that his group were tagged after the little pests. Even American hip hop artists have looked to the animal world for inspiration as God knows what possessed one-time gangster rapper Snoop to name himself after a pooch. Yet arguably the best of the bunch is Alien Ant Farm, famed for their decidedly average cover of Michael Jackson’s Smooth Criminal. Well, they have disappeared just like the dinosaurs.
THE DRUM MEDIA • 29
POCKETFUL OF SONGS FOR BRIGHTON, UK-BORN MIKE ROSENBERG, AKA PASSENGER, IT’S STILL ALL ABOUT SONGS THAT CONNECT, BEST TESTED BUSKING AND BEST RECORDED RIGHT HERE IN AUSTRALIA, AS HE TELLS MICHAEL SMITH.
AND I THINK THAT’S WHAT PEOPLE CONNECT TO BECAUSE THAT’S WHAT PEOPLE KNOW ABOUT.”
e’s your archetypal ‘have guitar and a backpack full of songs, will travel’ musical troubadour, is Michael Rosenberg, who has been travelling solo under the moniker Passenger since he released an album called Wide Eyes Blind Love back in 2009. The travelling inevitably brought him to Australia and the opportunity to not only live and work here for a year or so, but also to record an album, Flight Of The Crow, with a few of the musical friends he made along the way, which he toured throughout 2010. Before he returned to the UK last year, he got stuck into recording another album, this time without the guests but again with a core band. After a year or so back in the UK touring Flight Of The Crow, Rosenberg is back in Australia to launch that latest album, All The Little Lights. “I guess Flight Of The Crow was such a different thing, you know, with all the collaborations and everything else,” Rosenberg explains. “This album’s the first one which has actually been a Passenger album and been a proper release. You know, a few of my records in the past have just been soft releases through my website, and this one feels really proper, so… I dunno, it feels good at the moment. “I’m really happy with the sound of it, man. It’s funny you know, whenever I make an album, I go through a real rollercoaster with it; one minute I love it, the next minute I hate it and don’t wanna release it,” he laughs. “I know a lot of my mates go through the same thing and I think it’s a fairly natural process, but I’m really happy with it now and just can’t wait to get out there and actually start working it, you know? “Going in, I didn’t just want to sit in a room with my guitar and make a folk record, I wanted it to be something that was a bit more challenging. I wanted it to sound a bit more bright and poppy in a way. Not in a naff way but in a sort of Regina Spektor-y kind of way – you know, just something new and different and interesting – and something I hadn’t done before, and I think we’ve really achieved that in moments on the record. I think it’s quite an ambitious album sound-wise.” Of course, like any self-respecting singer/songwriter, Rosenberg, who this time is touring with a band, has already written a whole new album in the time it’s taken to get All The Little Lights mixed and mastered, the artwork sorted and so on. “I’ve got so many new songs, but they’re not going anywhere and it’s a nice problem to have. I’d rather be in that situation than scraping around for songs in a couple of years to try and make a new record.” Recorded again in Sydney, as had Flight Of The Crow, for All The Little Lights Rosenberg was joined by a core band that included Boy & Bear drummer Tim Hart, jazz bassist Cameron Undy (who also played on Flight Of The Crow), plus keyboard player Stu Hunter from Katie Noonan & The Captains, along with two female backing singers, horns and string sections. If there’s a theme to be drawn from the album, it’s not just the usual stock-in-trade of the travelling troubadour – love – but the love of life itself.
There’s more to this story on the iPad Rosenberg’s musical journey has been a very different one in some ways. Invited to join a pop band called Passenger, he opted to keep working under that name after that band fell apart in 2007, supplementing the regular gigs and tours around the UK with a bit of busking. It was the busking that proved the perfect vehicle for Rosenberg to continue developing his music, taking him first to America and then Australia. It could have turned out very differently. “I think it’s happened for me at a much more natural pace for me,” he suggests. “In fact, at the time I felt it was pretty slow, but looking back on it I’m kind of pleased it happened in this way because it kind of allows you to adapt and grow and not freak out. I’ve learnt so much and I’m sort of grateful for all the mistakes and all the wrong turns that I did take early on, although there have been days where I’ve cursed it. You know, it’s been frustrating, but I kind of think now that this life that I’ve got now – busking and travelling and everything else – okay, it’s not amazingly well paid, it’s not ‘fame and fortune’ or whatever, but it’s totally fascinating and actually… I dunno, I feel very blessed to be living this life.” That’s why the busking side of things remains a cornerstone of Rosenberg’s touring life – just before performing at the Adelaide Fringe at the time of this conversation, he’d been “busking and putting on these small sorts of shows for people who have pre-ordered the record, just as a sort of thankyou, really” – because not only can he roadtest the songs in a way that gets him instant feedback, but he also gathers the stories that eventually become songs. “Absolutely,” he confirms, “and they’re so real, you know? They’re about real people that you’re meeting in hostels and town centres and pubs all around the world. And I think that’s what people connect to, because that’s what people know about.
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“I think Let Her Go is a big song on this record. I think it’s typically Passenger in the way that it’s about love lost and, you know, all those fun things. That’s the track that we kind of got excited about and maybe built the rest of the record around. But I dunno man, I think it’s just a body of work that kind of sits well together and hopefully works together as a set of songs. I mean, I hope all the songs have kind of earnt their place. We took a few off and added a few and changed things about a bit to try to make sure there weren’t any fillers, and that each song kind of made its mark. “And I’ve been travelling around playing solo shows, and people may be buying this album expecting just to hear that, so I’ve actually made it like a double CD. We’ve done, like, an acoustic CD to go along with the record, so hopefully it doesn’t alienate those people who just love that really pure sound of just the guitar.” WHO: Passenger WHAT: All The Little Lights (Inertia)
livenation.com.au I trainline.com 30 • THE DRUM MEDIA
WHEN & WHERE: Saturday 21 April, Factory Theatre
A BEARD A DAY WITH THE BEARDS’ NEW ALBUM FULLY GROWN, THE NOT-SO-HAIRY DANIEL CRIBB FACED OFF WITH NATHANIEL BEARD TO DISCUSS HOW THEY’RE LATEST FACE-PROOF PLAN TO PUT AN END TO BEARDISM ONCE AND FOR ALL. WARNING: BEARD JUICE IS INVOLVED IN THE MAKING OF THIS STORY.
f you’re not equipped with a beautiful, flourishing beard then sitting across from a man who lives every moment of his life around what’s growing on his face can be an intimidating experience. “I’m very used to talking to people without beards, and I’m controlling my rage,” The Beards’ bassist/beardist Nathaniel Beard says as our conversation begins. If there’s one thing that Beard knows, it’s the importance of practicing what you preach. “I used to have a different name, but I changed it,” he continues. “I didn’t think that my name was beardy enough. I wanted it to convey how pro-beard I really am.” Coming in “second to last” in triple j’s Hottest 100 with their tune You Should Consider Having Sex With A Bearded Man, Beard describes their victory as a “sign of the times”. “Attitudes towards beards are changing and the beard revolution is well and truly underway,” he says. “The beard revolution is the movement that we started five years ago when we formed. The mission, basically, is to convince every man, woman and child in Australia capable of growing a beard, to do so. I don’t think when we started in 2005 that anyone with a beard could have even gotten into the Hottest 100. Back then, things were different. Now attitudes are changing, and it’s becoming a bit more acceptable to have a beard. What we’d like is that it is expected for everyone to have a beard.” The song is one small step for beard-kind, and one strong step that selflessly encourages the consideration of having sex with the bearded. “It’s about being open minded, and we’re very open-minded, unless you don’t have a beard. In which case we are extremely closed-minded,” Beard says with a hint of disappointment in his voice, as he continues to fight his growing rage. “None of us have managed to have sex since the song was released, but we did hear that one of our fans was able to convince a woman to have sex with him based on the fact that he had a beard.” Beard’s wife takes on the role of an audience member in the film clip for the single. One might become slightly concerned when a member of their band lays naked on top of their wife, dripping beard sweat all over her, but not Nathaniel Beard. He was more than happy to take one for the team and let The Beards’ vocalist Johann Beardraven do that very such thing. “It was alright. I trust a man
with a beard. He wouldn’t cross me, he’s got a beard. We bearded people like to look out for each other,” he assures himself. “I have told my wife that it would please me more if she would have a beard and she said that she is trying as hard as she can, but I can tell she is lying.” After being crowned number 99 on the list, The Beards posted a photograph on their Facebook page that featured them celebrating in a blow up pool drinking wine from victory goblets that complimented a face down and naked Nathaniel Beard. Not surprisingly, the photo was removed due to ‘inappropriate content’ but for all those wanting to see the uncensored photograph in all its glory or re-live the breathtaking moment, a copy has surfaced on thebeardsblog.wordpress.com.
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I’m In The Mood... for Beards, the second single off Having A Beard Is The New Not Having A Beard, is another ballad focused on putting an end to beardism as we know it. “Both singles touch on similar subjects in some ways – beards for example. They are both quite beard-related songs. We have found that to be a winning formula for us,” Beard explains. “It’s all about changing people’s attitudes. Some people go through life thinking ‘I’m never going to grow a beard. Fuck beards, I’m never growing one.’ We like to challenge those people and we like to think anyone with a negative attitude about beards will leave our show with a new found positive attitude about beards. They’ll maybe even leave the show having made the decision to never shave again,” he says. If you’re luckily enough to be in the front few rows whilst The Beards rock out, you may leave their show with a little bit more than a new appreciation for facial hair. “Our shows are 10% music, 90% beard. The beard is involved in our shows in many ways. I like to rub my beard against the beard of audience members, and our beards meld as one. That really helps. We also like to spray our sweaty beards around the room, so that everyone gets a little bit of beard juice,” he says. “I think that if you’re in the
Short Film Competition REC
04 : 38 : 05 : 23
audience and you get sprayed by my beard juice that you are more likely to grow a beard. It’s like fertilizer.” Once you hear the word beard a hundred or so times in ten minutes it starts to take control of your mind subconsciously and that’s when The Beards really try get a beard on you. “There are no cons of having a beard. There are only pros. The best way I can describe it is that most people have a void in their life, but not people with beards. The beard fills the void and that is what the void is for,” Beard explains, a theme that has continued through every song they have ever written. “This third album picks up where our second album left off. I’d say it’s even more about beards than our last album, which was called Beards, Beards, Beards. It’s a bit more lavish than the last one. This one we recorded in the Gold Coast. The Gold Coast is quite a beardless place we’ve found, but that only amplified our rage and our passion because Australia is still by and large a beardless country, and that’s not the way it used to be,” Beard says before unleashing a brief Perth beard health examination. “I can’t say that I think of Perth as a particularly beardy place unfortunately,” he continues. ”Once people realise that all they need to do to be happy is grow
a beard and once Australia is restored to the great bearded nation it once was, then we won’t have to do this anymore and we can retire. But we will not rest until Australia is almost 100% bearded. Will there ever be an end to this beardness? Apparently, yes. “After the music side of it has been explored to its full extent, we’d like to start some kind of cult where you come and move to a property that we buy and we all live together according to the bearded code and the person with the biggest beard is in charge of the cult and what goes on. There’d be some kind of deduction from people’s income as part of the cult. It’s a cult; it has to work like that. I’d say a cult is the next step, it’s a natural progression.” WHO: The Beards WHAT: Having A Beard Is The New Not Having A Beard (MGM) out March 9 WHERE & WHEN: Wednesday 18 April, Great Northern Hotel, Newcastle; Thursday 19, Anu Bar, Canberra; Friday 20, Manning Bar
HD F4.5 ODB
All entries m ust be received by 19 October 2 012 and be accom panied by an entr y fo rm
The National Cannabis Prevention and Information Centre (NCPIC) Short Film Competition gives young people between the ages of 15 and 25 years the opportunity to showcase their creative talent and express their thoughts and ideas around cannabis issues. BRIEF The ﬁlm can be in any style or genre (i.e. drama, comedy, documentary, science-ﬁction, etc) but must be a 30 second TVC (i.e. in the style of a TV commercial) and creatively explore the beneﬁts of deciding not to use cannabis. PRIZE MONEY There will be one national winner selected, with prize money oﬀered of $5,000 for the producer of the winning entry. There will be two runnerup prizes of $2,000 each. To download the entry form and for more information, please go to: http://ncpic.org.au/ go/ﬁlm2012 or call (02) 9385 0208 themusic.com.au
THE DRUM MEDIA • 31
NOT JUST DESSERTS NINETIES BRISBANE DARLINGS CUSTARD GOT THE OLD GUARD VERY EXCITED A LITTLE WHILE BACK BY REUNITING. PREPARING FOR THE GUM BALL FESTIVAL AND TALKING ABOUT THE FUTURE WITH LIZ GIUFFRE IS THE BAND’S GLENN THOMPSON. PIC BY CARINE THEVENAU.
THERE ARE A COUPLE OF NEW DADS IN THE BAND NOW TOO, SO I THINK WE NEED TO LET THEM SETTLE IN A BIT, BUT THEN WE CAN LOOK AT THE POSSIBILITY OF MORE SHOWS.”
like little festivals because they’re intimate; there aren’t too many people there, there’s not too much hoo-ha about getting in and getting backstage and so it’s just so much easier. Big ones are a struggle to get around and everyone’s a bit stressed; it’s not like that for a small festival… The little ones are just nice, local people doing their thing,” says Custard’s drummer Glenn Thompson about the band’s upcoming gig at The Gum Ball. As a band who taunted fans for years by apparently actually sticking to a promise to break up many years ago (seriously, who actually does a farewell tour only to stay broken up?), thankfully sanity prevailed and they got back together in 2009, albeit for short, sharp and reasonably unpredictable shows. “Yeah, we’ve done a couple of shows that have been fun and easy, two shows a year. With The Gum Ball one, we were asked and it just sounded like a great thing. I like a small festival, too,” Thompson reaffirms. The festival, now in its eighth year, is another in the small and rural series. Held towards the end of April, it sits outside the traditional festival high season of the summer or winter Splendour rushes, ensuring a bit of an oasis for those who like their music festival-y, but not overcrowded and overhyped. Set rurally and family friendly, it’s about playing and enjoying music without the usual festival freakout. You can see why the boys got on board, yes? In an effort to get a bit more context on the new show (and dirt about possible future Custard plans), this writer can’t help but look for a pattern. So will two gigs a year plus a festival be the new band rule? “Oooh, there’s no rules with Custard! I don’t know, we haven’t got anything else big planned just yet, but you never know. But definitely don’t rule anything out either. There are a couple of new dads in the band now too, so I think we need to let them settle in a bit, but then we can look at the possibility of more shows and maybe even new material.”
To get the nostalgia out of the way, yes, dear reader, this writer can confirm that at the gigs so far they have played all the awesomeness from yesteryear including Apartment, Anatomically Correct, Nice Bird, Music Is Crap, Ringo (I Feel Like), Girls Like That (Don’t Go For Guys Like Us) and lots of other ones you didn’t remember until you heard them played again and then realised you still knew all the words. And although they could have been a little weathered (aren’t we all in danger of that?), the gigs have been awesome, the tone still playful and twee, but it’s still top notch indie pop, with that indescribably infectious and allusive ‘feelgood’ vibe. So much love remains not only for what was, but for what still is. However, was there ever a fear that the band’s reformation and subsequent gigs would become about older audiences just coming to relive their yoof? (i.e. would the band become their own Custard circa ‘90s tribute)? “Oh you know, whoever turns up, turns up,” says Thompson sweetly. “It was funny, maybe a year ago in the Brisbane Festival we played a gig, this young girl turned up. I don’t know how old she was, but she was wearing an old Titanics shirt, which was the band Dave [McCormack, vocals/guitar] and I were in after Custard. We said, ‘Where’d you get that from?’ and she said, ‘It’s my mum’s’ and it was cool. Mum couldn’t come along, so she got a couple of things signed for her and that was it.” Although a lesser man would be horrified by such a revelation, Thompson has no problem with intergenerational fandom (yummy mummies, yummie daddies – and their kids – all welcome, it seems). “No, it’s doesn’t freak me out, it probably freaks the others out [in the band], but I’ve done the whole kids thing ages ago, I’ve got kids who are grown up and have left home. So yeah, I’m sort of used to being ‘the grown-up’ in the band,” he laughs. As part of his grown-up activities, Thompson has also been an off again, on again member of The Go-Betweens for years. Such a thing will maintain anyone’s cred, no matter how many grownup kids they may have. “I played with Robert Forster up until about six months ago. I’d played with him since 1994 and before Custard and after Custard I’ve played with him. And then when The Go-Betweens got back together, I toured around with them as well, I did lots of shows with them,” Thompson explains with a calm about such an awesome gig that only someone inside it can manage. Thompson’s also held a ‘day job’ at an art gallery inbetween being in two of Brisbane’s biggest bands and it’s the same establishment from which he’s talking today. Thankfully (or not) it’s a slow day for contemporary art sales, so he’s able to chat. “Working in an art gallery as a day job – I’ve been doing it for about ten years now – and it gives me lots of flexibility to play around, so I don’t mind. I used to just come in as a casual, but I feel a bit more permanent now. I’m a manager, although everyone’s called a manager these days, but it’s a good job, as far as jobs outside of music go. Nothing does beat rock’n’roll, but it’s not bad and I’m quite good at juggling.” Although he’s done a bit of ‘arty’ stuff himself back in the day, it seems working closely to it has kept Thompson’s visual art side out, but also his music side strong. “It’s one of those things; when I started working here I stopped [making art], I used to do little collages and stuff but not anymore. Now I know the mechanisations of the business so it’s better that I just work in the gallery. I always tell myself that I should never work in a music shop, because I might stop playing – and I haven’t and I still play.” WHO: Custard WHEN & WHERE: Saturday 28 April, The Gum Ball, Belford 32 • THE DRUM MEDIA
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THE DRUM MEDIA • 33
MISFITS UNITE IT’S BEEN A WHILE SINCE US ROCKERS REDD KROSS GRACED US WITH THEIR ECCENTRIC PRESENCE, BUT BASSIST STEVE MCDONALD ASSURES STEVE BELL THAT TIME HASN’T STRAIGHTENED THEM.
ust as some rock groups out there are onedimensional and easy to pigeonhole, others are constantly morphing and thus almost impossible to define, veering erratically over the course of their career and coveting the wildly unique aspects of music rather than the readily unifying. One such act is Californian pop culture vultures Redd Kross, who formed in the city of Hawthorne (also home to The Beach Boys) in the late-‘70s. The brainchild of brothers Steve and Jeff McDonald, who were playing music together before either of their voices had broken, the early incarnation of Redd Kross was a continuallyevolving beast featuring a who’s who of what was to become the infamous LA hardcore scene. Even from the outset, the band eschewed the mundane in favour of the esoteric, just as likely to find inspiration on a cereal box or in a toy store than from any more reliable or ‘credible’ source. For nearly two decades they followed their idiosyncratic muse wherever it would take them, refusing to compromise their oddball (albeit accessible) aesthetic for anybody or anything. The band split in 1997 leaving behind six studio albums and a cult following – they’re still to this day widely lauded as an influence on bands from across the whole gamut of the musical spectrum – but a few years ago they were coaxed back into existence and now, courtesy of the Hoodoo Gurus’ Dig It Up! extravaganza, they’re returning to Australian shores for the first time since 1994 when, as it happens, they also opened for the Gurus around the country. “Yeah, the last time we were there we’d just done the Phaseshifter  record and [the Gurus had] just put out Crank . And You Am I was part of that tour as well, so we played some awesome shows,” a clearly excited Steve McDonald recalls that last trip down under (although he himself was here recently with his other project, Off!). “[Redd Kross] went on hiatus around ’97, and then a promoter in Spain managed to convince us to emerge from the wilderness. In late 2006 we went and did a festival there and since then we’ve really only done a handful of shows – a couple of tours in Spain and in the States we’ve played maybe about a dozen
shows. I’ve been really busy producing and keeping involved in the music community in general, but it’s really only been the last five years or so that Redd Kross has been that active. Just recently, though, we finished the new album, which will be our first album in fifteen years. I’m really excited about it, so it seems like the band’s going to be a bit more of an active concern.” According to McDonald, the band’s massive sound evolution, which saw them move smoothly from their first gig opening for Black Flag into the world of power pop and beyond, was due to a combination of shifting personnel and the natural changes that a band undergoes as it strives to unearth its own identity. “I think that maybe some of the qualities of the sound come down to the [different] players, but I think at the heart of it would be my brother’s interest in different things and me supporting that and going along for the ride. He’s my older brother so obviously he had a huge influence on me with so many different things. When you talk about Black Flag and the punk rock era there was an evolution there. When we first got into punk rock, things changed a lot in that environment and we were hanging out with Black Flag and it was our own little island of misfit toys, long before they were a popular band (or at least a year-and-ahalf – and at the age of leven that’s a long time). “But then the hardcore scene really took over and it was kind of violence-based on a lot of levels – like a contact sport way of appreciating the music – and we didn’t really identify with that and found ourselves becoming less enthusiasts of the current scene and becoming more like historians. We started going to charity shops and digging up ancient Seeds records and Arthur Lee records, because they were huge local hits in the ‘60s so you’d find them for 25 cents. It was like hearing The Germs for the first time all over again, except that it was music from fifteen years or so earlier. That definitely led us in another direction – discovering punk in a different way. “Then there was just a natural progression. You think about the natural evolution of artists and look at The Beatles – not to compare ourselves to them! – but you
look at the evolution from I Want To Hold Your Hand to The White Album and everything in between: that took place over seven or eight years! It’s a healthy thing to evolve. We were always shy about being a part of something; you could never really say that we were a grunge band or a hardcore band, so we never really benefitted from any wave that you could market as such. We’re very much an underground band – known quite well in some circles because of that – and it’s cool that we still get to do it.” Both of the McDonald brothers were enamoured with pop culture back in the day and this inevitably seeped into the songs and music of Redd Kross. “We were raised by our parents and then our third parent the television, so I think it was unavoidable,” McDonald laughs of their dual obsession. “And then we had a lot of aunts and uncles – my dad’s the oldest of a big brood of kids – so his younger siblings were more like older brothers and sisters to us. My aunt took my brother to see The Beatles when he was three years old at San Diego Stadium – I think he slept through most of it, but nonetheless it had a huge impact on him. So there were those kind of moments in popular culture that had a
huge impact musically-speaking and then just watching weird television and embracing the psychedelia. Then not too long after adolescence looking back and thinking about how that strange TV movie affected our development – ‘We could write a song about that!’” Which of course is a perfect parallel to the Hoodoo Gurus themselves, who in their own nascent years were also peculiarly smitten with the stranger side of what pop culture had to offer. “Yeah definitely, I’ve talked to Dave [Faulkner] about that,” McDonald chuckles. “I think it’s incredible – especially in the pre-Internet era – to have that kind of connection with someone who grew up 9,000 miles away. It’s neat. It’s really neat that music can make you have that connection with those people – I always think of that B-52s song [sings], ‘There’s others like you!’ or the Ramones song, ‘Gabba gabba, we accept you, one of us!’ I love when you find the other misfits on the island, it’s great.” WHO: Redd Kross WHEN & WHERE: Sunday 22 April, Dig It Up!, Enmore Theatre; Tuesday 24, Oxford Art Factory
TOGETHER WE REIGN IT’S EXCITING TO KNOW THAT MARK LANEGAN CAN STILL MAKE QUALITY RECORDS UNDER HIS OWN NAME, THOUGH, AS HE TELLS DAN CONDON, HE STILL GETS BY A WITH A LITTLE HELP FROM HIS TALENTED FRIENDS.
arely a year has gone by in recent times that Mark Lanegan hasn’t jumped on a plane and made the long journey to Australia for a tour with one of his lauded projects. Last year he visited with Isobel Campbell, before that under his own name, while prior to that it was with The Afghan Whigs’ Greg Dulli as The Gutter Twins that he made the journey to our corner of the world. This time he tours with the Mark Lanegan Band – which is the name that is credited to the creation of this year’s Blues Funeral – and while one might expect him to have some solid reasons as to why he finds our country so endearing, he’s quite low key in response to being asked. “I’ve always enjoyed it,” he announces in his distinct, deep voice from his Los Angeles home. And the things he looks forward to aren’t any different this time around to his previous visits. “Same thing I always look forward to, seeing friends, playing music and getting some good food.” The aforementioned Blues Funeral is the first release credited almost solely to Mark Lanegan in a while. “I really like it,” he says. “I like the songs, I like the way it sounds but I really enjoyed the process of making it, it was a really relaxed and enjoyable process so that’s part of the reason why I like it.” The process was an interesting one. Working with producer and former Queens Of The Stone Age bandmate Alain Johannes, Lanegan had no concept of any of the album’s songs before they started making the record. “My last record Bubblegum , I did the second half of it with Alain Johannes, who I also played with in the Queens and have various other things with. After making part of my last record with him I always knew that when I made another one I would make it with him. So that was in the back of my mind even though I didn’t really plan on making a record, I just realised that I had some time and it had been a while since I made the previous one so I started writing songs and recording them.” Literally. Lanegan would pen a tune and then take it into the studio. “They were all written while I was making 34 • THE DRUM MEDIA
the record,” he explains. “So I started with none, wrote one, started recording it and wrote another one, so on and so forth. So they were all written specifically for this record while it was being made. I just started making them and once the song was done it sort of tells me what the next one is gonna sound like so on and so forth.” Lanegan is quick to give Johannes credit when it comes to the final product. “I’d write a song, show it to him, describe elements I’d like it to have – how I’d like it to sound – he would achieve that and then he’d bring about a hundred more things to the table as well. So it’s definitely a 50-50 affair.” Collaboration is one thing Lanegan does a lot of and, unsurprisingly, it’s something he does pretty damn well. “Unless I was playing every instrument by myself like Prince, even records that have my name on them are collaborative. One of the things I enjoy about making music is working with others.” It’s something that’s made easier when you have such talented friends. The guest list on Blues Funeral might not quite hit the heights of Lanegan’s previous record Bubblegum (which boasted the likes of PJ Harvey, Josh Homme and Nick Oliveri of Queens Of The Stone Age, Greg Dulli and Guns N’ Roses’ Duff McKagan and Izzy Stradlin), but it’s pretty impressive all the same. “I need not look any further than my circle of close friends to find a bunch of guys that I’d love to have on a record and they’re usually guys that I’ve already been making music with, sometimes for a lot of years,” he says. “So, I knew that I wanted to have [Afghan Whigs’] Greg [Dulli] on something, I knew that I wanted to have Josh [Homme] on something, I knew that I wanted to have Chris Goss on something, so I specifically looked for places to have those guys and the same was true of everyone who was on the record, really. They were all guys that I wanted on the record and asked to play on it.” Even though he knew he wanted them on the record, he wasn’t thinking of how they could fit when writing the songs. “No, but I look for opportunities.” he says. “I look for the thing that might fit them the best. But when I’m writing I don’t really think about anything other than just writing the song.”
As far as whether there’s anyone he’d like to work with outside of his group of friends, a dream collaborator if you will, Lanegan acknowledges there are definitely a few, but draws a blank. “I get asked, maybe not this exact question, but some other question quite often, probably because I do a lot of collaborating,” he says. “I almost always go completely blank; it’s like when people ask me what I’m listening to right now, I just absolutely have no idea. My answer is that I know there are a million people I’d love to work with if the opportunity presented itself.” He’s not one to over-think the power that collaboration has on his own writing skills, but he acknowledges that it is there. “Not that I can specifically give you an example, but I know – well I hope – that there’s things that I learn from every project and I know that I’m taking something into the next one, whether it be another collaboration or a solo record or whatever,” he says. “The beauty of working with other people is that you get the opportunity to do things that you might not do left to your own devices and see things through somebody else’s eyes and share a vision at the time.”
Likewise, he doesn’t make much of the fact that it has been eight years since the last Mark Lanegan record was released. He’s been busy and he’s been enjoying himself and the only reason this album came to life was because he had nothing else to do. “Just because I did a lot of other things in the in-between years, made multiple records with some of those projects and did multiple tours with all of them and, you know, it really wasn’t something I really gave a lot of thought to, making another Mark Lanegan record, because I was enjoying all of those other things,” he says. “But eventually the time came when I looked at my calendar and I didn’t have anything happening and realised how much time had gone by. I didn’t really intend for so much time to go by between them.” WHO: Mark Lanegan Band WHAT: Blues Funeral (4AD/Remote Control) WHEN & WHERE: Friday 20 April, The Hi-Fi
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THE DRUM MEDIA • 35
MAKING A SPLASH “WE THOUGHT THAT EVERYONE THOUGHT WE WERE JUST STONER IDIOTS AND SO WE WANTED TO PROVE – TO OURSELVES – THAT WE COULD WRITE POP SONGS, CHORUSES.” DRUMMER/GUITARIST JAY WATSON ALSO INFORMS BRYGET CHRISFIELD THAT POND’S BAND MEMBERS HAVE “GROWN UP A BIT”.
fter a couple of false starts when the voice of multi-instrumentalist Jay Watson is replaced by the piercing squeal of a fax machine, Inpress starts to suspect the band of mutating into robots. “Yeah,” Pond’s guitarist chuckles. “Next album. Our Gary Numan album.” All of Pond’s three official band members once cohabited “in a really posh suburb of Perth” in “one of those houses that’s a big house, but it’s separated into three,” Watson reminisces. “Everyone around us was kind of old and posh or had kids or whatever and there was this park out the back of our house that all the houses around there used and they had a massive mulberry tree, but we were the only ones out there all the time because I think everybody else didn’t wanna come out because we were always sitting there playing bad guitar. You know, because we weren’t as good back then we probably played some pretty awful stuff out there and made a lotta noise – beer bottles and whatnot. So it was this idyllic, mulberry paradise. They sold the house, but I think they probably sold it because of us. After that house we learnt to live in dodgier suburbs [laughs]. Not dodgier, just not upper middle class, quiet, residential areas. “I went past the other day to get some mail. We haven’t lived there for a couple of years, but I thought the post office had something there accidentally.” Watson believes their former party pad is now inhabited by “a working couple in their 30s”. “But far more respectable than us,” he adds. “The poor guy next door was really nice and Joe [Ryan, bass] would always climb up and sit on his roof in the middle of the night. So [the guy next door]’d be lying in bed and he’d hear this guy clomping on the tiles. He just had smoke and beer and loud music coming at him, but I think he would’ve had a nice cup of tea the day we left.” On the mulberry tree under which the trio would jam, Watson muses, “I think it liked us. We had a lot of mulberries. I think Nick [Allbrook, Pond frontman/ Tame Impala bassist] ate more mulberries than he ate other things back then. And they stain your fingers for, like, a day. I think we made something [out of mulberries] once. Some sort of pie or something.”
Initially, Pond’s identities were concealed by psychedelic pseudonyms – such as “Ayayayai”, “Paisley Adams” and “Kaykay Sorbet” – which were presumably also invented in “Mulbaria”. “Well see everything we used to come up with sounded really brilliant to us and now it just sounds kind of stupid – ha,” Watson acknowledges. “Joe’s still endlessly coming up with stupid nicknames for himself, but I dunno, I guess we’ve grown up a bit.” Explaining Pond have been busily “practising and trying to get good for all [their] live shows” of late, Watson (who’s also Tame Impala’s drummer) isn’t fishing for compliments. “It’s just because of all the Tame stuff, you know?” he continues. “Pond’s never actually got the chance to get really good at playing live.” In between touring commitments with Tame Impala, Watson says Pond often end up with just “three days to get good and remember all [their] songs”. The band were in fact called upon to support The Flaming Lips at their Harvest sideshows last year and word on the tweet was that Wayne Coyne endorsed Pond’s sweet sounds. “We just got a new drummer, Cam [Avery, also frontman of The Growl and Allbrook’s partner in musical crime for Allbrook/Avery] and, yeah, we hadn’t practised that much, but we did alright. We were quite sloppy, we weren’t that tight and I remember Wayne was like, ‘[puts on his best American accent] Guys, that was brilliant!’ And I was like, ‘Yeah, we were a bit sloppy though, weren’t we?’ And he was like, ‘[returns to Coyne impersonation] Yeah, you guys – I dunno what you guys were thinking. You were all outta whack, but I liked it’.” Recalling Pond’s first-ever gig, Watson estimates, “It would’ve been a house party in 2007 or ‘08. It was a lot different then. We were just a freeform, acid-rock jam band thing. We didn’t really have songs or anything, you know. We did that for a while, the first two albums [Psychedelic Mango and Corridors Of Blissterday] are kinda like that, and then I think we thought that everyone thought we were just stoner idiots and so we wanted to prove – to ourselves – that we could write pop songs, choruses. I think by the third album [Frond] we were mostly listening to Prince and Fleetwood Mac and stuff instead of all the old acid-rock bands. So we naturally came up with melodies, I guess.”
Pond played three fundraiser shows in their hometown of Perth in the lead-up to their upcoming South By Southwest showcases, which will be followed by a tour of the US and Canada. Tame Impala, however, have already toured America “a bunch”. So has Watson noticed the American press getting confused by Pond’s cross-pollinating band members? “They don’t get confused, but the headline’ll say, ‘Tame Impala, something-something-something’,” he laughs. “Which is fine. It’s kind of like, we’re not kidding ourselves, there’s no way we would be – well I don’t know, actually, but – you know, ‘noticed’ as much if it wasn’t for the Tame Impala thing. So it’s cool. I guess The Saboteurs or whatever probably wouldn’t have got as much success if it wasn’t for his [Jack White’s] other little band. I mean they might have, and Pond might have, but it definitely wouldn’t have been as big a deal.” White comes up again later in our conversation and Watson’s admiration of The White Stripes’ live shows is evident. “I’m probably in the minority, but I hate bands when it’s too perfect-sounding. I love it when you see a band and they’ve got really good songs but they’re kinda flying by the seat of their pants, you know? And they’re killing it, but they’re a bit out of tune or stuff up a drum fill. Like, we stuff up all the time. I think The White Stripes were a bit like that. I mean, not that they [stuff up], but they never had setlists and they would go between being insanely
tight and being kind of sloppy, so that’s why it had that sound to it. I think that’s what Pond are going for. “The thing I’ve learnt is that every time any of my bands play a killer show, like, Tame Impala played this show at the Roundhouse in London once and it was the biggest show we’d ever played – three-and-a half-thousand people and we thought we’d KILLED it. We thought it was the best show we’d ever played and all the reviews were really negative. And then whenever we have a bumbling show or we get angry at each other or we have a complete meltdown, everyone finds it more exciting – they go a bit rowdier in the crowd… You can’t really force playing well or badly. You just kind of try and play your best and if you’re overtired or you’re drunk or you’ve had three Red Bulls, I guess they’re the influencing factors.” Wouldn’t overindulging in Red Bulls lead to abridged sets? “Yeah,” he agrees, “it’s all up to the drummer. That’s the thing: in Pond, I like not being the drummer – I play guitar. But rock’n’roll guitar’s kinda built upon noise and sometimes, you know, if I stuff up on guitar I can just turn around and get feedback or play some wild bent note.” WHO: Pond WHAT: Beard, Wives, Denim (Modular) WHEN & WHERE: Thursday 19 April, The Standard
THINK OUTSIDE THE SQUARE AUGUST BURNS RED MOVE OUT OF THEIR BOX AND BE AS MAD AND AS CRAZY AS THEY PLEASE, IN A MUSICAL SENSE AT LEAST, AS VOCALIST JAKE LUHRS TELLS STUART EVANS.
hey are no longer the new boys of metal. Back in 2003, Pennsylvania’s metal scene was blossoming and the boys of August Burns Red were still in school. As they worked and studied, they found that music got in the way. It was not a bad interruption from hitting the books. “I’m from South Carolina so I can’t speak for the rest of the band, but I did quit college to focus on music, which is probably a similar story for the rest,” laughs August Burns Red vocalist Jake Luhrs. Since the release of their 2009 breakthrough album, Constellations, a record that earned them a number 24 placement on the Billboard 200, the band has found itself in strange territory. Guitarist JB Brubaker previously said it was time to break some rules. “You’ll have to ask JB exactly what he meant by that,” Luhrs admits. “I think he was referring to us in general and breaking the rules regarding metalcore as we really wanted to step outside of the metalcore sound. It’s really us thinking outside of the square and showing how much we’ve grown as a band.” Doing the unexpected and thinking outside the proverbial is their norm. After numerous tours, the band recorded two covers of popular songs: an instrumental version of the Christmas classic, Carol Of The Bells and, of all things, a cover of Britney Spears’ Baby One More Time, for the Punk Goes Pop 2 compilation. The band’s musical memorandum contains copious riffs and breakdowns and, in true metal/thrash metal/ metalcore style, it is all nicely rounded with frank, thunderous vocals. So when it came to record their fourth album, Leveler, they decided to break some more rules. “We could have played it safe and just made another record like Constellations, but we all felt it was time to move out of the metalcore box. We made Leveler as mad and as crazy as we wanted. We wanted to try different things and take the band and sound in different directions.” Luhrs makes a salient point. After around eight years and a quarter of a million albums sold, it would have been easy to retain the status quo. But that’s not how August Burns Red move. Leveler was not a 36 • THE DRUM MEDIA
game-changer, just a leap forward and a tiny stride backwards. “We have a dedicated and supportive group of listeners who are generally supportive of us trying new things. Our music is progressive and our lyrics are positive. We deliver a message of hope.” Positivity and messages of hope? Is this a metalcore band? He laughs, “We’re not scary and don’t wear dark or black makeup. We’re just normal-looking dudes who love music.” Luhrs speaks of the band’s different direction, or point of difference, particularly on Leveler. In theory anyway, the points of difference are thus – the drums patterns are faster, the heavy parts are heavier. Of course, shifting direction – albeit slightly – carries risk. Alienating the fanbase is one. “We wanted to keep the characteristics that made the band a success. None of us are really inspired by other metal bands as we just like different things and different sounds. I’m certainly not inspired by metal,” reveals a candid Luhrs. Like many bands, there are hidden stories of triumph and adversity whereby personal addiction and demon-fighting are prevalent. Luhrs has battled his own inner monsters, including substance abuse, to take the reins and deliver poignant and emotive performances: “In the past I’ve had problems with alcohol and even with porn. Being on the road and on tour does not help as it exposes you to everything. As a band, we’re one big family which is one big support network.” Luhrs is honest in what keeps him strong. “I put a lot of things down to my relationship with God. If I’m struggling or not right with a situation, I seek His guidance. I also surround myself with good people and a good support network.” Christianity runs deep throughout. They may thrash, pound and belt out ear-exploding lyrics delivered with maximum penetration, yet listen attentively and the lyrics are indeed heartening and optimistic. They do not preach but persuade. Not that everyone has endorsed the band’s lyrics. “I’ve had a few Christians come up to me and tell me that they don’t like my vocals and that God would not approve of a
metal band because of the way it sounds. I normally reply by saying that music is a way to express and some people should really listen to the lyrics.” For a proclaimed Christian band, the name August Burns Red has roots in anger. He laughs, “Yeah, apparently the name came from an encounter that our first lead singer [Jon Hershey] had with his ex-girlfriend. Her name was August and after he broke up with her, she went over to his house one night and burned down his doghouse. Inside the doghouse was his dog, Red. The dog died in the fire and the newspaper headline said ‘August Burns Red’. When the band first started, they all went with the name.” It hasn’t all been brotherly love between band members either. “Yeah, we have our tiffs now and again. We just work through the issues by talking things through. We have a system where we discuss things and everybody can say what’s on their mind.” Luhrs adds that collaboration is also evident during the songwriting process. “JB is our main songwriter. He’ll
write lyrics and a basic drum pattern and will then email it to everyone so they can familiarise themselves with the track and prepare comments and feedback when we meet. We talk about what we like and what we don’t like. It’s all very open and transparent.” Over the past eight years, they have also had three different vocalists – each one’s name coincidentally started with the initial J. Luhrs promises it is not a prerequisite to join the band. Regardless of the band’s recruitment policy, it’s been a big few years for the American rockers. Success, praise and goodwill have followed, seemingly wherever they’ve toured. “We’ve toured with a variety of bands and never thought that I’d get to travel the world. It’s all been such a blessing.” WHO: August Burns Red WHEN & WHERE: Thursday 19 April, Panthers, Newcastle; Friday 20, Metro Theatre
BACK TO FRONT
ALTHOUGH HIS NEW ALBUM COMES POSTMARKED WITH STAMPS FROM PORTLAND, BERLIN, POLAND, OXFORD AND NATURALLY - MELBOURNE, MICK THOMAS EXPLAINS TO ROSS CLELLAND THAT SOMEHOW HE ONLY GOT TO SEE THE FIRST AND LAST OF THOSE LOCALITIES.
ne thing remains constant. Whether in song, or just having a chinwag, Mick Thomas tells a good story. There’s a rough count of 14 albums under The Sure Thing or Weddings, Parties, Anything banners. But all have that conversational tone of the bloke chatting to you over a coffee – or more likely a beer, or three. Maybe it’s needing someone to chat with that means, even though The Last Of The Tourists is billed as his first ‘solo’ album, he happily credits fellow singer/songwriter Darren Hanlon – here in the producer role – for much of the album’s tone and style. “It’s a trust thing. There are just people you like to work with, like to play with,” Thomas clarifies. “Yeah, I totally need a collaborator – someone to bounce ideas off. And there is method to Darren’s madness. He always seems able to find a thread.” This comes through in the record, where a theme of growing older and working out what really is important comes through. Thomas conditionally agrees. “Yeah, I guess it is. But I certainly didn’t go into it with great thought of that. And Darren chose the songs more than I did. I never sit down to write a bunch of songs for an album – there’s no high-concept thing going on. It’s just what’s going on around me, and just getting older.” And so they just kept going with the flow, with things somehow falling into place. Thus, a large proportion of the album was done in the unlikely surrounds of Portland, Oregon. “I’ve always been a big believer to get away to record. To give yourself some distance and perspective about what you’re doing, maybe. Darren was spending a lot of time there, and it all seemed simple.” A bout of Internet research followed: “Portland is into coffee, into bicycles, into food – and it’s the microbrewery capital of North America – what’s not to like?,” he chuckles. “I started thinking this was an American city I could spend a week in without getting scurvy. And it’s really cheap. So I went, why not?”
YOU’VE SEEN HER BEHIND SOME PRETTY BIG NAMES ON SOME PRETTY BIG STAGES, BUT IT’S TAKEN NATASHA STUART LONGER THAN SHE IMAGINED TO GET AROUND TO RELEASING A DEBUT ALBUM. MICHAEL SMITH CHECKS OUT WHY.
S There were further discoveries: “The city is full of musicians. But the majority of record was just the engineer going ‘Yeah, I’m not a drummer, but can play that.’ And Darren on bass.” Plus Weddoes mainstay Ian ‘Squeezebox Wally’ Wallace adding a range of bits and pieces. So, “95 per cent or so” of the album was done in about five days. And only then did it get complicated. “We needed about three overdubs, and those little bits took the rest of the year,” Mick muses. Hanlon had gone back to his touring musician ways. “And so I’d get a call from him: ‘Yeah, I’m in Poland – I met this guy in Berlin who’s a really great clarinet player for that bit we need. It’ll cost 80 Euros, how’s that?’ That’s what you come to expect from Darren, and it’s part of the ‘fun’ of it. “It just got really messy with files emailed back and forward – used to be if you wanted something like that, you’d have to post the tape over, and then wait for it to come back. It was almost easier,” he laughs. “Even now, somewhere in the ether is four bars of a shaker part that’s supposed to be on the title track – and Darren’s going ‘Yeah, but I’ll find somebody and we’ll just do it again.’ Eventually I had to go ‘Darren, no – enough! The world is not going miss those four bars.’ So, somewhere between his travels through Berlin, Poland, Oxford, Portland, Melbourne, and wherever else he’s been – it’s still out there somewhere.” WHO: Mick Thomas WHAT: The Last Of The Tourists (Liberation) WHEN & WHERE: Wednesday 18 April, Front Gallery, Canberra; Thursday 19, Lizotte’s, Newcastle; Friday 20, Lizotte’s, Kincumber; Saturday 21, Annandale Hotel; Sunday 22, Coogee Diggers
inger/songwriter Natasha Stuart started writing songs aged 11 and was always singing, dancing and writing, but pressure to take up a career more stable than music sent her in a very different direction. “It’s a song we’ve heard over and over again,” Natasha Stuart admits. “So I actually taught aerobics for a while, but I could never turn my back on music and I really just have the fitness career to appease other people and I finally worked out in my mid-twenties that I don’t need to answer to anyone else and I really can just focus on [music]. As a result of that, I kind of got really swept away in making sure I was making a living in music and working for other people, which I love. “I do a lot of backing vocal and I really do adore doing that because I love harmony and working with incredible musicians too, but I think that the combination of all those little factors certainly do mean that at times the album’s been on the back burner.” Once she committed to music, Stuart very quickly became one of Sydney’s go-to backing singers and has worked with Tina Arena, Ricki-Lee, Jessica Mauboy, Richard Clapton and Delta Goodrem, just to name a few. “It’s been really great for me to be around some of the incredible artists that I have been around – and some childhood idols as well. When I toured with Tina Arena in 2010, I cannot tell you how amazing it is to work with someone whose songs I sang, again you know, in my car, in the living room and wherever, over and over again – and then to meet someone and not only to work with them as a vocalist, but also to hear their experiences and their take on the industry and what their creative process is and just learning so much.” Mostly featuring songs co-written with Richie Vez – bass player with Diesel, who also recorded, produced and mixed it – Stuart’s recently released
debut album, Light This Fuse, is pretty much rock rather than dance or pop based, despite the bulk of her work as a backing vocalist. “I really enjoy bouncing off other people,” Stuart explains of her songwriting approach, “especially ones who I think can bring something different. Richie is amazing at coming up with really cool bass lines and riff ideas, which is something that I struggle with. I’d often come in with a chorus or a verse or whatever and we’d just see where the mood took us. It’s nice to have someone change a chord that I would naturally go to and make me take a different turn. “But the album actually was years in the making. I did an EP [Get 2 Know Ya] that was released at the end of 2006 and one or two of the songs were written at that time, but due to all kinds of reasons and advice… I had a manager working for me in the US and they were saying, ‘Don’t release anything here,’ basically last year. I was pretty much ready to have it released last year, but we tried to hook some stuff up in the States, which didn’t actually eventuate, so another twelve months later finally I can get the album out and feel that this part of this particular project is complete.” WHO: Natasha Stuart WHAT: Light This Fuse (Independent) WHEN & WHERE: Tuesday 24 April, Blue Beat
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THE DRUM MEDIA • 37
HOME COOKING ANDREW GEE – DRUMMER FOR KIWI CHART-TOPPERS THE FEELERS – EXPLAINS TO NIC TOUPEE WHY WE MIGHT YET BE SEEING MORE OF THEM ON THIS SIDE OF THE DITCH.
f a t-shirt existed sporting the amusing slogan ‘I’m Big In New Zealand’, Christchurch band The Feelers should rightfully have one each to sport as they walk to the milk bar for some tasty NZ foodstuff. Because they are – and for the last 20 years have been – consistently massive at home. With a track record that would cause many fellow Long White Clouders to Covet Their Neighbour’s Chart Positions, The Feelers have had three #1 Albums, seven #1 singles, and more radio airplay than any other NZ band in the last decade. The Feelers admit that having continued demand for albums and tours at home has made them a little complacent about extending their profile further afield. However, with their latest album Hope Nature Forgives they’ve decided to test the waters in Australia, and drummer Hamish Gee explains why The Feelers have dusted off their binoculars. “We released the album in August and have just released our second single Didn’t Want To Fall In Love in Australia, so we’re coming over to promote that, but also just to promote the band in general. It’s been a long time since we’ve been to Australia” he admits ruefully. “Our singles have been played on radio in Australia and we’ve wanted to come, but we’ve been doing a lot of work in NZ, which makes it harder – to be honest, we’ve become complacent.” It’s not as though they keep their passports entirely stamp-free, in fact the band make regular trips to Europe to satisfy their rabid fans in both Switzerland and the Czech Republic, as well as the odd swing by Swinging London. But just as many Australians pick look North rather than east on the map, The Feelers have slacked on their close-to-home visitations. “We have no real reason why we haven’t included Australia – maybe because it is so easy. But recently we’ve found ourselves working way too hard here, so we have decided it’s time for a ‘working holiday’ in Australia and catch up with family and friends.”
Gee and the band are optimistic that their show will not only appeal to existing Australian fans and expat Kiwis, but also that their eclecticism may earn them some new fans. Gee believes the beauty of their indie sound is that there’s something for pretty much everyone. “We have such a great variety in what we’ve released that we have a really broad audience,” he tells. “It’s common for us to play here in NZ to have 18-yearolds moshing alongside old age pensioners (moshing slightly more gingerly) – that’s our demographic. Quite often the pensioners get into it just as much,” he laughs. “We released our first album in 1997 and it went straight to number one, and were suddenly playing sports stadiums. Now those teenagers have grown up with us, and many have families now and bring them along to our shows. ” They’re hoping Australia not only forgives their long absence, but welcomes them warmly enough that the band are tempted to stick around. Gee believes there’s a chance that if all goes well we might see a lot more of The Feelers. “Our new manager is an Australian, and he lit a fire under us and said, ‘Go to Australia!’ I think maybe he wants to move back there, so has an ulterior motive” Gee chuckles. “We decided that if we want to try to really crack Australia, it might make sense to move there: we’ve thought about it before but, you know, life just crept up on us and we put it off. Now might just be the right time – it’s not out of the question that we’ll make a permanent move.” WHO: The Feelers WHAT: Hope Nature Forgives (Border) WHEN & WHERE: Friday 20 April, Great Northern Hotel, Newcastle; Saturday 21, Beach Rd Hotel, Bondi
MEET NEW ZEALAND FIVE-PIECE SIX60. YOU HAVEN’T HEARD THEM ON RADIO, THEY’RE NOT SIGNED TO A LABEL, THEY DIDN’T EVEN HAVE A PUBLICIST UNTIL RECENTLY, YET THEY CAN BOAST TWO PLATINUM SINGLES BACK HOME. MICHAEL SMITH INVESTIGATES THANKS TO VOCALIST/ GUITARIST MATIU WALTERS.
heck out the clip for the latest single, Forever, from kiwi rockers Six60 and you’ll see some 15,000 fans going ballistic at a festival called Homegrown in Wellington that, like our Homebake, exclusively celebrates local acts. While you might assume it’s been staged, it turns out the band just decided to get some live footage to better represent their performance rather than come up with some storyboard job, so those kids singing along genuinely know all the words. Considering they’ve had no airplay and no label backing, it’s testament to the power of social media that Six60 hit the NZ commercial singles charts with two double platinum-selling singles, Rise Up 2.0 and Don’t Forget Your Roots, one platinum-selling single, Only To Be, plus a triple-platinum #1 self-titled debut album. Not bad for a band that had met as students at University in Dunedin in 2008 and hadn’t actually thought to record in the first place. “We’re five completely different people,” Six60’s singer and guitarist Matiu Walters admits, “with different upbringings and tastes in music, so it’s a miracle that we met each other and that all our influences turned into songs and it didn’t sound crap [laughs] – you know what I mean? When we first set off, we were pretty much a cover band to be honest and it moved from small gigs in our room, into the living room [laughs], into flat parties, twenty-firsts and later into the smaller bars around Dunedin. And we pretty much played for a beer contra or something like that. “The songwriting probably came like a year after we got together, when we decided we really wanted to put a memento together for the time we had at university, with no intention of going anywhere. But we made a Facebook page because everyone was doing that at the time and word got around and the
word got around enough that it encouraged us that this was something we wanted to do. It’s pretty crazy the way things have gone the last couple of years.” As the online buzz built, so did the size of the stages Six60 were invited to play, moving from local bars to festival stages not only across New Zealand but also here, playing the Big Day Out. “It’s incredible how important timing is in your career. I wouldn’t call it luck, but we happened to be in the right time and play a good show while the right people were there, so we were very fortunate in that respect.” The debut album, which, in physical form, is a beautifully crafted gatefold black-lined gold card artefact with no information about what’s on the two discs inside – “I had the privilege of working with a local new Zealand artist,” Walters explains, “to create something different since this generation, no one’s buying CDs so we wanted to make something pretty special and entice people into buying the physical” – is a pretty diverse collection of tunes. It’s a reflection, again, of the diverse musical tastes within the band. “By no means was it an intention of ours to make something so diverse. It would seem to be just a natural progression for us. But in saying that, when I listen to my iPod, or when anyone listens to their iPod or their music, they don’t really listen to one genre in particular. Or maybe they do, but they’re probably really boring people [laughs]. As much as people told us that we should have, we didn’t want to be a band that just wrote the same shit over and over again and perform the same stuff – and for some reason it seemed to work for us.” WHO: Six60 WHAT: Six60 (MGM) WHEN & WHERE: Saturday 21 April, Metro Theatre
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THE DRUM MEDIA • 39
SINGLES/EPS WITH ROSS CLELLAND
ON THE RECORD
Sixteen Saltines Third Man/Sony As himself finally gets around to releasing an album under his own name, this second taste comes with an edge of hysterical urgency in both his near falsetto and the grievous bodily harm he seems intent on doing to the guitar he employs. It’s clipped, bluesy and oddly threatening even if you’re not actually sure what he’s on about. It’s also somehow timeless in its clatter and noise, reflecting the sincerity in the man making it. Oh, did I also mention it’s sheerly single-mindedly bonkers and freakin’ brilliant with it? Because it is.
Underwater Sunshine (Or What We Did On Our Summer Vacation)
Counting Crows were undeniably one of the greatest alternative rock bands of the 1990s, giving us classic hits including Mr Jones, Round Here and Sullivan Street that will live forever in the minds of anyone who grew up listening to them. Now after a fouryear break, they have taken a side step to release a sixth album that consists purely of cover songs.
Another with that big hollow tribal drum noise that had me looking for the name Boulet in the credits somewhere, or old Haircut 100 albums in their parents’ record collections. It has that summery tropical singalong feeling to it that also sets it in that certain strain of pop moderne from round these parts, which you kind of hope could be something that national youth network radio thing gets behind and makes something of. It has a brightness occasionally obscured by clouds, which makes it interesting at the least.
ASH GRUNWALD Longtime Shock The Grunwald (not to be confused with the Chevy Chase-related moniker above) has pretty much stuck to his one-man-band and microphone constructions, as he does again here – although there’s talk there’s about 90-odd separate tracks layer-upon-layer making up this happy and propulsive little ditty encouraging self-expression in his typically rootsy manner. Whatever, it still sounds fairly simple, and there’s a place for everything, and everything in its place, but still in a suitably laidback manner.
The Marvellous Dream Parlophone/EMI
Underwater Sunshine (Or What We Did On Our Summer Vacation) is a perky collection of 15 cover tracks from musical legends The Faces and Bob Dylan through to fellow ‘90s rockers Teenage Fanclub and Travis. Each tune is given the signature Counting Crows treatment with simple piano chords, jangly strumming guitar and raw, heart-tugging vocals that bring a newfound passion to each track. Tracks like Like Teenage Gravity by Kasey Anderson & The Honkies and Sordid Humor’s Jumping Jesus could easily be passed off as Counting Crows originals, slotting in smoothly with their own musical style and gaining a new lease of life from singer Adam Duritz’s distinctive vocals. Other winners on the album include the energetic Ooh La La (originally by The Faces) and two Tender Mercies numbers – Mercy and Four White Stallions – which showcase the band’s ability to pull off country rock to a tee.
Live To Rise Universal
First new song from the grunge heroes in 15 years. Remember grunge, kids? You will. The typical 20-year recycling of music fashion means slabs of guitar, angsty lyrics and flanno shirts must be due back any minute now. Other point of interest is this is part of the soundtrack of the movie some of us have been waiting a lifetime for - The Avengers - where Josh Wheedon collides with Iron Man et al. Musically, Chris Cornell still groans emotively, the guitars whinge back at him, and everyone goes home miserably happy.
Where Do You Go? Independent With a rather assured but charming take on lo-fi electronica, Brisbane’s Ms Simmons makes pop music, unashamedly. There’s a slight wobble as Where Do You Go? rattles along – perhaps reflecting the unease in the question being asked. A range of female artistes from Scandinavian and other northern Atlantic climes are correctly hinted at, but she comes at her style with what seems a genuine open-hearted enthusiasm and energy, resulting in something of charm, grace and economical overheads.
Gin Wigmore is a sultry songstress from New Zealand whose second record, Gravel And Wine, sees the free-spirited singer embrace her wild side. With a greater sense of direction than 2009 debut, Holy Smoke, the theme throughout Gravel And Wine revolves around an uncompromising and defiant protagonist who’s just as likely to set your heart on fire, literally as well as figuratively.
Stuck Mojo were once dubbed ‘90s metal’s perennial B-Teamers and God Forbid are essentially the equivalent in recent years. The American crew’s run of bad luck – predominantly witnessing bands that once opened for them become major players while their own career floundered – culminated with the 2009 departure of founding guitarist/clean vocalist/songwriter Dallas Coyle. Having also signed with a new label, there’s plenty riding on this new album. A home run isn’t a favourable outcome, it’s damn near a necessity.
Gravel And Wine
Opening track, Black Sheep, sets the tone for the entire record, not necessarily in the sense of musical energy but with regards to Wigmore’s mindset. The lyrics, “Everybody’s doing it so why the hell should I?”, sum up Wigmore’s rebellious attitude, while “Once you go black, You never go back” twists the popular adage from a physical expression to a state of mind, indicating Wigmore’s intoxication with her newfound state of unruliness. Yet it’s not the words on the page that sell this persona but the raspy delivery of Wigmore’s voice that conveys a genuine, and at times, complex character. The armour is stripped away momentarily on power ballads such as Saturday Smile, where a yearning for connectivity in an emotionally reckless world opens up an underlying vulnerability. “I’ve stolen all the stars to make a wish we can fly” is a hopelessly romantic line and yet still shows a willingness by Wigmore to take what she wants, when she wants it. Musically, Gravel And Wine mostly delivers a honky tonk saloon style of rock’n’roll that helps elevate Wigmore’s sass. Of course one can expect this kind of thing when recording in the US Deep South. Gravel And Wine plays as reckless, joyful and heartfelt. With Western themes and Southern charm, this may be the record that sees Gin Wigmore inevitably adopted as our own.
For their first foray into covers albums, Underwater Sunshine is a fun listen that will be a hit with any Counting Crows fan. Helen Lear
Once upon a time it was enough to be a singer in a rock’n’roll guitar band – albeit a brilliant one. So he became a cartoon character. Now, Mr Albarn is composing pop operas for arts festivals. This one based on John Dee, Elizabethan doctor and man of mystery and science and magic and stuff. You can find out more about him in the Alan Moore comic/graphic novel of his life. Really. While that’s all a bit complex, this song quietly swings and chats at you while doing a bit of character exposition. You may decide you need more.
Despite significant personnel change, Equilibrium very much sounds like the same band who unleashed underappreciated, metalcore-tinged melodic thrash gems like 2004’s Gone Forever. Ex-Himsa guitarist Matt Wicklund adds a few new flavours, while fellow axeman Doc Coyle attempts to compensate for his brother’s absence, via less-than-stellar, albeit enthusiastic clean parts. Doc and his sibling had an undeniable musical connection, but he also has chemistry with Wicklund. Furiously heavy rhythms lay the foundation for Overcome’s emotionallycharged leads, evoking classic metal sensibilities. Is the record the unqualified success they so desperately required? No, but it’s another solid effort. Kicking off in typical fashion, the hook-laden aggression of Don’t Tell Me What To Dream and My Rebirth still pack a sizeable punch. Closer, Where We Come From, offers many visceral thrills, and Scraping The Walls an anthemic chorus. Although the arrangements are more concise, the greater reliance on formula (especially cleanly sung choruses) can wear a tad thin. After a few uncertain years, perhaps the album title is a message that they’ve regained their sense of balance. Equilibrium is more than a mere transitional record, but likely won’t boost God Forbid’s profile too much. Brendan Crabb
JOB FOR A COWBOY
This second album from Carty is an acoustic foray into the world of indie folk and personal musings. The whimsical nature of these songs highlights the album’s strengths and weaknesses using a sense of humour to keep things in check. Carty is happy to sing about the nuances of the Melbourne indie fashion scene or as readily about why a girlfriend left him. Fortunately his persona sees the dark side of relationships with his tongue in his cheek.
Credibility is a difficult proposition within death metal; the wrong haircut or a breakdown somewhere and kiss it goodbye quicker than you can growl “Suffocation!” Some aficionados will likely never forgive one-time MySpace pin-up stars Job For A Cowboy for the SpongeBobfuelled deathcore of 2005 debut EP, Doom. Quick to distance themselves from such trends via well-received, if somewhat derivative full-lengths, they’ve become a largely accepted, if not wholly embraced part of the extreme music landscape. Album number three should eradicate any lingering doubts about the American crew’s death metal credentials. Frontman Jonny Davy remains the only personnel link to ‘core origins, the lineup now boasting Tony Sannicandro (guitars) and Cephalic Carnage bassist Nick Schendzielos. Irrespective, they sound tighter and more aggressive – and importantly, more like themselves – although overall, the hooks are a tad less catchy. Children Of Deceit comes roaring out of the gate through their fastest, most pummelling blast-beats yet, within a cavalcade of frantic riffing and guttural vocals. Lead work is also more prominent; The Deity Misconception, Tongueless And Bound and doom-laden Tarnished Gluttony among the most tasteful, deftly-placed moments. Jason Suecof’s layered and sinister production is punchier than three rounds with Wanderlei Silva. It’s been suggested a death metal bassist is like a football referee; they’re doing their job best when no one notices them. Unlike numerous records of this ilk the bass is audible and crisp, and Demonocracy the better for it. While more memorable parts would have been desirable, many genre fans have wanted to buy into Job For A Cowboy’s schtick for a while. They should now be shelling out their proverbial hard-earned.
“If you can’t handle my worst, You ain’t getting my best,” says Nicki Minaj in Marilyn Monroe. As the hook fades out one can almost hear the groans of a generation of young men doomed to date women who think this way. It’s a neat microcosm for this album though. On it we see moments where Minaj soars above almost any other rapper out. She sounds monstrous, hungry, slavering for the next beat to crush. At other times she’s clearly angling for the next huge single to follow Superbass, the enormously successful post-script to her debut album.
Break Your Own Heart
I must admit I’m not a fan of the lo-fi acoustic solo artist in general, but at times Carty does go beyond the expected. The best songs here include She Loves Me and A Master Of All Things. The latter wouldn’t be out of place on an Indigo Girls album or on a traditional folk artist’s album. At the other end of the spectrum there’s the flawed She’s Got A Boyfriend, which becomes all too familiar. The jovial nature of the track is annoying and contrived. Everything, Unhappily survives a similar problem by rising above the mundane with a brilliant vocal take. Together with Leroy Lee’s guitar motifs it’s the obvious radio track on the album. The hangover from Lisa Mitchell’s close mic technique is evident on Carty’s album as he often sings in a minimal manner that is at times too gentle. There is no doubt Carty is a talent with a nice turn of phrase and you can hear the joy he brings to the table. Perhaps he should concentrate on breaking some other hearts next time around. Sebastian Skeet
Brendan Crabb 40 • THE DRUM MEDIA
Pink Friday: Roman Reloaded
The switch back and forth between dynamic emcee and B-grade Madonna clone is tangible. The former dominates the early stages of the album. Roman Holiday is gloriously disorganised: great raps, terrible English accents and a brief rendition of Come All Ye Faithful. Come On A Cone is mixtape braggadocio par excellence. When’s the last time you heard a woman threaten to “Put [her] dick in your face”? Then, all of a sudden, Starships – a Taio Cruz bite – drops and the album changes tack for the worse. Next is Pound The Alarm and the album’s Taio Cruz song is followed by the album’s Pitbull song. Somehow it only gets worse from there. “I am the female Weezy,” says Minaj at the end of Stupid Hoes. It’s a revealing line. For an artist who burst onto the scene as a beacon of hope, messages like this one are a disappointment. We get a little of her best on this album, for sure, but we get a whole lot of Minaj’s worst too. James d’Apice
Ultimately, Monument develops on the band’s now established rock-a-delic sound. Mackay’s lyrics often invoke otherworldly imagery, exploring cosmic concepts while the outer atmospheric music floats through the void of space, bouncing its signal off distant planets and echoing back through your speakers. The Melburnians have continued to mature as songwriters and after three records have established their niche both sonically and physically within the Australian rock scene. Children Collide have created a record that is deeply embedded in their identity while also expanding the possibilities of their music. Monument is sure to grip existing fans while also causing new listeners to gravitate towards them.
Oberhofer bring a smorgasbord of pop rock tunes to the table in their debut release, Time Capsule II. The primary songwriter, Brad Oberhofer, wears his heart on his sleeve, as he writes about those feelings of particular moments, from a magical time spent with a first love (Gold) to saying goodbye to that love (Away Frm U). The Brooklynites introduce you to the soundtrack of these stories with the prettily composed opener, Hearts, embellished with appealing musical motifs created by glockenspiels and dramatic fluttering piano. The subtleties are definitely worth noting and in particular, the brief accordion additions throughout, and the outro, which is reminiscent of 1920s carousel/circus music. However, don’t be fooled by this first taste, as the rest of the album goes in various tangents.
Now roughly onto album number seven (argue, purists, over whether the best of and live ones count), Rufus Wainwright offers the divine Out Of The Game, produced by Mark Ronson. It’s a return to the personal, playful and the ‘just because he can’ musically unusual and simply gorgeous.
From here on, listeners get a load of jangly guitar rock reminiscent of early high school era rock bands, with a much heavier attitude that will no doubt hastily lose the interest of those listeners intrigued by the magic of the opening track. Unfortunately for this four-piece, the recycling of musical motifs – in particular, the overload of obtrusive ‘oohing’, ‘woahing’ and ‘woa-woa-woahing’ in most tracks, including oOoO – has led to an unchallenging and boring album. Oberhofer have definitely thrown the ‘less is more’ formula out of the window with regards the use of ‘oohing’. Luckily, the gorgeous subtleties return with wobbly synths that throw themselves in and our of Yr Face – the chorus of this track sounding a little too similar to Snow Patrol’s Chasing Cars, only with more rhythmic drive – and it is these subtleties that Oberhofer know how to do well.
Beyond this, Wainwright also gives a nod to his new daughter – Viva Katherine – and late mother – Katherine McGarrigle – with Montauk. He uses an almost ‘80s synth pop approach for his partner’s ode, Perfect Man, and also sings to an unidentifiable but clearly worthy muse in Song Of You (think along the lines of the sweetness of Elton John’s Your Song, before it was done to death). Particular kudos here too to an as-yet unnamed mystery vocalist on Rashida, who offers a scream/sing outro that steals the show in the same way Clare Torry stole Pink Floyd’s The Great Gig In The Sky, and also to the decision to include bagpipes, for no reason other than they’re the equivalent of musical tightrope walking, to closing track, Candles.
Out Of The Game
Length: 12 songs, 44 minutes Moods: Energetic, spacious, mellow
From the opening capo-adjusted EQ pedal-effected bass line of The Flat Earth to the closing tremolo picking of Tired Eyes, Children Collide’s third record, Monument, is a sprawling voyage of psychedelic eeriness and galactic motifs. Singles, Sword To A Gunfight and Cherries, provide a strong dose of rock to get things started and help fans become reacquainted with Children Collide’s more radio-friendly music. But it’s on less overtly assertive tracks that Monument really finds its stride. Ripe and somewhat mellow songs, Black Lemon and Praying For Sunshine, really open up the record, creating a spacious environment and allowing the various guitar effects and singer Jason Mackay’s voice to have a richer impact. The vigorous Prussian Blue pays homage to both Nick Cave’s Shivers and Phil Collins Sussudio via its opening line, “I’ve been contemplating su-su-sussudio”, a nice touch considering frontman Mackay’s involvement in triple j’s Straight To You tribute to Nick Cave. Meanwhile, Summer Assassin sounds almost Kasabianlike during the softer moments of Velociraptor. The record fluctuates between Children Collide’s customary high-energy songs and these less jarring counterparts, re-engaging the listener with each momentum shift.
DID YOU KNOW?
During the making Dof Monument, the band bunkered downVin their hometown Melbourne, following the extensive run of touring on the back of 2010 album, Theory Of Everything.
The title track provides the opener, and a return to a more ‘contemporary’ style after Wainwright’s last effort with song cycles and Shakespeare on All The Days Are Nights (2010), but it also happily lets Wainwright proclaim himself an old fart (hence lines about the pretty young things still out in ‘the game’, where he asks, sweetly, “Does your mamma know what you’re doing?”).
Time Capsules II
“With the last two albums,” Crawley says, “it seemed like they were songs that had been lying around, and it was a real cross-section of us, throwing what we thought were the good songs together. This time, it’s more cohesive.” Mackay also points out, “The last one was recorded in five studios over four countries: LA, Spain, London, here (Australia)… this one’s in Collingwood.” The band reconvened and settled into the studio Red Door Sounds in the familiar surrounds of Collingwood with their long-time producer Paul ‘Woody’ Annison. Children Collide’s fourth drummer, Ryan Ceasar, left the band only months before the release of this album, back in February of this year. Caesar had joined the band in 2007 and his relationship with singer Johnny Mackay had reportedly soured to the point where “touring as a unit is no longer pleasant”.
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THE DRUM MEDIA • 41
WILD RIDE Majestic Film Australia and Metal Warriors Pty. Ltd., in collaboration with their Hollywood partners at Morphius Film have announced they’ll be producing a documentary-style feature length movie highlighting the journey of a young heavy metal band from Melbourne called Mystery. A film crew will follow these four devoted young musicians aged 14 and 15 years of age through their trials and tribulations across the globe on their first world tour, starting in Bucharest, Romania. Their first international show will be at the huge OST FEST, which also sees Manowar, Megadeath, Europe, Motley Crue, W.A.S.P. and more performing.
INTERGALACTIC BANG Metalocalypse co-creator, Brendon Small, along with GuitarSquid.com have unveiled a second track from Small’s new side project, Brendon Small’s Galaktikon. The new album, A High Stakes Intergalactic Extreme Rock Album, is set to drop Tuesday 24 April. The track, Dangertits, is the only instrumental track on the album. The release of the album is slated to coincide with the Season Four premier of Metalocalypse Sunday 29 at 12.15am (ET/ PT) on Adult Swim. As the Metalocalypse co-creater, Small is also responsible for writing and performing all of the music on the animated show. If you aren’t familiar with it, head over to www.adultswim.com to watch episodes from Season One.
SCREAM-TONE Phil Anselmo from Pantera, who is known as heavy metal’s most notorious vocalist, has released ten individual ringtones featuring his voice, ranging from hilarious to seriously bad arse. “Grab one of my new ‘Craptastic’ ringtones and be the first one on your block to be full of it,” Anselmo is quoted as saying. No word on an Australian release of these ringtones as yet, but keep an ear out!
ITALIAN REBELLION Sedition, the latest offering from Italian death metal quartet, Hour of Penance, will be available in Australia via Rocket distribution as of Friday 20 April. This is the band’s fifth studio album but their debut release on Prosthetic Records, and overall promises some seriously punishing death metal.
CREATING A STORM
Melbourne five-piece, House Vs Hurricane, are currently in New Jersey recording their second album with producer Machine (The Amity Affliction, Every Time I Die, Four Year Strong). The followup, obviously, to their debut album, Perspectives, released in 2010, the new album, Crooked Teeth, will drop on Friday 29 June via UNFD, with international release plans also in the works. The album will be the first record with new frontman Dan Casey, who joined the band in December last year. “Dan is absolutely killing it, we are siked on each others ideas, and vocally you can expect the strongest HVH record yet,” said ungrammatical clean vocalist/ guitarist Ryan McLerie. The first teaser from the recording is online on UNFD’s YouTube Channel.
MentalGIANTS are offering their debut five-track EP, Pop-a-Mono, for free via their Bandcamp page at mental-giants.bandcamp.com. The four-piece recorded with B2 (Bad Day Down) at Opus Den Studios, West Westside Music then mastering it. The band are also working on a debut full-length, already mostly written and due for release towards the end of the year.
Green Day have posted a brand new studio video that answers the question: Why are they releasing three albums over a series of months? The albums - ¡Uno! to be released Tuesday 25 September, ¡Dos! on Tuesday 13 November and ¡Tré! on Tuesday 15 January next year - will be the first new material from the band since 2009’s 21st Century Breakdown. They’ve been working again with longtime producer Rob Cavallo. To watch the video, head over to http:// www.youtube.com/watch?v=mYTmNrBHUhE&featur e=player_embedded.
The new album from Baroness, Yellow & Green, is due Tuesday 17 July and was produced by John Congleton. “We spent the entirety of the past year dedicating ourselves to the new album. Without the break from touring and the time we took to rest and reflect, we would have been entirely unable to write this new record. We have become re-inspired. Now it’s time to get back out on the road…,” said frontman John Baizley. 42 • THE DRUM MEDIA
THE HEAVY SHIT
As Nails, Skuldugory, Kiss Me!, Room 13, Realigning Alice and Heartbreaker all battling it out. Watch it for just five bucks.
If you haven’t already heard it yet, stop reading my bullshit and go online right now. Of course I’m talking about the ‘new’ Pantera song, titled Piss. It’s an unreleased B-side from 1992’s Vulgar sessions and even though it has a riff that features in Using My Third Arm, off Far Beyond Driven, it still kicks arse over 95 per cent of the stuff released since. One can only imagine how reunion shows would’ve gone off if the inevitable didn’t happen. German prog masters, The Ocean, have been trying to get here for years and finally they’re coming. With genre-defying releases that weave between posthardcore, progressive rock, metal, doom, post-rock and ambient experimentations, it’s next to impossible to pin the band down to one specific genre. But, if you like Neurosis, Isis, Baroness, Cult Of Luna and the like, you’ll love these guys. Their main Sydney show is at The Annandale on Wednesday 23 May along with Lo!, and on Friday 25 at Hermann’s Bar it’s The Ocean side projects Coilguns and K U N Z as well as DJ sets by band members. Brisbane’s Nuclear Summer is playing also. Merch is king, especially at gigs since, you know, there are basically only one or two places to actually buy it locally these days. If you’re in a band and looking for new ideas, The Audio Army are now producing custom iPhone cases. If you’re interested, hit up Isaac at I.firstname.lastname@example.org The Metal Matt Show Episode 7 is now on the Tube. This EP features Rick Rozz of Massacre (and The Riff album), Sybreed have a chat, the new vids from Nekrofiest and Ouroboros get a run and The Poor’s Skenie and Aggressa’s Craig speak more about The Riff. There’s a blast from the past too with Alchemist! The very busy shred master that is Stu Marshall will unleash the new Empires Of Eden album, Channelling The Infinite, on Wednesday 6 June. It’s packed full of guest vocalists like UDO, Rob Rock, Mike Dimeo, Steve Grimmett, Sean Peck, Carlos Zema, Vo Simpson and more. Each song has been tailored to each singer’s unique style and they also wrote their own lyrics. Hail democracy! Sydney trio, Platinum Brunette just released their super catchy rock’n’roll newie, Irritable Vowel Syndrome. Look it up on iTunes or via their own site
METAL AND HARD ROCK WITH CHRIS MARIC
If you find yourself up the coast and want more punk than rock, then my old, old buddies in Frenzal Rhomb will be at The Entrance Leagues at Bateau Bay.
PANTERA. PIC: TONY MOTT directly. To get a taste, look up the clip for My Kinda Girl, which is a homage to Robert Palmer which, sadly, anyone under 30 isn’t really going to get.
Week three into a five-week stint upstairs at The Sando is the one and only Michele Madden. Five weeks! Lucky she knows a lot of Ramones songs eh! She’s roping in all her mates and heroes which, over the weeks and not at all the one show, include, Hy-Test, Blackie and Keish of Hard Ons fame, Marcus DePasquale from Looking Glass, Morgana from Nitocris and more. They will be playing their own songs and their faves. Tonight’s special guest is Steve Lucas from the legendary X. Doors are from 8pm and it would be ten bucks well spent. The room has to be seen to be believed!
Sunset Riot are just about to wrap up their 22-date tour, which started way back in mid-February, with a show at The Annandale tonight.
Okay listen up Snoochie boochies, Jay & Silent Bob will be taking over the Enmore Theatre tonight. The Clit Master and his offsider have been in so many cult films of my late teenage/early twenties it’s scary. I’ll always remember when Clerks came out – kinda defined my uni years haha. Top Note at The Penrith Hotel will be hosting Heat Four of their band comp tonight with Hard
WAKE THE DEAD
Speaking of Steve Lucas, the man who has kept the X legacy alive is doing one more round of shows and will then put the band to rest. Say goodbye once at Stones – Manly Fisho’s tonight along with Chickenstones and Young Docteurs and then say goodbye a second and final time on Saturday at The Square on the corner of George and Hay St in the city with Queen of Swords, Bunt, 77 Sunset Strippers and the Stamp Out Disco DJs. The shows are both $15.
SATURDAY The acoustic instore appearance is an endangered species, so it’s good to see them still happen from time to time. Toy Boats will be at Resist Records from 4pm for free to plug their new EP, Diamond Teeth. If you buy it on the day you’ll get a limited hand-numbered screenprinted poster – score! Out west, SWR FM will be holding the Small Day In live radio gig from noon till 5pm. It’s a drug and alcohol free event at Blacktown Showgrounds and features Halfwait, Modern Murder, Equal Army, Arrowhead and Urban Stone. Want more acoustic? Venom has you covered with As Angels Bleed, featuring the very lovely Ms Avelina De Moray on vocals. They will be playing prior to the announcement of the finalists for Miss Alternative. Expect original stuff plus some great covers of NIN, Manson and Type O. Joining them will be Oliver from Our Last Enemy.
SUNDAY Down at The Stag, it’s the first monthly session of The Howl & Moan featuring Earth To Audio, Papa Pilko & The Bin Rats, Mother Brody, The Shady Expedition and The Pierce Brothers. email@example.com
PUNK AND HARDCORE WITH SARAH PETCHELL
WHAT A WEEK!!! This week has seen some of biggest announcements in a long time and I don’t know how I’m going to squeeze them all into my word limit. From the announcement that Hardcore 2012 is returning, to one of my favourite bands of 2011 touring the country, US festival announcements a plenty (which I knew a few of you are heading along to) and details for the new Parkway Drive DVD, which I think is going to blow minds. So let’s get straight into it… One of my favourite releases and favourite new bands of 2011 was Basement. Their debut full-length, I Wish I Could Stay Here, had a definite place in my top 10 of the year, with their solid blend of everything I love about punk, hardcore and ‘90s emo. But I think the thing that I liked the most about them was just their ability to be able to transcend genres: they play shows with all types of bands and appeal to a wide variety of people. The UK band are heading to Australia for the very first time this June/July and trailing along with them will be Sydney’s own up-and-comers, Endless Heights. Their debut EP, Dream Strong, saw them start to turn heads across the country when released last year, and a strong work ethic has seen their fanbase grow. Anyway, there are three shows in and around Sydney, with unfortunately no Central Coast or Canberra shows (sorry guys, you’ll have to travel). On Saturday 30 June, there’ll be an 18+ show at the Bald Faced Stag, with an all ages afternoon show at the same venue on Sunday 1 July. Then on Monday 2, there’ll be an 18+ show at Yours & Owls in Wollongong. Tickets are on sale now. The annual two-day hardcore festival presented by two of Australia’s premier labels IS BACK! After taking a bit of a break in 2011, Resist and Trial & Error are presenting Hardcore 2012 this July, and the lineup for both the 18+ and the all ages shows ARE INSANE! So it’s taking place over the weekend of Saturday 7 and Sunday 8 July at The Hi-Fi in Sydney (formerly The Forum, opposite the Hordern) and tickets are on sale now, so you’re going to have to nab them quickly as it’s guaranteed to sell out. This lineup is why… On Saturday, there’s the 18+ show headlined by Terror with Mindsnare, Ceremony, Miles Away, Break Even and I Exist playing. Then at the all ages, all day event on Sunday, there’s Terror, Ceremony, Break Even, Miles Away, Extortion, Iron Mind, Warbrain, Vigilante, Survival and Civil War bringing together the old and the new. This is the first time
PARKWAY DRIVE Ceremony have toured in quite a few years and with two albums released between then and now, it will definitely be an interesting set from them. But most importantly, aside from a hometown Perth show, these are the last shows that Break Even will be playing on the East Coast. Travel if you have to, but Hardcore weekend is going to be amazing and there’s no excuse to miss out.
Burn Low, Comeback Kid, Creatures, Dead End Path, Everything Went Black, Focused Minds, H2O, Harness, Holy Fever, Ill Intent, Night Birds, Piece By Piece, Retaliate, Rotting Out, Single Mothers, Suburban Scum, Terror, The Mongoloids and Touche Amore. If you’re planning on heading to the US for this one, tickets are on sale now.
It has been talked about for a while, but Parkway Drive are releasing a new DVD in the next few months and last week a sneaky trailer was posted online giving fans and all other interested parties a peek at what it’s going to be all about. Called Home Is For The Heartless, the 75-minute DVD is part band bio, part travelogue and definitely an in-depth look at PWD both on the stage and off. If you think about what Parkway Drive have been up to over the last couple of years, then you know how special this DVD is going to be. They’ve toured at least 42 countries, played some of the most remote places for a band to tour (I mean, they played Calcutta in India!) and have also played some of the most mental shows ever. In the last issue of No Heroes, Winston talked in a bit more detail about some of these experiences, so check out the interview if you want a bit more information. In the meantime, there isn’t a solid release date but as soon as I have that information, I’ll let all you guys know.
As for Fest 11, the lineup is huge so I’m not going to list them all, but some of my highlights are A Wilhelm Scream, Melbourne’s own Anchors, AntiFlag, Baroness, Braid, Burning Love, Cheap Girls, Coliseum, Frank Turner, Heartsounds, Into It Over It, Lagwagon, Lemuria, Make Do & Mend, Piano Become The Teeth, Polar Bear Club, Red Fang, Seahaven, Soul Control and the brilliant The Smith Street Band (also from Melbourne).
Mid-year seems to be pilgrimage time for a lot of Australian hardcore fans as they head to the US for a bunch of festivals. Last week there were a few big lineup announcements for the Sound & Fury Fest in California in July, and the Fest 11 lineup in Florida in October. For Sound & Fury, the lineup consists of Alpha & Omega, Bane, Basement, Black Breath, Blacklisted,
Last up for this week, there are a whole bunch of shows happening this week that you should aim to head along to. On Friday 20 April (what a busy night!) Hoodlum Shouts, Marathon, Life & Limb and Ramps will be playing at Blackwire Records, while August Burns Red, Blessthefall and Northlane hit up The Metro. On Saturday 21 (RECORD STORE DAY!!!!) as well as heading along to either Resist Records, Beatdisc Records or Landspeed Records to pick up your limited I Exist Record/Resist 7”, you should also head to Resist Records at 4pm to see the Toy Boats instore acoustic gig that I mentioned last week. Then later that night, at the Bald Faced Stag, Hoodlum Shouts will be playing an 18+ show with Lo!, Gay Paris and more. firstname.lastname@example.org
BEBOP & ROCKSTEADY Addison Groove’s debut LP, Transistor Rhythm, has split fans and critics right down the middle. Appearing now on Monkeytown offshoot 50 Weapons, whose last longplayer was the brilliant They! Live, from Benjamin Damage and Doc Daneeka, Transistor Rhythm eschews many of the tempos that made AG so popular and instead goes for a more straightahead general electronica style that leans on classic 808 drum sounds but still with the same choppy syncopation. Gone are the obscure and twisted samples; indeed the catchy and twisted ‘footcrab’ sample that made him popular has been replaced by chopped-up snippets of vocals by Spank Rock and a hook from Dr Buzzard’s Original Savannah Band, which was most recently used by M.I.A. (and of course, most famously by A Tribe Called Quest). Going for a more commercial angle is by no means a bad thing, and it’s far from the next Calvin Harris album, but perhaps Transistor Rhythm is another example of how the dubstep community of old is trying to distance itself from that genre nowadays. There’s a wealth of great material to find on the record and the hypnotic, deep synth lines he’s known for are to be found aplenty on Transistor Rhythm. It’s either going to be rinsed out in two months and completely forgotten, or hold up as a trusty companion next to your Chemical Brothers albums in years to come: time will tell. Recent visitor Moodyman is the last person you’d expect to do a free product endorsed EP, but times are tough and when even overpriced vinyl-only singles can’t make you a buck, you might as well go all the way down the road of endorsement. Following his Billie Holiday remix for Rockstar’s LA Noire Verve remixed companion (which was actually pretty good), he’s just dropped a new eight track EP for Scion AV (following recent releases by Dam Funk, Skream And Benga and Danny Brown) called Picture This and kudos must go to the man for giving it his all. Quite often, artists turn in throwaway efforts, but Scion seem to have a high level of quality control over their last few releases and Picture This is no different. Starting off with some pretty chunky house and techno, KDJ smooths it out at the tail end and goes for some bedroom jazz-house, which makes for one satisfying listen from start to finish. Impressive! Staying in Detroit, KDJ’s sometimes cohort Andres, aka Dez, also has a new EP. New For U is out now on La Vida and is another example of how quality loops and
LEFTFIELD ELECTRONICA AND FUTURE SOUL WITH HUWSTON
THE VIEW FROM EC4 WITH JAMES MCGALLIARD
“Why don’t you write about how Australia looks from a British viewpoint?” asks the editor when he hears that I will be spending nearly a month back in Australia. This feels like a weird reversal as when Inpress first approached me to do a monthly column back in 2003, its aim was to give an Australian slant on life, music and culture in the British capital. In this switch of viewpoint an old question arises – does travel really broaden the mind, or just allow us to condense the world into a vision that it’s possible to analyse?
ADDISON GROOVE mid-fi production can do the trick just as well as fancy bells and whistles and studio trickery can. It’s all very recognisable without going into cheese territory and has a distinct mid-’90s feel to it, making records like St Germain’s Boulevard (once thought to be left to die a café death) sound relevant again. Finally, perhaps wishing he was from Detroit, Mr Beatnick has a new EP out on Don’t Be Afraid and it is one of the nicest slices of deep house and techno heard in ages. With slight Drexciya leanings, Sun Goddess is a must for anyone who liked that Other People Place LP on Warp about ten years ago. In a style that might later be coined ‘breakfast techno,’ Mr Beatnick employs the most lush synthesisers and subtle bass lines to create some of the warmest electronic music out there at the moment. Previously a hip hop/beat stalwart, this new direction suits him to a tee and more of this sort of stuff would be more than welcome over here in this camp! email@example.com
Certainly if someone mentions Camberwell, I’ll think of both the well-to-do inner east of Melbourne as well as the grimy southern reaches of London. But perhaps the biggest contrast between my two adult worlds came within an hour of landing at Tullamarine. A friend kindly offered to pick me up from the airport, and somehow between the payment machine and the exit gate the parking ticket she’d just paid $20 for was mislaid. A thorough search of the car proved fruitless – there was no option but to go back to the payment office. I thought we’d need to drive back; I mean it wouldn’t be safe to leave anything in a parked car (even by a staffed exit). In less than the five minutes we would be away from the car its windows would have been smashed and its contents cleaned out – if we were in London I said. “This isn’t London” I was gently reminded; it would be fine, and she was right. It took a while to realise that while this was nowhere near a world where you could leave your doors unlocked, it was also somewhere where nasty things were perhaps less likely perhaps to happen. One where actually daring to meet someone’s eyes isn’t necessarily taken as a challenge (“What are you looking at?”). Then again, I had also forgotten the great Aussie welcome – yelling out abuse at passers-by from car windows (“You pooftah!”). Other customs may be even more baffling to an outsider, like how the price of a beer seems to vary depending on the time of day, or even the day of the week. And while what’s considered normal lighting on an Australian suburban side street would be so dark as to be considered a risk in London, it was so nice to be able to see stars again. I suppose from that ‘British viewpoint’, the most shocking aspect of Australia in 2012 is the cost of living, particularly food and drink. It’s not helped by the relative strength of the Aussie dollar, which by now must really be beginning to hurt
LONDON FIELDS TAKES OFF the local tourism industry. If Australia is indeed heading into a recession, it’s certainly hard to spot. One only had to look at the teeming life of its cafés and bars, and the sometimes near-frivolous spending patterns that have vanished from Britain are still booming in Australia. Some shop closures may be a worrying foreshadowing, but the overall picture is pretty positive. Sadly my holiday didn’t quite pan out as I’d hoped. Sitting on the tenth floor of a Melbourne hospital, the beauty of my home city shone through as never before; and I wished that I was seeing it under other circumstances. As the wings are currently being pulled off the NHS, I was extremely pleased to see the brilliant and dedicated nursing care provided in an Australian public hospital. Taking a break in a local bar, another friend tells me that London Fields could be described as a well-written but continuous whinge. This reminded me of an old Aussie joke about Brits. It goes something like: Q: How can you tell your flight is full of Poms? A: When the engines stop, the whining doesn’t. This is the 100th London Fields column in print and it feels that there are changes in the air beyond this month’s viewpoint reversal. Although my return to London coincided with my favourite time of the year – the garden was already full of early flowering tulips, and the hawthorn tree went from bare branches to lush foliage in a mere three days – for the first time in many years, I’m wondering if the scales of where I’d rather live haven’t tipped ever-so-slightly southwards. londonfieldscolumn.blogspot.com
AGNRA R L | AGL | A IN IN F D F AN ND R L | G GRA A | FIN L A N I F D AN
MISS BURLESQUE AUSTRALIA GRAND FINAL Saturday 21st April | 7pm - Enmore Theatre 130 Enmore Road, Newtown SYD 2024 ΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄
HE SEE T T S FIR ... R E EV
Mr.Boylesque Australia 5 contestants will battle it out for the Australian title
For more information and tickets go to: missburlesquecompetition.com themusic.com.au
THE DRUM MEDIA • 43
GET IT TOGETHER By now you may have had a chance to catch the Chasm sampler for his new album, This Is How We Never Die. Chasm makes beats for rappers, right, so it’s an album full of great beats with guest rappers on them. Albums like this are always a good opportunity to get pumped about hearing from specific people. Particularly exciting for this column is the appearance of Scott Burns, a LookUp honcho and one of our fair city’s favourite sons through the naughties. He’d been sadly quiet until releasing a free tape with Nebs late last year so it’s great to hear him back in full swing. They’re not listed in the promotional material we’ve seen but we could swear we heard the voices of Brad Strut, Delta and Lazy Grey on the Chasm sampler too. Also Vast Aire. And Guilty Simpson. We’re not publicists – and we’ve shared our gripes about that dark, unholy sect with you before – but surely these are all names that would entice a potential listener or invite a second look from a potential purchaser? Maybe not? Oh well, whatever the case, we’re excited. And Chasbot’s playing GoodGod on Saturday 5 May if you want to catch your hero live. (Live, he puts on quite a show. He doesn’t just push play either; he makes the actual beats there, right in front of you on his MPC. Exhilarating stuff, and highly recommended.) We are definitely going to ask Spit Syndicate to the prom. Do you think they’ll say yes? Do you think they’ll get us a corsage and perform a slow dance version of their verses from the 2008 classic track, One Day, arguably the best track off their debut album? We’re betting they will do both of those things and it will be a magical evening. We implore you to develop a crush on the Double S (not The SS) too. It’s a rewarding one. There are some great songs in the back catalogue and, in short order, there are some free ones on the way too. Best Intentions Part 1 was a return to form for our crush in 2011. Now, they are poised to bring us Best Intentions Part 2. We’ve heard one song from it and – truth time – it was only OK; it was them playing around with that Kimbra single. With the boys’ past successes firm in the back of our minds we’re confident the rest of the tape will be amazing though. It’ll be up for free download soon. Heart. Heart. Kiss. Hug. Yeah. Clandestein. We stop short of endorsing Clandestein. And we certainly won’t be inviting Clandestein to the prom. Gently homophobic, a little dark, but with a committed, passionate fan base they bear a sort of clumsy comparison to Odd Future (though,
HIP HOP WITH VIKTOR KRUM
On the first day (today, Tuesday 17 April) One Direction decreed that all u18s attend Seaview Street Gallery at Dulwich Hill High School for the first of many XPOZED 8 Youth Art workshops. This one is focused on poster design, and will rule, and runs from 10.30am to 1.30pm.
CHASM no doubt, they would consider OFWGKTA “faggots” or something.) Clandestein: like a more intelligent, better educated, Western Australian, more fantastic Odd Future. Hm. Maybe we’re stretching the comparison. Anyway, the fact is this: even if Clandestein do not earn a place in our hearts there are a significant number of folks around who have a deep love and appreciation for the trio of Tomohawk, Graphic and Mortar. Many of those folks have opinions on music we seriously respect. So here goes: you like Clandestein? Great! They’ve got a new album called Weapons Grade out now on iTunes. You don’t like Clandestein? Fine! Don’t buy the album then. Easy. Danny Brown is coming out and playing the Opera House as part of the Vivid Festival. Danny Brown, like many others from his Fool’s Gold clique, is genuinely exciting. He’s also a pretty untapped resource for many listeners. He’s a new, exciting voice. Or, so the counter argument goes, he’s a voice that brings echoes of a grittier past and rejects where rap’s currently at. Either way, he’s a man worth watching. Also: booking Brown shows some serious foresight from the Vivid kids. He’s just reaching a mini-peak in cultural relevance now; perfect time to book him to play. The show’s Friday 25 May in the Opera House Studio. firstname.lastname@example.org
POP CULTURE THERAPY WITH ADAM CURLEY
Compromise is often a given when it comes to pop music. We don’t really expect Madonna to release an album that says much about real life or her own personal beliefs. We don’t expect anything truly exciting to happen at the ARIA Awards or the Grammys or the Super Bowl. We don’t expect anyone to say anything that hasn’t been passed through a PR machine seeking to wash off anything likely to cause offence to anyone.
In many ways it would appear as if compromise is inherent in a genre named after an end goal to be popular. The structure of a song that is deemed a ‘pop song’ was formed long ago, based on arrangement and mood, and so anyone desiring to work within the genre to create something that is accessible to many people must adhere to its boundaries. But in reality, the definition of ‘pop music’ is changing constantly. When we talk about acts such as Madonna or Nicki Minaj or Lady Gaga, we aren’t discussing the whole of what we mean by ‘pop’, merely acts backed by big money that, as a result, have access to the lives of many people. The ‘mainstream’ of pop. We can also talk about the pop music made by a band on an independent label, or a bedroom producer, or an act that gets national noncommercial airplay and can play music festivals and sell out large venues. We understand that pop music can be many things. We use the ‘feel test’ to decide whether what we are hearing is pop music: if it feels like pop, then it is pop. That we feel the urge to categorise by genre is perhaps another discussion altogether – however that 44 • THE DRUM MEDIA
ALL AGES WITH DAVE DRAYTON
One Direction appear to be the new gods of music. It’s like five Justin Biebers all at once. To further acknowledge their monopoly and deity-like status, this week’s column comes to you complete with religious themes.
We hope they will. We do. But our hope has limitations. We hope that Madonna might impress within the boundaries of ‘mainstream’ pop music, that she might incorporate something half interesting into a song that is otherwise a canvas of vague slogans or that she might have a visual message to convey while enacting a relatively bland choreographed dance sequence in a video clip, as Lady Gaga has learned to do. We hope that someone might give an interesting performance at an awards show, but we find ourselves discussing Nicki Minaj’s exorcism or MIA’s middle finger with the unspoken knowledge that the discussions are only relevant within the walls of what society expects from ‘mainstream’ entertainment. These are not honest discussions about music or things that affect our lives; they are discussions about compromise.
YOUNG & RESTLESS
Seeing that the location and time frame ‘were good’ One Direction then decreed that all young women attend the second workshop, on the second day, at the same time and place, where there is a young women’s workshop focusing on designing a poster and slogans to promote a drug-safe world for young people. They also decreed that you should email email@example.com if you want more info. They also suggested that anyone not in attendance should take part in the Marrickville Amazing Race, which kicks off at 9am on Wednesday. Teams need to register before the race, at Marrickville Youth Resource Centre Jarvie Park on the day, before setting off to look for clues and travel to various destinations and landmarks around the Marrickville area. On the third day (Thursday 19), One Direction did decree that thou shalt see August Burns Red and Blessthefall playing an all ages show with The Storm Picturesque at Panthers Newcastle. On deciding that ‘it was good’ they went one step further in suggesting that all that could not attend on Thursday should do so on the following day, the fourth day, when August Burns Red and Blessthefall are joined by Shinto Katana at The Metro for an all ages show. One Direction then added that, should you not attend The Metro on Friday, you should smite yourself at Blackwire Records that same evening, where, from 7pm, at a cost of $10, thou shalt see the very best of local musical talent, with Hoodlum Shouts, Marathon, Life & Limb and Ramps all performing. Eating from the tree of knowledge, One Direction decreed that ye shall be spoiled for choice and as such also suggested you attend Shire Wide Youth Services in Menai
urge is also what has led to our current acceptance of compromise in ‘mainstream’ pop music. It has only been in the past decade that we’ve talked about the end of ‘pop’ as a ‘dirty word’, as others have appropriated the sounds and structures of pop music and done interesting things with them. Critical appreciation of pop as an ‘art form’ has increased. Nostalgia might also be at work for those who grew up with the emotional manipulation of ubiquitous media in a time of big-money pop acts. For whatever reason, there is no longer the same ‘us and them’ divide between ‘mainstream’ pop music and those looking for something more meaningful with their melody. But if the ‘us’ has become ‘we’, at one with those who rule the airwaves and the upper echelons of the charts, shouldn’t we expect more of them? It isn’t unreasonable to expect a singer in ‘mainstream’ pop to say something interesting or affecting or simply not downright insulting in her or his song. It isn’t unreasonable to expect that something more meaningful than a middle finger happens at a concert watched by millions of people, or that a pop singer might say something that has some basis in real-life thinking in an interview. It isn’t unreasonable, but we have to start thinking it’s possible and we have to stop accepting that a compromise must be made. PS. Listen to Catcall. firstname.lastname@example.org
from 6pm, for thou shalt receive performances by The Stringsmiths, Olivia McAuliffe, Fox And The Hound, SAYD and Angels Of The Tattooed Generation in return for a measly $5. On the fifth day, seeing that options were good, One Direction decided Saturday 21 should have a smorgasbord of all ages entertainment. As such Californian hardcore act Xibalba are playing alongside Melbourne’s Warbrain at The Loft, in Newcastle. Also, recent Resist Records signing Toy Boats plays a free instore arvo show from 4pm at Resist Records in Newtown to celebrate the release of debut EP, Diamond Teeth. And, with the sound knowledge that three options is better than two, One Direction also drew their disciples’ attention to Bondi Blitz, a free outdoor live music festival taking place in Dolphin Park, Bondi Beach on Saturday from 11am to 5pm. For Our Hero, Sound Of Seasons, Nine Sons Of Dan and more will be playing at the event. On the sixth day, Sunday 22, with their beautiful harmonies, One Direction pointed all in the direction of Hype Central, in Castle Hill, for they had let it be known that Scream Infamy, Flaming Wreckage, Your Weight In Gold, Obviously Your Superhero, Hide Your Hopes and Homebound & Homesick would be playing. Those who did not heed their proclamations were delivered to the Lucky Oz Tavern for an all ages serving of metal from 2pm that includes Terrorential, Dawn Of The Ages, PurEnvy, Parenthia and youngsters Blind Inside. And, on the seventh day, One Direction, seeing that the week had been good, decreed that you rest, rather than stay Up All Night. email@example.com
OG FLAVAS Santigold has declared war on the homogeneity of contemporary pop. “I hate LMFAO and David Guetta,” she rails in NME. This month the Afro-punkster will drop her long-delayed comeback, Master Of My Make Believe, led by the Ricky Blaze-helmed protest song, Disparate Youth. Santigold was originally signed to the indie Downtown Records, which released 2008’s Santogold, but the label was then absorbed into Warner. The new regime pressured her to make an album of club anthems to attract radio. It was actually suggested that she work with... RedZone. Santigold resisted bigtime. Luckily, she now has Jay-Z’s Roc Nation managing (read: defending) her. But others are simply buckling to the Euro-dance hegemony.
Madonna’s twelfth outing, MDNA, couldn’t be more generic. It’s hydrangea music! Alas, it has flopped – and dramatically. Unfortunately, any failure will be attributed to Madonna’s age – ironic when she’s currently directing her rebelliousness towards an ageist media culture. Yet Madonna trivialises herself with songs like Give Me All Your Luvin’, Nicki Minaj and MIA playing her cheerleaders. Guetta isn’t onboard, but ‘Veronica Electronica’ has hired Martin Solveig – and Benny Benassi produced Girl Gone Wild. It’s as if Madge’s teen daughter Lourdes A&Red MDNA. Somewhat disturbing is the sound effects-laden, dubsteppy minimalism of Gang Bang, Madonna’s answer to Rihanna’s (possibly justified) ‘revenge song’, Man Down – both are manifestations of a vigilante feminism (or inverted sexism). A gun-toting Madonna is presumably out to get her ex, director Guy Ritchie, whose forte, admittedly, lies in macho gangster flicks. “Die bitch!,” she shrieks. While many rightly lambast Odd Future for fetishising violence against women, Madonna has been let off the hook for her gang-banging dudes – ‘tongue-in-cheek’ or not. And is it really empowering for a woman to call a man “a bitch”? Minaj reappears on I Don’t Give A, proclaiming, “There’s only one queen – and that’s Madonna, bitch!” It’s clearly a Lady Gaga diss. Madonna is still a confused Catholic girl. But, again, going on about being a ‘sinner’ sounds quaint after RiRi’s modernised Good Girl Gone Bad. The Material Girl, isolated by fame, is oblivious to the Occupy movement (homeless brother ‘n’ all). Listen to the cynical ABBA-meets-discomeets-folk Love Spent. Madonna redeems herself with ballads like William Orbit’s ambient Falling Free and the flamenco Masterpiece – recycled from her directorial debut, WE, an attempt to reinvent (Hitler pal) Wallis Simpson. The
URBAN AND R&B NEWS BY CYCLONE
SANTIGOLD fact is that Gaga really does Madonna better than Madonna now – and she has more heart. Madonna’s manufactured ‘beef’ is backfiring. Madge can take comfort from Minaj, whose Pink Friday: Roman Reloaded is much worse than MDNA. At least Madonna has hooks. The New York femcee told MTV News that this sequel to 2010’s Pink Friday would “be important for hip hop and pop culture.” Hmmm. The album opens promisingly with the eccentric rumble of Roman Holiday. Minaj, aka Roman Zolanski, sounds like the offspring of Liza Minnelli and John Lydon. Cool. What follows is a succession of minimal hip hop grinders like Come On A Cone, on which Minaj proves how formidable an MC she is. But, by the time you reach track six, the mono Roman Reloaded, with her boss Lil Wayne, Minaj’s hardcore synth rap has become very wearing. The postmodern Barbie, who’s previously collaborated with Guetta, then suddenly goes trouse (as Tiësto calls house + trance), mostly singing. RedZone produces several samey songs, the hit, Starships, the best. There are also a few random pop numbers, from the R’n’B Right By My Side (with Chris Brown) to JR Rotem’s Marilyn Monroe, which might have been recorded by Rihanna, Katy Perry or Minaj’s tour chum Britney Spears, to the dancehall Gun Shot with Beenie Man. Minaj bites Madonna herself with Beautiful Sinner. Sadly, apart from Roman Holiday, the only worthwhile tune comes from Canadian illwaver T-Minus – the supernaturally synthesised Champion (featuring Nas, Drake and Young Jeezy). Pink Friday... is like an urban United States Of Tara – confusingly overpopulated by Minaj’s many selves. However, as with Madonna, Minaj is ultimately all about the brand: she’ll shortly launch a perfume. firstname.lastname@example.org
GOT THE BLUES BLUES AND ROOTS WITH DAN CONDON
This guy just keeps getting better. This year he was joined by a bassist and guitarist, and together they ran through a set that was awfully heavy on material from his incredible new record, Nothing’s Gonna Change The Way You Feel About Me Now. The songs on that album are so good there were no complaints from anyone about him delving into it so deeply and the silence of the sizeable audience was proof enough he’s truly one of the world’s best in his game right now.
So this is the last you’ll hear from me about Bluesfest for at least six months, I promise. But I couldn’t let the festival go without basically gushing uncontrollably about how damn good it was. To start off on something of a negative note though, numbers were down - a lot. It was quite strange seeing so much open space driving through the gates; last year the fields were lined with tents and there was just about no room to move. This is massively unfortunate for the organisers, but they can take some solace in the fact that festival attendance seems to be down almost entirely across the board at the moment. That meant there was as bit more space available for us to luxuriate in as we watched some of the world’s best go at it. And many artists really did prove to us why they’re held in such high regard. A top five is awfully hard to do, but I only have so many column inches so here goes…
and – most astonishingly – Shane MacGowan, the band’s legendary and infamous frontman, was in fantastic form. His voice was great, you could understand what he was singing (fuck knows what he was saying though) and he actually looked really happy to be there. Magic moment.
1. THE POGUES
2. BETTYE LAVETTE
Standing outside the Crossroads tent in the dying stages of a great Weddings, Parties, Anything set, I had the singular “holy shit” moment that tends to happen once a year at Bluesfest. Last year it was Dylan, the year before Crowded House. It’s that thrill at knowing you’ll be seeing one of your absolute favourite artists of all time for the very first time, an artist you, at some stage in your life, swore you’d never have the chance to see. This feeling was exacerbated enormously by the fact there was a chance The Pogues wouldn’t actually be all that good. Thankfully they well and truly surpassed all expectations I had for them; an amazing setlist, a band entirely on point
BLOW Led by acclaimed flamenco guitarist, Greg Alfonzetti, Arrebato Ensemble is redefining the world of flamenco for contemporary audiences, blending flamenco sounds and rhythms with jazz and other world music traditions. Thursday night in the Sound Lounge, they’re joined, direct from Spain, by singer Eva Piñero. Sydney sax ensemble, Compass Quartet launch their new project and album, Ode To An Auto Rickshaw, a cross-cultural collaboration with Indian musicians Sarangan Sriranganathan (sitar and vocals) and Bobby Singh (tabla) Saturday night in the Sound Lounge. Friday night sees the launch of the new album, Tra Parole e Silenzio, from Mara! and the Martenitsa Choir, an Italian song-cycle suite celebrating life’s most precious and enduring treasures – love, home, family and friends – at Red Rattler in Marrickville, the party then moving to the Illawarra Performing Arts Centre Saturday night. Congratulations to this Art Music Awards winners Brett Dean, who won Instrumental Work of the Year for Sextet, Andrea Keller the Jazz Work of the Year for Affections, and guitarist Quentin Angus was the national winner of the new Award for Excellence in Jazz, with Zubin Kanga picking up the NSW award in the Performance of the Year category.
Adam’s Garden + The Cooking Club – 505 James Valentine Quartet – Golden Sheaf Gadjo Guitars + Eddie Bronson – Camelot Lounge
JOHN FOGERTY @ BLUESFEST. PIC: LINDA HELLER-SALVADOR
I didn’t really dig LaVette’s most recent record, 2010’s Interpretations: The British Rock Songbook, so that kind of dulled my expectations. In hindsight it’s probably a great thing that it did because she absolutely blew me away with one of the most powerful soul performances I’ve seen since the great Solomon Burke all those years ago. She was awfully cheeky, complaining of a hangover the second day, and her band had just the right amount of grit and class to carry her well-worn voice perfectly.
3. JUSTIN TOWNES EARLE
Two great nights coming up to include in your diary! Saturday 28 April, Notes hosts the Best Of ‘70s Blues, recalling the halcyon days of the Sydney blues scene with a group of performers from that era, all still going strong. The evergreen Foreday Riders will be joined by the similarly ageless Bridie King, Robert Susz, Bruce Bongers and Don Hopkins. Secondly, Matraville RSL has been staging some great rockabilly shows on the second and fourth Sundays of each month. Sunday 29 April the club is going international with their first overseas outfit in the form of Austrian/Swiss rockers Mars Attacks. The lads have been together since 1998 and released a number of wellreceived albums and are renowned for their energetic live
Okay, Maceo was incredibly slick, but he was one of few artists bringing the funk this year (after last year’s cavalcade) and he didn’t disappoint. Such a well put together set with some of the most talented musicians you’re ever likely to see, including Funkadelic bassist Rodney ‘Skeet’ Curtis.
5. COLD CHISEL/JOHN FOGERTY
These two come together because I knew exactly what to expect. They both put together sets of truly classic hits that may not have been the most impressive musically (though they were certainly pretty damn good!) but were a whole lot of fun to watch. Both Chisel and Fogerty might be getting on in years, but they both have their shit together in a big way and are delivering genuinely stunning performances. And how about those singalongs… Until next year, Bluesfest.
You went through a rough patch in 2010/2011 recovering from an injury. What’s the best thing about being back? Still being able to play guitar at the same level is probably the best thing. I had a really narrow escape there and it helped me put a lot of things into perspective. I don’t take music for granted now, so any time I get to play, I really try to give it a good shake. What’s been the most challenging in the making of your second album, Jefferson Blues? Finding the time! I had to squeeze the writing and recording of the album in around looking after my daughter and my job. It was all written late at night at the kitchen table and recorded on Fridays after I finished work. When I listen to it I just want to nap! The album debuted at #1 on the Australian Blues and Roots Charts; was this a significant marker for you? It was just a really great feeling, and staying at #1 this month is just as great too! It’s just nice to know my music is getting heard by people. The feedback for Jefferson Blues has been really positive and that’s quite a relief! What was it about the blues world that drew you in? I always say the blues chooses you and not the other way around. It moves you or it doesn’t. I got into blues through ‘50s rock’n’roll; first time I heard Little Richard in high school I thought I was going to lose my mind.
RIPE AS A PEACH JAZZ/WORLD WITH MICHAEL SMITH
SATURDAY Tony Gorman’s Monday Club – 2pm Cockatoo Island Elixir featuring Katie Noonan – The Basement Mannins/Muller Quartet – 505 Eon Beats featuring Evelyn Duprai and Lily Dior – Blue Beat Monsieur Camembert – Camelot Lounge John Mackie & Yuki Kumagai – Well Connected Café Leichhardt Halcyon + Vox – Verbrugghen Hall
WEDNESDAY Afro Nomad – The Mac Natalie Dietz – 505
THURSDAY Sirens Big Band – The Mac Daniel Weltlinger’s Django Project – Camelot Lounge Adjective Noun – Colbourne Ave Glebe Jason Bruer Hammond Quartet – Crown Hotel Surry Hills Paul Sun Trio – Jazushi Elixir featuring Katie Noonan – Ravensthorpe Guesthouse Wollongong
FRIDAY Phil Slater Quartet – Sound Lounge Emma Pask – 505 John Mackie & Yuki Kumagai – Well Connected Café Glebe Live at the Village presents The Date Brothers with Daniel Weltlinger – Presbyterian Hall Springwood
THE SWAMP SHACK If you missed out on a ticket to last week’s Oh Brother Where Art Thou tribute at The Vanguard, the good news is that a second show has been added this Thursday. The show draws its inspiration from the much-loved Coen brothers movie of the same name and features music of the US Depression era performed by Bellyache Ben & The Steamgrass Boys and a host of special guests including Felicity Urquart, Christa Hughes, Elana Stone, Brian Campeau and George Washingmachine. Speaking of great shows, a mention must be made of Rosie Ledet’s storming zydeco performances at both Notes and Byron Bluesfest over the Easter period. Playing for the first time in Australia Rosie proved why she is the undisputed queen of the modern zyedco sound with her relentless hard-edged grooves and engaging vocals. Let’s hope we see Ledet and crew back in Australia soon.
4. MACEO PARKER
Local blues artist, PJ O’Brien, chats to Drum about his new album, Jefferson Blues. He’s playing The Empire Hotel Saturday 21 April and Beaches in Thirroul Saturday 26 May.
The Swinging Blades - Marrickville Golf Club Yuki Kumagai/John Mackie Jazz Band – 12.30pm Cronulla RSL Mic Conway’s National Junk Band – 1pm Armory Wharf Six Degrees – 1.30pm Montefiore Home Randwick Michael Griffin Quintet – Summer Hill Hotel Tahir Qawwal & Bobby Singh – Camelot Lounge Jason Bruer & Bonnie Johnson – La Bar
MONDAY Sonic Mayhem Orchestra + Ben Haptmann – Blue Beat email@example.com
ROCKABILLY/PSYCOBILLY/ALT.COUNTRY WITH PEDRO MANOY
And Wail are at the Lansdowne Hotel with Limpin’ Jimmy and the Swingin’ Kitten from 10pm with free entry.
SATURDAY THE 184.108.40.206’S shows. They’ll be joined by Sydney’s own Coope DeVille. I first had the pleasure of catching Japan’s 220.127.116.11’s at the Annandale Hotel when they toured hot on the success of their appearance in Quentin Tarantino’s Kill Bill I. Formed in 1986 the all-girl trio pump out a brand of twangy garage band pop instantly engaging and packed with their unique hip humour. Great to see they’ll be back playing the Factory Floor, the new venue at the Factory this Saturday and backing up the next night at the Enmore as guests of the Hoodoo Gurus on the Dig It Up! fest.
Alison Penney and Dave Blanken combine at the Harmonie German Club in the ACT while Blue Venom rock the Lakeview Hotel at Oak Flats. The Flamin’ Beauties play the Mortdale Hotel and the Steve Edmonds Band hit the Collaroy Services Beach Club. The popular Louisiana Roadshow takes over the the Brass Monkey. Jump Jive
The Stormy Monday program on 2MBS-FM has another big night at the Marrickville Bowlo with the Continental Blues Party and some rare blues films. Lachlan Doley, Claude Hay and Mindy & The Serpents make for an impressive bill at The Vanguard. The historic Bells Hotel in Woolloomooloo hosts Los Skeletone Blues and the Mal Eastick Band shake the Old Manly Boat Shed. There are CD launches from Mississippi Shakedown at the Brass Monkey and the PJ O’Brien Band at the Empire Hotel. Melbourne’s Working Horse Irons head up to the Station Hotel at Hamilton along with Jonny Gretsch’s Wasted Ones and the curiously named The Pool Players From Hell for a night of riotous rockabilly and psychobilly.
The El Caminos let rip at the Crossroads Hotel at Casula from 1pm while the Dave Tice Band swing the Towradgi Beach Hotel from 3pm. The Slowdowns crank it out at the Sandringham from 4pm. John Leigh Calder & Friends gather at the White Horse Hotel in Surry Hills from 5pm and the Steve Edmonds Band rock the Wickham Park Hotel from 5.30pm. Mark Lucas & The Dead Setters continue their monthly residency at Petersham Bowling Club from 6pm with special guests Chuck’s Wagon fresh from a tour of Texan honky tonks and truck stops. firstname.lastname@example.org
Katie Noonan and her jazz band, Elixir, chat to Drum about their successes so far and their shows Thursday 19 April at the Guesthouse & Restaurant in Wollongong and Saturday 21 at The Basement. First Seed Ripening debuted at #1 on the ARIA Jazz Chart, where it stayed for nine weeks, and then took out the 2011 ARIA Award. Does it make for one of the top three moments for the band? Yeah! It was a wonderful sense of reward for us in a couple of ways. The chart is wonderful in that means this special project of ours has translated into other people’s lives – the ultimate response for a musician. And the ARIA Award was the icing on the cake. We just wanted to make the best album we could, make music that was gentle and intimate. Your first record was released in 2003, the second in 2011. Should we anticipate another long wait for your next record? Hmm I tend to follow my muse with my music and that takes me in and out different worlds. I just try to follow my instinct as much as possible. I am working on a song cycle about female convicts at the moment, which has shades of folk, bluegrass and classical, then recording and touring with classical guitarist Karin Schaupp with a project celebrating Aus/NZ composers later this year – so this year is already pretty chockers! This is the second national run for the album. Do the tracks evolve much playing them live so often? Yeah, they evolve a lot and every gig is different – the room, the audience, our day – everything informs our live music
Hamish Davidson of three-time Golden Guitarwinning bluegrass act, The Davidson Brothers, chats to Drum about bucket lists and touring. They play Notes Friday 20 April and the Italo Australian Club in Canberr Saturday 21. 2012 has already seen you boys win the Fender Instrumental Of The Year at the Australian Country Music Awards as well as a couple of others. Are awards something you dreamed of as a kid and what’s next on the bucket list? Awards aren’t really on the radar until you start recording, but we were certainly drawn to talent quests with cash prizes. It was a means to buy new and better instruments (I bought my first banjo in 1996 with the prize money from a Celtic fiddle contest). We founded the Australian Youth Bluegrass Scholarship in 2011 and our intentions with that are to nurture young bluegrass musicians and singers, but also demonstrate the potential to become inspiring leaders on the Australian music scene. Long term, we want continue pushing our music around the world and record 100 albums like Slim Dusty did. You’ve toured with Australian country music veterans like Troy Cassar-Daley and shared stages with names such as Tommy Emmanuel, Kasey Chambers and Jimmy Barnes. What’s it like to know you’re now on par with such names? It’s like a fast-track course in music business, probably more thorough and real than any university course. You learn basic things like how to be a team player, how to avoid pub brawls, when to shut your mouth, how to listen to your instincts, how to manage your health when touring, and how to make the artist you’re working for look good. THE DRUM MEDIA • 45
THIS WEEK IN
WEDNESDAY 18 Jackie Brown – directed by Quentin Tarantino and based on the Elmore Leonard novel, Rum Punch, the film follows Jackie, a stewardess with a small airline, who improves her slim earnings by transporting money. Part of AGNSW’s Postcards from LA series. Domain Theatre, 2pm and 7.15pm, repeats 22 April, 2pm and 4.30pm.
THURSDAY 19 Seth Birchall: Man Crush II – an exhibition of portraits paying homage to romantic notions of the male painter through art history. The likeness of deceased figures such as Sidney Nolan, Edvard Munch and Paul Gauguin has been represented through a systematic process of ‘doubling’. These are some of the many painters who, at some point in Birchall’s life have not only influenced the work, but whose biographies have also resonated with him. Closing today. Liverpool Street Gallery.
FRIDAY 20 Rogers Does Rogerstein – You Am I frontman Tim Rogers live on the Stables stage; mid-run of The Story Of Mary Maclane By Herself, Rodgers will perform new songs written with his long-time and enigmatic collaborator, Shel Rogerstein, inspired by their travels together. SBW Stables Theatre, 9pm.
SATURDAY 21 [Safe] – a film starring a young Julianne Moore that has been described as an intellectual horror film. A Southern Californian housewife is afflicted with an environmental illness. Directed by Todd Haynes. Part of AGNSW’s Postcards from LA series. Domain Theatre, 2pm. Andrew Herning: Felt Up – an exhibition of dolls that have been moulded of babushkas and people in Herning’s life. One Day Only, Tap Gallery 1pm.
SUNDAY 22 Art Express – a group exhibition featuring a selection of outstanding student artworks developed for 2011 HSC examination in Visual Arts. It includes a broad range of approaches and expressive forms including ceramics, drawings, graphic design, paintings and textiles and fibre, perfect for current HSC students to check out. Closing today. AGNSW The Man In Black: The Johnny Cash Story – Tex Perkins leads The Tennessee Four in a celebration of the life and times of one of the most incredible singers/songwriters, Johnny Cash. Closing night, 5:30pm. Playhouse, SOH. Sunday Forum: Every Breath – the story behind the show; a panel of guests, performers, creatives, commentators, reviewers and pundits will discuss the current show, Benedict Andrews’ Every Breath, and how it fits into the world at large. This discussion will be a fusion of the key creatives and
the process of getting this piece to stage. Belvoir St Theatre, 3pm.
ONGOING The Clock – Christian Marclay’s groundbreaking 24-hour video work, The Clock, comprising several thousand short extracts from across cinema history, each suggesting a particular time of day or referencing a specific moment, often through the appearance of a watch or clock-face. Marclay has stitched these extracts together to form a continuous visual sequence synchronised with the real time of your visit – if it’s noon you’ll be watching a scene referencing noon. Plays during the gallery’s opening hours, and for its full 24 hours on Thursdays. MCA until 3 June. Every Breath – a family under threat from what, we don’t know, hires a young security guard, Chris. He spends long hours, day and night, by the pool, watching. One by one, in their private lives of plate glass and good food, family members are drawn to Chris. A dangerous game of fantasy and privilege begins. Written and directed by Benedict Andrews, it stars John Howard, Shelly Lauman, Angie Milliken, Eloise Mignon and Dylan Young. Upstairs, Belvoir St Theatre until 29 April. Infinity – three Australian Chorographers, Graeme Murphy, Stephen Page and Gideon Obarzanek, each very different in style, have joined together to present three ballets, The Narrative of Nothing, There’s Definitely A Prince Involved and Warumuk in the Dark Night. Opera Theatre, Sydney Opera House until 25 April. Macbeth – the story of a man who happens upon three witches who predict he will soon be King. It’s a prophecy he distrusts but one that utterly seduces his wife. Peter Evans, Bell Shakespeare’s associate artistic director, fulfils a long-held ambition to collaborate with Dan Spielman in the title role, and Kate Mulvany, who plays his highly erotic wife. Drama Theatre, Sydney Opera House until 12 May. Mother India – an exhibition of video plays by Nalini Malani, a five-channel projection that explores Malani’s core political themes, drawing on her family’s experience of the partition of India and Pakistan in 1947. Addresses histories of gendered violence in India, which continue to the present day. AGNSW until 20 May. The Story Of Mary Maclane By Herself – more than 100 years ago, The Story Of Mary MacLane set America aflame. A shocking confessional from a 19 year old girl who refused to succumb to the corset-bound prudery of her age, Mary’s scandalous memoir broke all the rules – and sold over 100,000 copies. Today, Ride On Theatre’s Bojana Novakovic (actor) and Tanya Goldberg (director) bring Mary’s writings to the stage in a bold and magical ‘monologue for two’ backed with original music composed and performed by You Am I frontman Tim Rogers. SBW Stables Theatre until 12 May.
JACKIE BROWN 46 • THE DRUM MEDIA
MIXING BUSINESS WITH PLEASURE “THERE ARE A LOT OF DRUNK OLDER WOMEN IN REGIONAL AUSTRALIA THAT WANT THEIR TITS SIGNED.” NICK JARVIS TALKS TO THE WELL-GROOMED NICK MATTICK OF AUSTRALIAN COMEDY’S BEST DRESSED, SMART CASUAL. Half-brothers Nick and Ben Mattick (AKA Roger David and Fletcher Jones) are on their way to joining the great pantheon of Antipodean comedians who successfully mix music with comedy – Tim Minchin and Flight Of The Conchords to Tripod and Axis of Awesome – and they’re stamping the genre with their own dry, silly style. They were finalists in the 2008 Raw Comedy competition, which led to
a series of shows at the Melbourne International Comedy Festival – 2009’s Art vs Smart Casual, 2010’s Same Mother, Different Fathers, 2011’s The Story of Captain Entrée, and now 2012’s Broken Dreams – but it was familial banter that got them started in the first place, Nick Mattick (the one with the beard) explains: “We’re brothers so we’ve always joked around, and when we saw a comedy gala on TV we both wanted to be in it. Ben’s the guitar player so he comes up with the music and we both write the gags, and then during the performances we play around with it a bit and improvise, and then take the good stuff and cut away the chaff. After doing that a few times we have
something pretty good.” The Smart Casual style veers solidly towards the silly – songs about Stephen Hawking and Jennifer Hawkins having a son called Hawk Hawkings, cautionary tales about leaving your kids with Britney Spears or Eric Clapton (harsh, but fair), and pleas for Ellen DeGeneres to stop dancing. “We try to stay away from anything smart and focus mainly on each other’s flaws. The sort of comedy acts we like are, for instance, this guy from England Tom Basden, who’s really good. Aside from music, Ricky Gervais, Stewart Lee, The Mighty Boosh, Sam Simmons.” It’s a game plan that’s seen them
tour the length of the country with the MICF Roadshow, taking their comedy as far as Magnetic Island. “The people in northern Queensland were great. They were heaps less dumb and less racist than the rest of the country gives them credit for... Also, there are a lot of drunk older women in regional Australia that want their tits signed.” For a duo named Smart Casual, their stagewear the past four years of two check shirts, two pairs of jeans and a pair of Wayfarers is more casual than smart, but Mattick assures that’s all about to change: “We’ve matured and gone out and got ourselves some suits from Kelly Country. Why would you hire a suit for $100 when you can buy one brand new from Kelly Country for $99?” Sage advice – and the new show? “Our current show has a narrative running through it. We sing, dance and fight on stage for 50 minutes and it’s all very silly. We also open the show with a burlesque dance involving snap pants; something for everyone.” WHO: Smart Casual WHAT: Broken Dreams WHERE & WHEN: Sound Lounge, Seymour Centre Thursday 25 April to Saturday 28 as part of Sydney Comedy Festival
KILTY PLEASURES “I WAS ASKED NOT TO SAY THAT I WAS GAY. I SAID ‘I THINK THEY MIGHT PICK UP ON IT.’” SCOTTISH COMEDIAN CRAIG HILL RUNS BAZ MCALISTER THROUGH THE JOYS OF GIGGING IN SOUTHEAST ASIA. Craig Hill didn’t know he had been immortalised in wax in Madame Tussaud’s waxwork museum until a fan informed him on Facebook that his dummy was lovely – “with the baldy head and the kilt and everything.” The Scottish comedian’s trademark look was there, but he doesn’t recall getting a full-body cast or a face-fitting done. “At first I was affording myself the compliment of thinking it was Vin Diesel – but why would he be wearing a black leather kilt?” Hill laughs. “Then I realised she must
C U LT U R A L
was in case it got attacked. At the gated hotel, they checked the taxi for bombs on the way in. What part of this says ‘Welcome to my country’?”
have meant [fashion designer] Alexander McQueen. But even to think that somebody somewhere thought that I was worthy of being in Madame Tussaud’s was very flattering.” Hill has been making Australia his habitual haunt at this time of the year, popping down for Sydney Mardi Gras, then some comedy festival stints around the country. Last year, after his visit here, he popped over to Southeast Asia for a few shows. “I went to Singapore to do gigs for expats – you know, women who used to be called Patricia,” he jests.
“I was with two other comedians and we also did this little tour of Kuala Lumpur. The gig was an hour out of town and the audience had to pay more to sit in the front, so they all sat in the back. No alcohol, no interval and the pre-show music was Rod Stewart ballads. I asked if they could play something a bit more fun and they just turned it up louder. I was on the radio pushing the gig and I was asked not to say that I was gay. I said ‘I think they might pick up on it.’ Then we went to do gigs in Jakarta and it was so underground that they hadn’t announced where the gig
Hill says he’ll be rocking the “Billy Idol, White Wedding” look for his shows this year with a white kilt, but has some serious oddities in his huge collection. Last year he was presented with an orange-and-blue tartan kilt by Barrs, the makers of Scottish soft drink Irn-Bru, after doing a gig for them. “They’ve only ever made five of these, and three of them were for company executives. Now I have one, and guess who the only other person is? Kylie Minogue! It’s a beautiful kilt. They say you should wear your own family tartan – but what if it’s pish? What if you have to be bound to a mingin’ tartan you hate? You know what, it’d probably be the most controversial thing I could do now, wear a normal family tartan kilt.” WHO: Craig Hill WHAT: Blown By A Fan WHERE & WHEN: Bacardi Lounge, Factory Theatre Wednesday 25 April to Sunday 29
WITH JAMELLE WELLS Aussie actor Cate Blanchett has just finished a theatre season in Paris, playing the lead in surreal 1970s play, Gross und Klein. Written by German playwright Botho Strauss in West Berlin before the fall of the Wall, it tells the story of Lotte, who falls apart when her husband deserts her during a holiday. Directed by Benedict Andrews, this version was created by the Sydney Theatre Company. The production is now touring to Britain, Austria and Germany. Two Australian interactive projects supported by Screen Australia have won prestigious SXSW Interactive Awards. Goa Hippy Tribe, an SBS documentary about a hippy reunion in Goa, has won the film and television category, while Martin Potter and Anna Grieve’s
Big Stories, Small Towns, a documentary featuring stories by filmmakers living in remote areas has won the community category award. Founded in 1997, the awards identify the best new digital works from around the world, from mobile and tablet apps to websites and installations. They are part of a digital, film and music conference in Austin, Texas. A development programme run by the Melbourne International Comedy Festival has been a big hit in Sydney schools. Funded by Arts New South Wales, Deadly Funny Kids is a crash-course comedy workshop for Aboriginal and Torres Strait Islanders aged 13-17. As part of a pilot of the programme, workshop facilitators Matt Okine and Xavier Micheledes did trial workshops with teenagers in Port Macquarie, Kempsey and Broken Hill/Menindee last year.
City Of Sydney library staff tell us they’ve been getting good excuses during this month’s amnesty for overdue books. One is that a book was lost on a ship that sank in the Arctic Circle. The borrower said she was waiting to find out if her travel insurance would cover the cost of the book. The whereabouts of missing department store heiress and activist Juanita Nielsen has been turned into a ten-minute film by a group of young people at Woolloomooloo. Unsolved has been made in collaboration with youth workers from the Juanita Nielsen Community Centre. Nielsen fought to save historic terraces on Victoria St in the suburb, but mysteriously disappeared in 1975. It was widely accepted that she was murdered because of her anti-development stance.
A television mini-series in development, based on the best-selling novel, Vale Valhalla, will commemorate the 100th anniversary of World War I. Producer Bill Leimbach and director Jeremy Sims have been signed up by the novel’s author, Joy Chambers (wife of television executive Reg Grundy), to produce the 13-part series, Caroline’s War: Vale Valhalla. It will trace the lives of three Brisbane families from the early 1890s through to the war of 1914-1918. Aussies holidaying in Los Angeles are among tourists who have lined up to photograph the new star for The Muppets on the Hollywood Walk of Fame. It’s right outside the theatre where the recent movie was made and premiered. There are nearby stars for Muppets creator Jim Henson and Kermit the Frog.
GERMANY ON SCREEN
ANTHONY CAREW PREVIEWS THE 2012 AUDI FESTIVAL OF GERMAN FILMS. The 11th Festival of German Films kicks off this week, and amidst the obligatory commercial dross (see: Men In The City 2) there are moments of cinematic interest. Tom Tykwer is the programme’s biggest auteur and his oddball drama, Three, made in between Hollywood duties on Perfume and his forthcoming Wachowskis collaboration with the can’t-believethey’re-attempting-it adaptation of David Mitchell’s Cloud Atlas, feels, perhaps more than any of his films, like a work of auteurdom. Relishing an opportunity to shed the genre’s straitjacket, his oddball, elusive, mathematically-effected drama is a study in temporality, mortality and bisexuality that never submits to stereotype. Sleeping Sickness is Ulrich Köhler’s dramatically fierce depiction of the conflicted relationship between Africa and Europe and the traffic to-and-fro, in which aid and exploitation neatly dovetail, the spectre of pharmaceutical companies hovers over a Cameroonian hospital, and two doctors weigh up the flexibility of their morals. Colour Of The Ocean is a more message-movie take on human traffic, with the Canary Islands a cross-cultural, multilingual collision between African boat-people, German tourists and Spanish authorities told in Iñarritú-esque shades of melodrama and coincidence. Promising The Moon is a superfruity soap-opera, a twin-generation study of the ghosts of the Soviet
and stealing experiences to which they’re not yet entitled. Thanks to Roadshow Home Entertainment we’ve five copies of SLiDE on DVD to give away. For your chance to win one, head to facebook.com/ drummedia.
SHERLOCK DVD BOX SETS & SERIES 2 BLU-RAYS
THREE Baltic occupation being stirred up by the 1991 revolution. It builds towards a grand revelation pulled from a telenovella with misplaced social-crusade seriousness. If Not Us, Who is another ’60s-lovin’, newsreel-hatcheting barney with a boner for Baader-Meinhof sedition, though it dodges the rockstar clichés usually reserved for Baby Boomer radicals and paints a sad portrait of lost souls and selfdestruction. Taboo plumbs the depths of the perverse-period-piece, telling the tawdry tale of a sexy incestuous tryst between a stoned poet and obsessive pianist in an early-20th-Century Vienna rendered so dank, dark and underexposed that syphilis seems to be somehow seeping through the celluloid. Cracks In The Shell is a tawdry entrant into the charmless impressionable-young-actressgoes-crazy-whilst-methoding-outon-a-role-playing-a-crazy-character sub-genre, replete with sleazy and manipulative theatre director and bitch-faced mother; let’s call it an
F-grade Black Swan. Combat Girls tells a tale of teenaged skinhead molls in utterly adolescent shades, its big, dumb, violent soap-opera dragging me back to the painful message-movie days of the ’90s. Hell is a dirty near-future-thriller taking place in post-environmentalcollapse wastelands, a survivalhorror piece as a rag-tag ‘family’ attempt to claw out of hell and find salvation in the hills. It’s a fierce enough genre-work but the twin spectres of The Road and End Of Animal hover eternal, making Hell feel mighty minor. Hans Weingartner’s Hut In The Woods is a crappy tale of a crazy mathematician dropping out of society that actually plays the who’s-really-crazy card. Weingartner kickstarted the Jeff-Buckley-sings-Leonard-Cohen revival with The Edukators, and now we have something else to hate him for. One of the best films to ever randomly turn up at the GFF was Robert Thalheim’s study of itinerant
service-industry workers in modernday Auschwitz, And Along Came Tourists. Five years on, he returns with Westwind, a nostalgia-kissed tale of twin East German sisters on a summer camp for athletes in rural Hungary in ’88, who engage in teenaged flirtations with West German tourists that carry colossal social repercussions back ‘home’. And Summer Window may be the highlight of this year’s fest, a superlow-key, domestic-sci-fi think-piece in which a woman’s life suddenly ‘skips back’ six months, and she’s confronted by the minutiae of chance, coincidence and fate, paralysed by whether to attempt to change what’s happened or fastidiously re-enact every decision so as to return her life to where it once was.
screen, for example) and serves only to distract. In trying to give a sense of the apparatus without showing it directly half of the stage seems wasted, the action confined to one side. Anthony Hunt’s portrayal of the unspeaking condemned man is a show stealer; he is terrifying in his vacant expression and distance from human quality. As The Visitor and The Officer, Pascal Herington and Paul Goodwin-Groen offer brilliant vocal performances and have an intriguing rapport, but too often they seem to be lacking direction, forcefully filling time on stage with empty and tokenistic gestures. Until 15 April Dave Drayton
of universality. The action largely contained within a sitting room, it is a playground for the upper echelons of society where a heady concoction of entitlement and boredom begets lies and lust.
WHAT: Audi Festival of German Films WHERE & WHEN: Chauvel Cinema and Palace Norton St Wednesday 18 April to Monday 30
THEATRE R E V I E W S THE STORY OF MARY MACLANE BY HERSELF SBW Stables Theatre Based on the life of a woman who was, arguably, the world’s first self-made media personality, Bojana Novakovic’s story of Mary LacLane is a masterful, miserable, musical breath of life into the words with which MacLane made her fame. There are ditties aplenty courtesy Tim Rogers and the supremely talented Dan Witton and Andy Baylor. Rogers’ compositions embody the era; raucous, jazzy, sad and seductive. Rogers is every bit the showman, a melodramatic conductor of his fellow musicians and a great sounding board for Mary’s morose musings, the only problem being that with lyrics as witty and verbose (and central to story) as this, the energy of the band occasionally drown out the words. Their ragtag ‘improvisation’ perfectly suits the production’s illusions of being unintentionally warts and all. Novakovic is delightfully odd as Mary MacLane, a dream role since this story is as much a character piece as anything else. As theatrical conventions are observed, mocked and distorted we are presented with a production as intriguingly piecemeal and haphazard as the character’s own thoughts, and it is delicately handled by director Tanya Goldberg. Here Mary MacLane is a curiosity, one to be unpicked, unravelled, one to marvel at and be baffled by. From theatre without
this quality of intrigue, this sass and saucy storytelling, kind Devil deliver me. Until 12 May Dave Drayton
IN THE PENAL COLONY Parade Playhouse, Parade Theatres The initial image we are presented with is striking; a long, landscape window offering a voyeuristic view into a clinically and institutionally white room occupied only by a water cooler and a projector. Like the visitor who has come to this penal colony we are looking at an alien image, the inner workings of something that has an ominous presence. The string quintet set the mood – Philip Glass’ chamber opera is beautifully suffocating, quaintly anguished and full of an anxious tension that flirts repeatedly with some sense of resolution before it sweeps you off again and disorientates. Rather than adding to a sense of tension, or increasing the curiosity of ‘not-knowing’ the non-presence of the torturous apparatus that the visitor is here to see ultimately feels lazy, lacking. Black and white footage – industrial, medicinal, mechanical – at first gives a sense of the machine, but the effect quickly wears off as the footage seems less and less linked to the story on stage (what looks like an advert for critic acid flashes on
LES LIAISONS DANGEREUSES Wharf 1, Sydney Theatre Company The numerous incarnations of Pierre Choderlos de Laclos’ 18th century novel, Les Liaisons Dangereuses – productions of Christopher Hampton’s stage adaptation, Dangerous Liaisons, Cruel Intentions – have at their core seduction as sport, and director Sam Strong brings it once again to stage. Dale Ferguson’s set, with its high walls and opulent trimmings, immediately gives a sense of nonspecified wealth; contemporary, sure, but not anchored to a specific period. It, like the rest of the production, is timeless, without reaching obviously for a sense
Surrounded by excess and witticisms le Vicomte de Valmont (Hugo Weaving) and la Marquise de Merteuil (Pamela Rabe) orchestrate the manipulation and misuse of affections from and towards teenager Cecile Volanges, portrayed as beautifully naive by Geraldine Hakewill; her wonderfully white bread music teacher le Chavalier Danceny (James Mackay), and the frumpy and earnest Tourvel (Justine Clarke). Jane Harders stands out as Valmont’s sharp and sweet aunt, and Heather Mitchell is equally impressive as the well-intentioned mother of Cecile. In her struggle to seem aloof and unaffected by the pitfalls of love, Rabe has made la Marquise de Merteuil a touch too distant, too cold for empathy, and as Valmont’s charmingly debauched swagger holds so much appeal the connection between the two – their eroticisms and shared past – suffers. At times the stakes do not seem high enough, though Act II sees the seams unravelling faster as the sinister edge that Hartley Kemp’s lighting so brilliantly evokes – with its soft blues and greens and the impressive shadows on the high walls – begins to rear its head elsewhere in the production. Until 9 June Dave Drayton
The multi-award-winning super series is back with three gripping feature-length adaptations of Arthur Conan Doyle’s thrilling stories. Co-created by Steven Moffat (Doctor Who, Jekyll) and Mark Gatiss (Doctor Who, The League Of Gentlemen), Sherlock: Complete Series Two stars Benedict Cumberbatch and Martin Freeman as the detective duo Sherlock Holmes and Doctor John Watson, facing the ultimate test in three of their most famous cases; A Scandal In Belgravia, The Hounds Of Baskerville and The Reichenbach Fall. Thanks to the BBC and Roadshow Home Entertainment we’ve three copies of the Sherlock: Complete Series One & Two DVD box set, and five copies of Sherlock: Complete Series Two on Blu-ray, to give away. For your chance to win one, head to facebook.com/drummedia.
INBETWEENERS MOVIE BLU-RAY/ DIGITAL DOUBLE PLAYS Bringing The Inbetweeners back together in their first feature film, Will, Simon, Neil and Jay set off for two weeks in Malia with no parents and no teachers, armed with impossibly high hopes for the “clunge-fest” and not much else! From holiday accommodation resembling a Soviet prison block to Jay falling asleep, face-first, in an ants’ nest and Simon’s run-ins with a love rival and island bully, this is one holiday to remember... Or quickly forget. The Blu-ray edition features the writer’s cut of the film, deemed too rude for cinemas, and both DVD and Blu-ray formats boast extensive bonus content that ensure the laughs keep going long after the final credits roll! Thanks to Roadshow Home Entertainment we’ve five copies of The Inbetweeners Movie on Bluray/digital Double Play to give away. For your chance to win one, head to facebook.com/drummedia.
OUTLAND: SERIES ONE DVDS Outland is a six-part comedy series about a gay science fiction fan club and the lives, loves and neverending dramas of its five members. There’s Max, insecure and looking for love; the sexuallyadventurous, muffin-baking Andy; Rae, the moral centre and unofficial head of the group; the high-camp, high-maintenance Fab, and the wealthy but socially-inept Toby. It’s an odd and often precarious combination of personalities. Thanks to ABC DVD and Roadshow Home Entertainment we’ve five copies of Outland: Series One to give away. For your chance to win one, head to facebook.com/drummedia.
FRIDAY NIGHT DINNER DVDS From writer Robert Popper (Look Around You), Friday Night Dinner stars Simon Bird (The Inbetweeners), Tamsin Greig (Black Books), Mark Heap (Spaced), Tom Rosenthal and Paul Ritter. For the Goodman family, Friday night dinner is just like Sunday lunch: just take two days away, add on an extra course and you’ve pretty much got it. Adam and his brother, Jonny, view Friday night dinner as a necessary annoyance. Necessary because they get fed and annoying because, well, they have to spend the evening with Mum and Dad. Thanks to the BBC and Roadshow Home Entertainment we’ve five copies of Friday Night Dinner on DVD to give away. For your chance to win one, head to facebook.com/ drummedia.
RESTLESS BLU-RAYS & DVDS SLIDE DVDS SLiDE tells the outrageous and explosive story of five Brisbane teenagers smashing their way from school to adulthood. Tammy and Ed have been friends since they were five, Ed knows Luke from scouts and school, but he moves in a different crowd, and Eva is at school with them but she keeps to herself. When Scarlett arrives from Melbourne she is the catalyst that brings them all together in an unlikely friendship, as they spend their weekends at gigs in the Valley, going to parties
A powerful and emotional coming of age story, told with an honesty and originality that will leave audiences moved. In Restless, two outsiders, both shaped by the circumstances that have brought them together, forge a deep and lasting love. From director Gus van Sant, one of the most astute observers of people living life on the edge, comes a take on friendship and young love as engaging and true as it is provocative and stirring, that stars Mia Wasikowska and Henry Hooper. Thanks to Sony Pictures Home Entertainment we’ve five copies of Restless on DVD and five copies on Blu-ray to give away. For your chance to win one, head to facebook.com/ drummedia. THE DRUM MEDIA • 47
WITH BETHANY SMALL As a person with an adjective for a surname I should probably be sufficiently over the possibilities raised by when a name is also a word that means a thing, but seriously, how good is the name Thomas Demand? And it is even better in conjunction with the name John Kaldor, which it presently is via The Dailies, number 25 in the Kaldor Public Art Series. The Dailies takes up a floorful of the velvety nostalgic retrofuture of the (hey, why not add Tarkovsky to the Overlook Hotel and David Lynch references?) not much discussed Commercial Travellers’ Association Building in Martin Place, which, for three Thursday nights expands into a four-floor adventure called Parlour. I went to the first one and they actually were checking names at the door, which seems to be happening more and more at these things (?) Like, public art that requires legit bookings, actually legit booking out? Oh Sydney I am so proud of you. I am such a patronising jerk, also. Inside it is alternate reality and board games and a bartender who made a pretty jocular remark about how I had a black eye (he totally did it nicely, and it is a long story, but mainly Diet Coke x I Am No Good At Catching) and shockingly attractive volunteers directing one about the place and the vague irritant that is the fact that one actually must take an elevator up to the floor The Dailies are on and this, despite
the informative and shiny-haired volunteers, only becoming apparent to us after something of a crowded trek, and a giant project by UTS design students that makes me confirm pretty much most of what I think about UTS design students. I saw people who do art and people who do art successfully and people who are on television and people who are John Kaldor (well, fine, only one of those but I count him severally as every time I see him I struggle not to go up to him and be all “OMIGOD YOU ARE TOTALLY JOHN KALDOR” and that is hard even though I am well aware that he’s in a good position to already be apprised of that particular fact) and people who produce art in the producer/ enabler rather than productmaker sense, and I saw people who go to things they think are highly photographable [, and polysyndeton, and Oxford Comma, and et cetera unto fully-formed self-conscious parody of my own stylistic tics, etc.]. What I also saw, in another place, at the AGNSW, is that there has been a rehang of the Kaldor Family Galleries. You may not be totally surprised to hear that two Thomas Demand works have taken up a pretty prominent wall near the entrance to that section. Well and good and they are very interesting and all, but they have displaced the Jeff Koons Art Ad series works that were one of my total highlights. I Thomas Demand Thomas reparations.
WHO WILL SURVIVE IN AMERICA? FROM REVOLUTIONISING PUNK-ROCK WITH BLACK FLAG TO NARRATING NATURE DOCUMENTARIES WITH NATIONAL GEOGRAPHIC, HENRY ROLLINS HAS DONE IT ALL. “WHILE THE IRON’S HOT, I’M GOING TO SAY YES TO EVERYTHING,” HE SAYS TO MATT O’NEILL. Henry Rollins both exudes and inspires confidence. Across his career, he has demonstrated an almost inhuman obsession with personal improvement. He remains in a better state of physical and mental conditioning at age 51 than your average male at age 26. Disarmingly intelligent, he speaks with authority and good humour on politics, culture, music, literature and countless other topics. “My goal as an artist is to be clear – to get the material across,” the spoken-word artist says directly. “I can’t tell people what to do or how to react to something. They’re going to do what they’re going to do. It’s up to me to make it clear. They can do whatever they want with what I give them but at least they will know what I meant. What I don’t like is grey area. ‘You weren’t very clear about that’ – that’s a fail, in my book.” Such confidence is neither surprising nor undeserved. The past 30 years have seen Henry Rollins celebrated across more disciplines and in more capacities than most artists could so much as name. Beginning as vocalist for legendary ’80s hardcore outfit Black Flag, Rollins’ subsequent output has seen him praised as a musician, author, poet, spoken-word
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artist, actor, television personality, radio host and photojournalist. “I come from nothing. I come from nowhere. What do I have to lose? My reputation? I don’t have one,” he laughs. “And it’s all interesting to me. It’s all interesting. I just show up. ‘Hey – you want to act?’ Hell yeah, I’ll give that a try. I’ll show up. I won’t go around calling myself an actor but I’ll show up. I mean, I enjoy the touring the most – it certainly takes up most of my time – but I also have to eat every day. If I can do that through doing stuff I find interesting, I’m going to do it.” What is surprising is what actually drives Rollins forward. His confidence and reputation automatically suggest a figure driven by ethics or ego – and, despite his protestations on both counts, those are clearly both factors in his work – but, in truth, his career is defined through much simpler terms. It’s a matter of survival. Uneducated and operating without any specific profession to his credit, Henry Rollins is simply determined not to be discarded by his own society. “My country is not necessarily a country as much as it is an idea. Democracy is an idea. The constitution is a marvellous thing to aspire to. It is, as much as anything
else, an environment that you pass and fail in – it is an environment that you survive. I’ve thought that since the summer of 1984 where, as a 23 year old, I first began to understand Reaganism. At this point, I am hellbent on surviving America. “I tell you that – and I say yes to work – because, for people like me, it’s over after a while,” Rollins
laughs. “‘Thank you, that’s enough, we’d like a younger version.’ All of a sudden, you don’t have any work. While the iron’s hot, I’m going to say yes to everything.” WHO: Henry Rollins WHERE & WHEN: York Theatre, Seymour Centre Wednesday 25 April to Saturday 28
TOUR GUIDE FEATURE TOUR
PASSENGER From busking on the streets of Sydney to selling out shows across the nation, UK artist Mike Rosenberg aka Passenger, will be playing a sold-out show at The Factory Theatre this Friday 20 April. Passenger is known to create songs with soaring melodies and gritty rhythms and has enchanted many Australian audiences with his unique lyricism, so be ready. After supporting artists like Angus and Julia Stone and Boy & Bear, he comes with high praise. Catch his performance this Friday, with supporting acts Daniel Lee Kendell and Neill Bourke.
ANGELIQUE KIDJO @ BLUESFEST PIC BY LINDA HELLER-SALVADOR
JOHN BUTLER @ BLUESFEST PIC BY LINDA HELLER-SALVADOR
BLUESFEST TYAGARAH TEA TREE FARM 05 – 09/04/12
Defying a long tradition of moist beginnings, Bluesfest 2012 began in a sun-kissed haze and proceeded to be blessed with the best weather the festival has ever seen. Thursday is traditionally the quietest of the five days, but the perks of sparkling clean portaloos and the first ever Australian headline act – Cold Chisel – saw the dust (not mud!) fly as the early birds trooped in.
saloon-esque atmosphere; Ziggy Marley brought some reggae to the day’s table, gaining smiles and some solid bopping from his (and his dad’s) feelgood tunes. Nick Lowe and John Hiatt & The Combo had that rolling, Johnny Cash vibe, which was awesome for a few songs before getting a little predictable, particularly for the later evening slots.
The afternoon featured some funky keyboard battles from The Hands’ and a breath of new life into old school folk from Seth Lakeman, who switched effortlessly between fiddle and guitar whilst stirring his crowd into a bubbling ceili. With the word having spread like wildfire after their performance last year, Trombone Shorty & Orleans Avenue wowed the crowd with their sizzling energy, virtuosic solos and smooth, unified punctuation. Alabama 3 were sloppy in comparison, with a poorly structured set that saw their singer cut a ballad mid-verse in an effort to retain the drifting crowd.
My Morning Jacket were epic. They wove through rich atmospheric progressions to rocky solos and frontman Jim James’ soaring falsetto sliced through the distortion like a knife through cucumber. Across the air, Kooii kept the dancefloor hot with their driving bass lines, catchy melodies and thick harmonies. Lucinda Williams nailed the sour, broken-hearted blues, but looked so pissed off with the world that it was an effort just to watch her.
Eilen Jewell’s sweet Southern lilt and blend of rockabilly jazz held her crowd spellbound in a
Cold Chisel sparked a ball of energy in the Mojo tent and had old and young singing along at the top of their lungs. Jimmy Barnes’ gravelly scream was a little grating on the ears, but Ian Moss’ rich harmonies complimented it well and their enthusiasm was tangible
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, Apr 29 Oxford Art Factory DIG IT UP!: Apr 22 Enmore Theatre, Notes Live, The Green Room, Sly Fox REDD KROSS: Apr 24 Oxford Art Factory THE FLESHTONES: Apr 24 Sandringham Hotel SYDNEY COMEDY FESTIVAL: Apr 24 – May 12 various venues PIGEON: Apr 27 Yours & Owls, Apr 28 Upstairs Beresford, May 2 Cambridge Hotel, May 11 Beach Hotel Byron 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 KIM CHURCHILL: May 3 Brass Monkey, May 4 The Standard, May 5 & 6 Heritage Hotel, May 11 Transit Bar MOUNT KIMBIE: May 4 The Hi-Fi BIC RUNGA: May 8 Lizotte’s Kincumber, May 9 Lizotte’s Newcastle, May 11 IPAC Gordon Theatre, May 12 City Recital Hall Angel Place ANDREW WK: May 10 The Standard THE MACCABEES: May 10 Metro Theatre PUBLIC ENEMY: May 11 The Metro Theatre GROOVIN’ THE MOO: May 12 Maitland Showground, May 13 University Of Canberra GASOLINE INC: May 18 Town Hall Hotel 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 TIM RIPPER OWENS: May 24 Cambridge Hotel, May 25 The Basement Canberra, May 26 The Hi-Fi, May 27 The Patch BOY & BEAR: May 29 & 30 State Theatre, May 31 Newcastle Uni, Jun 1 ANU Bar, Jun 2 Waves, Jun 17 Entrance Leagues Club YOUNG GUNS: May 31 The Hi-Fi COME TOGETHER: Jun 9 Big Top Luna Park FLIGHT OF THE CONCHORDS: Jul 5 Sydney Opera House, Jul 10 Newcastle Entertainment Centre, Jul 11 WIN Entertainment Centre
NATIONAL DZ DEATHRAYS: Apr 18 Beach Road Hotel, Apr 19 The Patch, Apr 20 Oxford Art Factory, Apr 21 Transit Bar THE CITY SHAKE UP: Apr 18 Cambridge Hotel, Apr 21 St. James Hotel, Apr 22 Liverpool PCYC THE BEARDS: Apr 18 Great Northern Newcastle, Apr 19 ANU Bar, Apr 20 Manning Bar MICHAEL PETER: Apr 18 Tokio Hotel, Apr 22
Lizotte’s Kincumber, May 2 Old Many Boatshed, May 3 Hamilton Station Hotel, May 4 Tea Gardens Hotel MICK THOMAS: Apr 18 The Front, Apr 19 Lizotte’s Newcastle, Apr 20 Lizotte’s Kincumber, Apr 21 Annandale Hotel, Apr 22 Coogee Diggers COLD CHISEL: Apr 18 Hordern Pavilion TWISTED AFFECTION: Apr 18 ANU Bar AYA LARKIN: Apr 18 The Vanguard, Apr 19 Clarendon Guesthouse, Apr 20 Old Manly Boatshed, Apr 21 Yours & Owls, Apr 27 Lizotte’s Newcastle, Apr 28 Lizotte’s Kincumber, Apr 29 Lizotte’s Dee Why HOODLUM SHOUTS: Apr 19 Transit Bar, Apr 20 Blackwire Records, Apr 21 The Wall ELIXIR: Apr 19 Ravensthorpe Guesthouse & Restaurant, Apr 21 The Basement MOJO JUJU: Apr 19 Yours & Owls, Apr 21 Baroque Bar YACHT CLUB DJS: Apr 19 Wollongong Uni, Apr 20 Academy, Apr 21 The Standard TIN SPARROW: Apr 19 GoodGod, Apr 20 Yours & Owls POND: Apr 19 The Standard EPIDEMIC… OVER: Apr 19 Beach Road Hotel, Apr 20 The Wall PAUL GREENE: Apr 19 Heritage Hotel, May 10 Front Gallery, May 12 Clarendon Guesthouse, May 18 The Factory, May 20 Brass Monkey THE TOOT TOOT TOOTS: Apr 19 The Junkyard, Apr 20 The Vanguard, Apr 21 Great Northern Newcastle, Apr 22 The Phoenix ALEX HALLAHAN: Apr 20 Hotel Gearin, Apr 24 Low 302, Apr 29 Railway Friendly Hotel RUFUS: Apr 20 Cambridge Hotel, Apr 21 Spectrum, Apr 24 Trinity Bar Canberra QUIET CHILD: Apr 20 Club Blink ALISON WONDERLAND: Apr 20 King St Newcastle THE MEDICS: Apr 20 GoodGod THE GO SET: Apr 20 Southern Cross Club, Apr 21 Sandringham Hotel AMY MEREDITH: Apr 20 The Factory FRENZAL RHOMB: Apr 20 Entrance Leagues Club JESS HOLLAND: Apr 20 Heritage Hotel, Apr 21 Roxbury Hotel THE LITTLE STEVIES: Apr 20 Camelot Lounge, Apr 21 Royal Exchange, Apr 22 Clarendon Guesthouse SIDETRACKED FIASCO: Apr 21 Holy Grail, Apr 27 Dice’s Irish Pub, Apr 29 Old Manly Boatshed PJ O’BRIEN: Apr 21 Empire Hotel, May 26 Beaches Hotel Thirroul PASSENGER: Apr 21 Factory Theatre LAST DINOSAURS: Apr 21 Oxford Art Factory, Apr 22 Transit Bar, Apr 29 Oxford Art Factory JOHN WILLIAMSON: Apr 21 Nelson’s Bay Diggers, May 4 Campbelltown RSL, May 5 North Sydney THE DRUM MEDIA • 49
of Bad Moon Rising and Down On The Corner and though his voice was in great condition, the crowd was almost as jubilant in their own vocals. Kenny Wayne Shepherd pulled his own decent audience in the face of Fogerty, wowing them with his epic blues-guitar solos.
TOUR GUIDE Leagues Club, May 6 Castle Hill RSL, May 23 99 On York VAN SHE: Apr 25 Beach Road Hotel EMILY BARKER: Apr 25 The Old Kirk, Aprl 26 The Newsagency, Apr 27 Lizotte’s Dee Why, Apr 28 Lizotte’s Kincumber, Apr 29 Lizotte’s Newcastle, May 1 Café Lounge, May 2 34 Degrees South, Apr 4 Front Gallery & Café THE WOOHOO REVUE*: Apr 25 Great Northern Newcastle, Apr 26 The Vault, Apr 27 The Vanguard, May 2 Brass Monkey, May 3 Yours & Owls, May 4 White Eagle Polish Club, May 5 Katoomba RSL GRASS TAYLOR: Apr 26 Lansdowne Hotel, Apr 27 The Roxbury STONEFIELD: Apr 26 The Patch, Apr 27 The Standard, Apr 28 Cambridge Hotel
INTERNATIONAL JON GOMM: Apr 17 Lizotte’s Kincumber, Apr 19 The Basement Circular Quay, Apr 26 Lizotte’s Newcastle IN ELEMENT: Apr 18 Hamilton Station Hotel, Apr 28 Venom
SEAL: Apr 19 Sydney Entertainment Centre MARK LANEGAN BAND: Apr 20 The Hi-Fi THE FEELERS: Apr 20 Great Northern Hotel Newcastle, Apr 21 Beach Road Hotel MICHAEL BOLTON: Apr 21 & 22 Sydney Opera House Concert Hall SIX60: Apr 21 The Metro THE 18.104.22.168’S: Apr 21 The Factory
GUTHRIE: Apr 26 Valve Bar, Apr 27 Hotel Gearin, May 18 Old Canberra Inn, May 19 Phoenix Canberra
THE FLESHTONES*: Apr 24 Sandringham Hotel
TRANSVAAL DIAMOND SYNDICATE: Apr 26 Bald Faced Stag, Apr 27 Hotel Gearin, Apr 28 Fitzroy Hotel, May 2 Yours & Owls, May 18 Old Canberra Inn
ROGER SANCHEZ: Apr 25 Ivy
BIG SCARY: Apr 27 Oxford Art Factory
RALPH MCTELL: Apr 26 Southern Cross Club, Apr 27 Balmain Town Hall, Apr 28 Joan Sutherland Performing Arts Centre, Apr 29 Clarendon Guesthouse, May 2 West Gippsland Performing Arts Centre, May 4 Balmain Town Hall, May 6 Byron Community Centre
KADE MC: Apr 27 Sandringham Hotel PIGEON: Apr 27 Yours & Owls, Apr 28 Upstairs Beresford, May 2 Cambridge Hotel SIMON ASTLEY*: Apr 27 Excelsior Hotel, Apr 28 Valve WE ALL WANT TO: Apr 27 Oxford Art Factory, Apr 28 The Phoenix Canberra JOHN BUTLER: Apr 27 & 28 The Metro CARAVANA SUN: Apr 28 Beach Road Hotel AN HORSE: Apr 28 Oxford Art Factory CHET FAKER: Apr 28 Goodgod ELECTRIC EMPIRE: Apr 28 The Standard THE NEVER EVER: Apr 29 The Lair Metro Theatre HUSKY: May 3 Oxford Art Factory CALLING ALL CARS: May 3 Transit Bar, May 4 Annandale Hotel KIM CHURCHILL: May 3 Brass Monkey, May 4 The Standard, May 5 & 6 Heritage Hotel, May 11 Transit Bar BEARHUG: May 4 GoodGod BELLUSIRA: May 4 The Square FROGFEST feat. THE WOOHOO REVUE, CROOKED FIDDLE BAND and more: May 4 White Eagle Club, May 5 Katoomba RSL, May 6 Kantara House, May 9 Brass Monkey, May 11 Cambridge Hotel, May 12 Red Rattler
TROMBONE SHORTY @ BLUESFEST PIC BY LINDA HELLER-SALVADOR
REDD KROSS: Apr 24 Oxford Art Factory BURT BACHARACH: Apr 26 & 27 Sydney Opera House Concert Hall
CAIRO KNIFE FIGHT: Apr 27 Goodgod THE EXPLOITED: Apr 27 Manning Bar CLARK: Apr 28 Civic Underground ARCH ENEMY: Apr 30 Manning Bar FU MANCHU: May 3 The Hi-Fi SICK OF IT ALL, AGNOSTIC FRONT: May 4 Cambridge Hotel, May 5 Manning Bar, May 6 Canberra University THE CHORDS: May 4 & 5 Notes ORBITAL: May 5 The Metro DEVILDRIVER: May 5 The Hi-Fi STEVE POLTZ*: May 5 The Basement, May 6 Lizotte’s Kincumber, May 7 Brass Monkey, May 8 Lizotte’s Newcastle THE DARKNESS: May 5 Newcastle Panthers, May 6 UNSW Roundhouse, May 10 ANU Bar THE MOUNTAIN GOATS: May 6 The Metro, May 8 The Clarendon BIC RUNGA: May 8 Lizotte’s Kincumber, May 9 Lizotte’s Newcastle, May 11 IPAC Gordon Theatre, May 12 City Recital Hall Angel Place ANDREW WK: May 10 The Standard THE MACCABEES: May 10 Metro Theatre PUBLIC ENEMY: May 11 The Metro
LIZ STRINGER: May 4 Grand Junction Hotel, May 5 Camelot Lounge, May 6 Yours & Owls
TIM RIPPER OWENS: May 24 Cambridge Hotel, May 25 The Basement Canberra, May 26 The Hi-Fi, May 27 The Patch
HEIRS: May 5 Bald Faced Stag
YOUNG GUNS: May 31 The Hi-Fi
THE FUNKOARS: May 5 Annandale Hotel SAN CISCO: May 9 The Standard KING GIZZARD & THE LIZARD WIZARD: May 10 Goodgod THE BUTTERFLY EFFECT: May 10 Newcastle Panthers, May 11 UNSW Roundhouse, May 12 Waves, May 16 UCU Bar
FLIGHT OF THE CONCHORDS: Jul 5 Sydney Opera House, Jul 10 Newcastle Entertainment Centre, Jul 11 WIN Entertainment Centre
FESTIVALS SHOREFEST: Apr 14 St Leonards Park
DANIEL CHAMPAGNE*: May 3 Lizotte’s Kincumber, May 4 Lizotte’s Newcastle, May 11 Camelot Lounge, Jun 7 Yours & Owls, Jun 14 & 15 The Front Canberra
DIG IT UP!: Apr 22 Enmore Theatre, Notes Live, The Green Room, Sly Fox
JAM XPRESS: May 11 Cherry Bar, May 19 King Street Hotel Newcastle
NEWTONS NATION: Apr 27 – 29 Mt Panorama
OUR LAST ENEMY: May 11 The Wall, May 26 The Basement Canberra GASOLINE INC*: May 18 Town Hall Hotel 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 29 & 30 State Theatre, May 31 Newcastle Uni, Jun 1 ANU Bar, Jun 2 Waves, Jun 17 Entrance Leagues Club TRIAL KENNEDY*: Jun 15 Oxford Art Factory, Jun 16 Cambridge Hotel 50 • THE DRUM MEDIA
Watussi pumped up the party with their energetic Afro-beat. Frontman Oscar Jimenez urged the crowd into a sea of waving arms and shaking hips, the tempo shifting every few seconds. Rosie Ledet had her crowd rollicking in zydeco/rockabilly fun, her washboard player a particularly striking bundle of energy. Bettye LaVette pulled things back a little, to the point where she was sitting cross-legged on the stage, her face and voice etched with an emotional ballad.
AUGUST BURNS RED: Apr 19 Newcastle Panthers, Apr 20 The Metro
SUPER BEST FRIENDS: Apr 26 Transit Bar Canberra
GOSSLING: Apr 27 Clarendon Guesthouse; Apr 28 The Basement Circular Quay, Apr 29 Brass Monkey
A glorious Easter morning saw day four off to a sleepy start. The sun was scorching and many were resigned to the slightly cooler shade of the tents. Yann Tiersen provided a perfect lazy afternoon soundtrack with his atmospheric tunes before Busby Marou debuted their country/folk and The Audreys dusted the afternoon with the fragile and soaring voice of Taasha Coates.
THE GUM BALL: Apr 27 & 28 Dashville GROOVIN’ THE MOO: May 12 Maitland Showground, May 13 University Of Canberra VIVID LIVE: May 25 – Jun 3 Sydney Opera House SNOWY MOUNTAINS OF MUSIC: Jun 8 – 11 Perisher Snowy Mountains DARLING HARBOUR JAZZ & BLUES FESTIVAL: Jun 9 – 11 Darling Harbour COME TOGETHER: Jun 9 Big Top Luna Park SYDNEY BLUES & ROOTS FESTIVAL: Oct 25 – 28 Windsor * indicates new or amended listing this week
as they wove new material between their classics. The Fabulous Thunderbirds managed to draw a small crowd away. A distortion effect on Kim Wilson’s mic was an interesting choice for his harmonica and vocal solos, but he had the crowd grooving all the way to the bus lines, which, it must be noted, moved impressively fast. Day Two saw another pristine sky and double the crowd, as the three-day pass holders joined the throng. The queues grew, the chair army threatened to dominate the main stages and the busking tent kicked into life with some ear-catching performances. Harry Manx enraptured his audience with his Middle Eastern-infused slide guitar and husky vocals. Clayton Doley from The Hands accompanied him with some wicked keys solos and a serene composure. G3 saw two hours of epic guitar solos from some of the most prominent masters out there – Joe Satriani, Steve Vai and Steve Lukather – and while it was impressive, perhaps it would have suited a rock festival better. The Backsliders and The David Bromberg Quartet brought some awesome blues to the table while Sublime With Rome packed out the main stage, the crowd skanking and singing loudly to their catchy punk/reggae hits. Johnny Lang drew a fair share of the seated crowd with his indulgent yet inspiring guitar solos and Candi Staton brought a bit of disco into the mix. Keb’ Mo’ had the crowd swooning with his rich vocals. Buddy Guy belied his 75 years of age with a sass and skill that had his crowd roaring in appreciation. The Specials had great energy and a massive crowd, but their set was more reggae than ska and so the epic skank circles never arose. One side effect of the perfect weather was the space it allowed the crowd to spread out if unconfined to the shelter of tents. It was not so much an issue in the smaller tents, but occasionally the collective energy would lose some of its steam in the luxurious space around the main stages. Earth, Wind & Fire had no such problem. Opening with Boogie Wonderland they had the packed Mojo tent grooving for their entire 90-minute set. They performed with a zest and energy that explained their 40-year career and their funky tunes were irresistibly feelgood. On the other side of the festival, Crosby, Stills & Nash drew their own sizeable, although largely more subdued crowd. The vibe was much more mellow and though they played their hits to solid appreciation, the funky rhythms from their rival stage were hard to ignore. Perhaps an earlier slot would have been better scheduling. On paper, day three looked to be a much more laidback affair. However it seemed the crowd had finally caught the dancing bug. With a contagious energy, Angelique Kidjo whipped the Crossroads tent into a dancing frenzy, grooving through the crowd before pulling a large chunk of them up on stage to dance off with her percussionist. Brian Setzer’s Rockabilly Riot kept the frenetic energy rolling, although muted for the first five minutes due to some technical issues. A cover of Johnny Cash’s Folsom Prison Blues earned a roar of appreciation from the crowd and their high-energy set kept the air buzzing and arms flying. Donovan was so chilled that even Mellow Yellow made eyes droop. Joanne Shaw Taylor blew the Jambalaya tent away with her epic guitar solos and husky, raw vocals and was hailed by one reveller as “Jimi Hendrix incarnate”. John Fogerty’s performance of Creedence Clearwater Revival’s hits saw the tent overflowing with diehard fans that had obviously been guarding their spots for most of the evening. Few could resist the familiar strains
Slightly Stoopid were as cheeky as ever, performing a selection of their best reggae tunes and not hesitating to spark up on stage to the delight of a gleeful crowd. Josh Pyke’s poetic words and sweet voice pierced the early evening in stark contrast to Seasick Steve with his gravelly voice and half a century of stories. Melbourne Ska Orchestra was an imposing sight with 26 on stage, including a frontman who commanded the Jambalaya tent like a feisty ringleader. It looked just as much fun on stage as off, with more and more guests jumping up, including John Butler. As people came running, the audience swelled until the surrounding shops and toilet queues were all dancing to the infectiously energetic mix of ska and funk. Blue King Brown was just as much fun but with triple the crowd. The Mojo tent was alive with dancing bodies that only stood still to create a sea of fists in support for Freedom for West Papua, led by frontwoman Natalie Pa’apa’a. The electricity and unity throughout the crowd was quite inspiring and people were dancing like it was their last chance. Of course it wasn’t, as John Butler Trio built even higher upon the vibrant energy. Butler’s dextrous finger-picking sounded like there were five guitars playing instead of one and the audience were totally enthralled for the entire set, which interestingly left out most of his major hits. He performed a duet with his wife Mama Kin and invited The Melbourne Ska Orchestra up to get things even crazier. Across the festival The Pogues were having an epic singalong of Dirty Old Town and attempting to rouse their crowd of obvious fans into a rabble, but it seemed the 23-year wait had taken its toll and the energy was no match for Butler. Great Big Sea won this reviewer’s prize for best Celtic/folk band. Their rousing pirate shanties and toe-tapping tunes left no one standing still and although relatively new to Australian audiences (despite a 19-year career), there were many extra voices singing along to their thick harmonies. The crowd had thinned out a lot for the final day of the festival and though the sun was shining, the wind began to take a bite with it. Dawes provided some country easy-listening, as did Mick Thomas’ Roving Commission; however the smaller stages seemed to struggle to entice the weary crowd on this day. Justin Townes Earle shared quirky stories about the plethora of bad neighbourhoods he’d lived in and a craving for fried chicken. Once coupled with his Bob Dylan-esque tunes, he had no struggle to keep the audience’s attention. Tribali were one of the most entertaining acts of the whole festival. Hailing from Malta, they fused Middle Eastern and Indigenous sounds to wonderful effect. If their infectious beats didn’t hook you in, their ceaseless energy and melodramatic performance (ending in glitter cannons) did. Tijuana Cartel were slightly more subdued than usual as singer Paul George felt the after-effects of a big weekend. Still, the intoxicating beats and bubbly flamenco had feet moving. Zappa Plays Zappa were tight and exciting, the son definitely doing the father justice. Maceo Parker blew the Crossroads tent away with some straight-up funk. He had the sass of years playing sax for James Brown and reeled the audience in with his cheeky banter and soulful solos. Headliners for the night Yes were deliciously ‘70s and had lost none of their prog-rock appeal, although their sweet Beach Boys-style harmonies could have been louder. Eagle & The Worm were the last stop on this reviewer’s list but only managed to pull a small crowd away from the main tent. Their catchy tunes did get those gathered grooving and a different timeslot would see them thrive. An epic lightning storm decorated the eastern sky, but held off from dampening the close of one hell of a festival. The 23rd Bluesfest could be considered nothing less than a great success and, as the weary revellers left with dusty boots and smiles all round, there was already discussion of what next year could bring. Alex Hardy
on record, but falls down in the all-important songwriting and personality departments. That was apparent throughout their set, but they were visibly pleased to be there, with their half-hour not lacking enthusiasm from band or crowd. Songs with the muscle of Iron Maiden on steroids and countless references to Norse mythology are tailor-made for European festivals, when you’re clutching a beer and surrounded by sweaty, fistpumping and flag-waving diehards. Whether Amon Amarth’s Viking-inspired metal would translate to a headlining set in an indoor venue was another matter, but any fears were quickly alleviated from the opening strains of War Of The Gods. Impressively bearded man-mountain frontman Johan Hegg’s imposing stage presence and ability to command a rabid crowd to give whatever reaction he desired was accompanied by his bandmates’ never-ending wave of windmilling hair and taut, aggressive playing. A smattering of attendees proudly thrusting drinking horns in the air and donning Viking helmets certainly helped create the necessary celebratory atmosphere.
ALBAMA 3 @ MANNING BAR PIC: MACLAY HERIOT
ALABAMA 3, THE BULLETS MANNING BAR 07/04/12
Brixton oddity Alabama 3 have never quite managed to get a foothold in Australia. This was only their second visit here as a full band and both trips have come a long time after the band scored the theme song to hit series, The Sopranos. It’s what the group is best known for, but 2012 is a little late to be using that as a selling point after all these years. It’s a shame because the eight-piece band was in fine form at the Manning Bar, playing their intriguing blend of Americana gospel and blues and UK acid house. Support duo The Bullets played a far simpler form of the blues. Pairing an electric guitar with an acoustic guitar, the two musicians shared mic duties, swapping singing leads even though one of the guys sounded far more comfortable in the role than his bandmate. While the sound was big, there was a strong sense of Dave Matthews fandom running through the set and it was borne out when the pair covered Bartender to close. Alabama 3 looked as dishevelled and partied out as ever. They’ve always been a band that looks like they’ve just stepped off the set of a remake of A Clockwork Orange, while vocalist Aurora Dawn cut a very striking Grace Jones-esque figure. But regardless of appearances, Alabama 3 certainly had what it takes to get Manning Bar moving. Getting rid of Woke Up This Morning (i.e. The Sopranos song) early, the band’s heady mix of danceable beats, Deep South proselytising and drug, alcohol and wry religious references made it an oddly suitable gig for the Easter weekend. Though the Reverend D Wayne Love cut a particularly shambolic figure, his partner on the mic, Larry Love was in fine voice and Dawn was the perfect backing vocalist to up the soul vibe, even as she took swigs straight out of a rather large bottle of wine. For the older fans, the back catalogue was dug into; Hypo Full Of Love, Mao Tse Tung Said and even Mansion On The Hill got a run, alongside favourites Too Sick To Pray, Woody Guthrie and Vietnamistan. And by the time the band left after their encore, the place really felt like Reverend D Wayne had given everyone his Easter blessing. Danielle O’Donohue
AMON AMARTH, EYE OF THE ENEMY, ORPHEUS THE HI-FI 14/04/12
Taking plenty of cues from the headliners and their Swedish brethren, Orpheus’ melodic death metal was a suitable soundtrack to a few brews. The Melbourne crew didn’t pack many actual songs or any new ideas, but after initial indifference, increasingly gained punters’ approval. Fellow Melburnians Eye Of The Enemy’s thrash-infused melo-death/metalcore was also an appropriate, Euro-inspired inclusion. In terms of hunger, aggression and groove the band stacks up admirably against many of their foreign peers
Few modern metal acts balance aggression, sheer visceral thrills and memorable hooks more effectively than the Swedish quintet. Despite having their harmony-drenched guitars hampered by a slightly muddy mix, uproarious singalongs greeted numerous cuts, most notably The Pursuit Of Vikings, Valhall Awaits Me, Death In Fire and bruising closing duo, Twilight Of The Thunder God and Guardians Of Asgaard. A 19-song set gave dedicated fans plenty of bang for their proverbial buck as all the necessary bases were touched on, from their 1998 debut to last year’s Surtur Rising. That said, given that variety has never really been their friend, perhaps 100 minutes of treading along similar lines did test the attention span a fraction. You can’t really fault a band for giving those loyal to them precisely what they want though and those quibbles aside, thank Odin for a band as consistently powerful and unapologetically brutal as Amon Amarth. Brendan Crabb
DEAD MEADOW, PINK MOUNTAINTOPS, THE LAURELS, LOS SUNDOWNERS THE HI-FI 06/04/12
The accompanying entourage for Dead Meadow (who clearly worshipped the main act) started with the lo-fi of Los Sundowners, a collective of musicians who may or may not have ties to the Black Mountain co-op. Thrown into the mix was a combo of male and female lead vocals, a drummer that either forgot his hi-hat stand or doesn’t use one as part of his stage persona and a guy on what looked like an old Korg portable organ. Shoegazing foursome The Laurels didn’t do anything out of the ordinary however, surprisingly, their set featured a new guy on road duties, meaning the inner-west’s favourite laziest band just got a whole lot more lazy. They still rocked though. Pink Mountaintops form part of the Black Mountain initiative and were fronted by Stephen McBean, who was accompanied by the lead percussionist from Los Sundowners and a guy who was a dead ringer for Davey Lane circa 2002 (on organ). Touted as the more experimental side of McBean’s endeavours, the ominous sound displayed a lot of soul despite the lack of instruments and found a few nods from a modest crowd that would have been perhaps better suited to a smaller room. Dead Meadow took to the stage, looking as young as the day they started as the original three-piece that recorded their self-debut in 2001. Excitement built song after song with much wailing and gnashing of teeth and, before you could say ‘distortion’, the crowd were rocking the joint. Mostly playing the tunes that fitted somewhere in between the psych and stoner rock sub-genres of their bag, the three-piece filled the large space onstage with plenty of fuzzed solos, cutting bass and vintage drum rolls. The band even managed to sneak in a number of songs from their first record, one of which was Indian Bones that, from memory, was the one frontman Jason Simons commented they hadn’t played for about six or seven years (however that could have been ten). Rocky Mountain High also got the once-over and would have received a standing ovation if we weren’t already on our feet and was by far their best song, particularly the lead guitar, whose setup must be a heavily guarded secret. It was a great night of music, with the vibe and energy continuing beyond the encore. Adam Wilding
ICED EARTH, LORD THE HI-FI 05/04/12
With Earth, Wind & Fire playing across the road at the much larger Hordern Pavilion, you couldn’t have had two more different sets of fans for two groups with the word ‘Earth’ in their name. The group rocking long hair and a vast array of Iron Maiden tour T-shirts started their night with the dulcet tones of local metal legends Lord. The boys were coming back for one of their first shows in over a year, but they sounded like they were at the tail end of a massive world tour. Tight, polished and lethal, Lord delivered a powerful set, ending with a raucous cover of Metallica’s Creeping Death, a potent reminder that this band’s roots lie far more in the rough’n’raw NWOBHM movement than in the frilly-shirted world of European Power metal. This was Iced Earth’s first trip to Australia in a career that has spanned decades. Some in the audience had obviously been waiting almost that long to see them and from the first strains of set opener, Dystopia, a sea of heads banged below raised horns. With their last LP being one of their stronger efforts in recent years, newer material like the aforementioned title track, V, Anthem and the ferocious Days Of Rage went down a treat. Still, it was the vintage material that really set the crowd off. Keeping the Tim “Ripper” Owens years to a minimum (the awesome Declaration Day was a welcome inclusion in the set), guitarist Jon Schaffer and crew delved deep into the Matt Barlow era for the predictable - Slave To The Dark, Angels Holocaust, Burning Times and The Hunter as well as a few welcome surprises in the form of When The Night Falls and a cracking rendition of Damien. The fact that the band was a tightly oiled machine came as no surprise, but what did shock was the godliness of new vocalist Stu Block, who handled all eras of the band’s existence with equal aplomb. From down and dirty growls right through to Halford-esque screams, Block put in a flawless display that was highlighted by his treatment of Iced Earth’s 17-minute tour de force, Dante’s Inferno. Now if we can work on his clichéd stage banter we’ll have the perfect metal frontman. Iced Earth have re-established themselves as one of the standard-bearers for traditional heavy metal in 2012. A great show from a band that refuses to lie down and die. Mark Hebblewhite
JAMES VINCENT MCMORROW, CAITLIN PARK THE VANGUARD 11/04/12
Wicked Game. He delivered the latter not only with beauty, but with a fragility that made the chorus’ falsetto all the more heartbreaking. Katie Benson
BLUEJUICE, LOON LAKE, THE CAIROS METRO THEATRE 13/04/12
Rows and rows of screaming youngsters packed out the Metro as soon as the doors opened on Friday night, desperate to get a good spot for when The Cairos took to the stage. The Brisbane four-piece started their set wearing mismatching wigs and looking less than polished; however the ecstatic crowd didn’t seem to mind as they bopped along to tracks inspired by the sounds of The Strokes and Arctic Monkeys, including Shame and We All Buy Stars. Following a brief interval, Loon Lake took the stage, also wearing wigs and masks (we obviously missed the wig memo). The Melbourne collective looked heavy on the guitars and the benefit of so many strings was unclear for most of the set. However, a couple of epic breakdowns and some serious noodling later on cleared up any questions. Their lead singer held the charisma of the band as they strolled through tracks from new EP, Not Just Friends, culminating with a mass hand-swaying singalong for hit, Bad To Me. Sydney stalwarts, Bluejuice, are renowned for their fun-filled, energetic live performances – and this gig was no exception. Bouncing on stage dressed in illuminated fluoro-patterned outfits, the band made it clear from the outset that this was going to be a full-throttle set. Can’t Keep Up started proceedings, sending the backing singers off into a bout of frenzied dancing and jangling fluoro-tinged tambourines while the crowd jumped around like space hoppers. As usual, singer Jake Stone stole the stage, clambering up onto a huge speaker and crowd surfing while fellow singer, Stavros Yiannoukas, was left to keep the vocals together on stage. Notable hits of the night included the classic Vitriol, Act Yr Age and the energetic Broken Leg. The crowd were split into two to sing along to On My Own, while the hilarious karaoke-inspired video ran in the background. A brief encore of just two songs finished the set, one of which was a great cover of KWS’ ‘90s classic, Please Don’t Go, that was sadly lost on the young crowd. All in all, a very fun and entertaining gig that just reinforced Bluejuice’s position as one of Australia’s greatest live bands. Helen Lear
On a freezing Wednesday night, the red intimacy of The Vanguard was all too inviting, the warm folk of the evening, all too fitting. Kicking off the evening’s audio hugs was Sydney’s Caitlin Park, a threepiece live that’s often a two-piece, but always the brain child of one, singer CP (Caitlin Park). Their set was an intelligent working of electro-folk, blending samples of records, seaside recordings and the voices of friends amongst perfect harmonies, warm acoustic guitars and stripped percussion. Beginning and ending their set a cappella, the vocal harmonies of all three were a true highlight, especially when Park blended with guitarist Aidan Roberts. Her deep, sparse vocals were given body with Roberts’ warm tone displayed best in the Laura Marling-esque Jack, Where You At. On a sparse stage, armed with only an acoustic guitar, Irish singer/songwriter James Vincent McMorrow opened with one of his more up-tempo folk numbers, Sparrow And The Wolf. Instantly captivating with a high husky falsetto reminiscent of Jeff Buckley, McMorrow invites you into a world of loneliness, wilderness and wonderment. Playing a great part of his debut album, Early In The Morning, he was plagued by bad audio to begin with, but from this the set’s most enchanting moment arose. After much delightful Irish banter with the sound guy, McMorrow unplugged from a dodgy amp and came to the front of the stage. Without a mic, a completely silent audience sighed as McMorrow launched into one of his strongest songs, We Don’t Eat. A tale of faith and journeys, McMorrow’s haunting performance raised hairs on necks and filled the room with waving camera phones. There is a certain joy that comes with hearing a well-performed cover and McMorrow certainly has carved out a name for himself in this area. Midway through, McMorrow bravely – and successfully – tackled Roy Orbison’s In Dreams, before closing the night with Chris Isaak’s
BLUEJUICE @ THE METRO. PIC: JOSH GROOM THE DRUM MEDIA • 51
to give the die-hard fans some material from their upcoming record, Evolution Machine, but also did their best to whip up the crowd with some classics of their own, with Knights Of The Underground Table creating a serious buzz.
STATE THEATRE 13/04/12
From the opening bars of South Bronx, KRS-One had every single person in the packed-out theatre in the palm of his hand. The energy level exploded – it’s hard to put into words the kind of hysteria that erupted in the room. There were no fireworks, no remarkable light show, no hype men, just KRSOne and his son Predator Prime on the decks. No one could have asked for more. Watching one man cram a lifetime of underground hits – arguably the very blueprint of hip hop itself – into one show was without question one of the most exciting gigs a fan of real hip hop could possibly experience.
STEVE EARLE @ THE FACTORY. PIC: ANGELA PADOVAN.
STEVE EARLE, SUZE DEMARCHI & DAVID LESLIE, LACHLAN BRYAN FACTORY THEATRE 08/04/12
The Dylan-esque folk of Lachlan Bryan has some admirably sharp edges and is country by inclination rather than actual substance. Though Australian, he is North American in aspiration and accent. He delivers a fair tune, holds a controlled tension but is too low-key to leverage the drama with which his music tempts us. A little less foreplay and some more consummation might do the trick. At first glance an acoustic duo version of Baby Animals’ Suze DeMarchi and David Leslie seems a novel act to support a roots legend. And, well, so it proved. Whilst the pair played a set of smart pop tunes, clearly this was mainstream rock in acoustic translation. DeMarchi’s voice verges on histrionic, at times invoking Robert Plant before the T-Bone Burnett-influenced rediscovery of his roots, though lacking the great man’s vocal resonance. The pair’s guitar playing was crisp and dynamic, if a little fussy. The songs sounded like their true home was with a fired up with rock’n’roll band with electric guitars going wild. Actually, wouldn’t mind having a piece of that! There’s a trick Steve Earle has; a total gimmick. It’s called quality. He is as solid and integral to USA culture as Mount Rushmore; his voice as resilient and all-encompassing as the Mississippi, with just about as many experiences, included its divergent currents. Yet whilst his music and the truths it conveys seem undeniable and often deeply political – tonight, City Of Immigrants and The Mountain conveyed his views in true poetic and polemical style on immigration and unions – his intensity possesses filigree and heartache as well: God Is God and My Old Friend The Blues both testifying to the man’s unremitting commitment to – and despite it all – belief, in humanity. Whether conveying the righteous or the romantic, Earle’s music has the happy knack of feeling melodic even if nothing stridently melodic is being played. He is a strong man willing to front up to his own battles, from wars of the heart to wars of the world (Dixieland was a triumph) to wars waged against him. Earle is an Everyman avatar battling darkness whilst embracing it through music of passion, pain and joy, lifting hearts and blasting prejudices (with not a little intellect kicking corporate heads to boot). Craig N Pearce
KRS-ONE, DEF WISH CAST, ELLESQUIRE, BLAZE ENMORE THEATRE 05/04/12
Blaze set the scene and the first eager punters were treated with two sets of solid head-nodding hip hop classics. Newcomer Ellesquire came out hard with his track, Ready, clearly relishing this once in a lifetime opportunity and making the most of it. One of Australia’s pioneering hip hop acts, Sydney’s own Def Wish Cast used the opportunity 52 • THE DRUM MEDIA
So the man they call The Teacha recreated the entire history of hip hop in one set. Early tributes to Biggie and Tupac were given extra poignancy considering KRS-One’s original BDP cohort Scott La Rock was himself shot down in a murder for which there have to date been no convictions. The chant of “You wanna get away with murder? Kill a rapper” was full of love for his lost friend and anger at a system that to this day continues to turn a blind eye. A massive crew of b-boys and a couple of b-girls flooded the stage to breakdance their way through a bunch of hits including Step Into A World (Rapture’s Delight), somehow pushing the energy of the crowd even higher. When he pulled out the music and dropped a cappella verses of beat down poetry, every member of the audience inhaled every word and held their breath. The only disappointment was when the last bars of Criminal Minded faded away and the show was over. Australia may have had to wait 25 years for this moment, but seeing KRS-One, still at the top of his unbelievably tight game, it was most certainly worth the wait. Chris Yates
The intro tape built to an appropriate crescendo and Yes took the stage to the expected enthusiastic cheers and applause, with Steve Howe ripping into the opening riff of Yours Is No Disgrace with more “guitar god” bravado than anyone could have expected. Singer, American Jon Davison – brought in recently to replace Benoit David, who had been forced to drop out because of a respiratory complaint – took centre stage and out came “Yesterday a morning came and smiled upon your face” with enough of original vocalist Jon Anderson’s tone to satisfy the most hardened fans and we were away – Yes was back in Sydney for only their third time in a gloriously dysfunctional, more than 40 year career. Only, sadly, it turned out that it wasn’t the Yes we were all hoping for. Though there were a few dodgy moments, Davison managed to make a good fist of taking over from one of the most distinctive voices in rock history – and on short notice too – but in the end all he delivered were the lines and the tone. He’s obviously yet to really “become” a part of Yes and his performance essentially floundered as a consequence. The real tragedy however was the lack of fire on stage that might have lifted him to those necessary heights and, if there’s one band’s repertoire that needs that fire and demands those heights, it’s Yes. Tonight however, the fire of old only appeared occasionally. All the bits were there – Howe’s brittle yet sinuous guitar, bass player Chris Squire’s toppy, metallic runs counterpointed here and there by those thunderously subsonic Moog Taurus pedals, Alan White’s quietly masterful drumming, Davison’s voice and Geoff Downes’ solid recreation of Rick Wakeman’s classic keyboards sounds – but the mix was shocking, with much of Downes’ playing buried while Squire’s bass often seemed too prominent. The “hits” were delivered – I’ve Seen All Good People, Your Move, Close To The Edge, Roundabout, even the ‘80s “pop” hit, Owner Of A Lonely Heart – and a few monochrome tunes from the latest album, Fly From Here, too. But in the end – and I hate to say this – it all seemed a bit tired.
WOLF & CUB, THE SURES, MACHINE GOODGOD 05/04/12
GoodGod’s danceteria was the perfect place for Wolf & Cub’s launch of their double A-side single: the darkness was forgiving, the sound was perfect and the whole evening had this kind of dirty-littlesecret intimacy – probably brought on by the fact that all the bands were close enough to touch and the venue feels like some kind of tucked-away evil lair that only moonlights as a music venue. In a world of empty words and vacuous promises, Machine played an entirely wordless set. That’s right. They took to the stage in silence and played a set of strange, synthesised drumbeats and looping, hypnotic harmonies. Watching their set was a strange experience – like watching a foreign language television show, full of incredibly bright, neon colours and electric explosions, but without being able to understand any of it. However, this reviewer likes bright colours and flashing lights and electricity. This is a language worth listening out for. The Sures are a young quartet and it’ll be interesting to see how their sound develops. Though they err on the side of generic indie pop, keep an ear pricked as the year goes on, because one suspects these guys are only going to get better. They seem to combine a kind of humble showmanship with confident, assertive performances – their frontman graciously thanked Wolf & Cub for “letting us use their stuff”, before launching neatly into a spirited rendition of their elegant track, Poseidon.
ZAPPA PLAYS ZAPPA METRO THEATRE 07/04/12
Picking a set out of the late Frank Zappa’s 62-album career (though if you count the records that keep coming out of the vault posthumously, the number is much higher) is a tall order in itself. Matching the musically spastic, often “statistically dense” playing is another. Frank’s firstborn Dweezil and his band did a reasonable job with both.
THE POGUES, THE BARONS OF TANG HORDERN PAVILION 11/04/12
That Pogues singer Shane MacGowan even made it to Australia in 2012 for his band’s appearance at Bluesfest and subsequent sideshows is something of a miracle. The fact he was on stage and able to sing his way through a greatest hits set was certainly more than was expected by most members of this evening’s sold-out crowd. It’s always hard work for a support band facing a crowd that haven’t seen their favourite band play for over 20 years, but The Barons Of Tang had a relentless energy to their gypsy folk. There was a lot of dancing on stage, but by the end it seemed as if most audience members were ready for the Irish headliners. While The Pogues’ MacGowan was never a particularly polished crooner, his distinctive, gruff vocals always used to suit the earthy Irish lyricism of his songs. In the years since, he’s lost almost all of the personality out of his performance. Now it almost feels like he’s reciting a poem he’s learnt by heart, like a child parroting back his times tables, but this show was always going to be more about emotion than a band hitting every note. While Fairytale Of New York was a notable absentee, songs like Sally MacLennane, Rainy Night In Soho, Dirty Old Town, Thousands Are Sailing, The Irish Rover and Streams Of Whiskey prompted the entire Hordern crowd to add their voices to those onstage. The night’s undoubted highlight though had to be the poignant And The Band Played Waltzing Matilda. It was clear that even MacGowan understood the significance of performing that song on an Australian stage. Behind MacGowan, the rest of The Pogues proved the years had done little to dim the fire of their musicianship. Surely it’s time Spider Stacy is acknowledged as the best tin whistle player in rock music? Even now, with folk music such a popular genre with younger musicians, there are still very few artists who have managed to sound like The Pogues, with their heady mix of traditional Irish instruments, Brendan Behan-inspired lyrical poetry and the fervour of ‘70s UK punk. Though there were promises of a return visit, at least now Sydney Pogues fans can say we saw Shane MacGowan sing with The Pogues. That for the most part they sounded pretty good was just an added bonus. Danielle O’Donohue
Zappa Plays Zappa favoured Frank’s older stuff and almost everything the Metro heard was preIke Willis material. Sexual Harassment In The Workplace got things going, before Plastic People and Hungry Freaks, Daddy brought things back to the Mothers Of Invention era, where they remained for most of the evening. Dweezil managed his father’s guitar pyrotechnics, just with less obnoxiousness. And he’s probably used the line a thousand times before, but when he was interrupted by a punter and replied with, “Yes, that’s my name; I see you have my dad on your shirt”, it’s still amusing. The smooth, almost GRP Records-ish Blessed Relief was a break from the grating though brilliant old school Frank and Dweezil explained that it’s one of the few songs with a beautiful melody that his dad “chose not to fuck up”.
The size of the crowd gathered for the Wolf & Cub set was probably amplified by the smallness of the venue, but then it’s been some time since the Adelaide band has made the trip here. The little venue fitted the band perfectly, from the unassuming way in which they stepped on and off the stage to the way in which their potent psychedelic sounds wrapped their way around the room. Wolf & Cub’s sounds are reverb-laden and warm, whilst also featuring irresistible, pounding bass lines and mind-altering, trippy melodies.
The post-intermission set showed off Ben Thomas’ mastery of not just Frank’s distinctive vocal honk in Trouble Every Day, but his freewheeling stage banter and gentle contempt for his audience. Joe Travers’ drum solo was clinical and dull and had none of the fire that Zappa Senior’s better drummers – say Terry Bozzio and Vinnie Colaiuta – might have shown. The two Sheik Yerbouti numbers, City Of Tiny Lites and Dancin’ Fool, were highlights, while the set closed, of course, with an extended Whipping Post jam, which a very, very young Dweezil used to guest on in his dad’s band.
It was a night of new music and old music, of captivating performances built on vastly different styles and sounds. Though Wolf & Cub’s tunes retain some of their magic once recorded, you can’t replace the energy and sheer forcefulness they generate in a live setting. Hopefully it won’t be another three years of waiting before the band venture back to Sydney.
As with any good tribute act, Zappa Plays Zappa will have rekindled the curiosity of many old fans in the audience, many of whom probably went home to put on Freak Out! or trawl for old footage of Frank on YouTube, outwitting hapless interviewers or putting his band through all sorts of bizarre hoops onstage. Dweezil and co. put on a good show and predictably reminded us of how irreplaceable his dad was.
THE POGUES @ HORDERN PAVILION. PIC: ANGELA PADOVAN
JASON & THE LYREBIRD
IN A TEE PEE WE SHALL LAY
FAIR & VERDANT WOODS
How many releases do you have now? This is our debut release.
How many releases do you have now? This will be our second EP. How long did it take to write/record? The recording process was very quick. We had such limited time because we were in between tours, so we knocked this out in a week! The writing process was quite a bit longer; a couple of the songs are brand new but there are a few older ones some people might recognise from our live shows. Was anything in particular inspiring you during the making? Just life experience basically! There’re a lot of different musical influences we can chart along the way and this might have led to a number of different musical ‘feels’ between songs, but we feel like our sound is currently developing a part Western-folk, part psych-rock vibe and you get an idea of that on the EP. What’s your favourite song on it? My favourite new one is Sides, which we mostly wrote in the studio. Will you do anything differently next time? Many things I’m sure! Mainly just give ourselves more time to write.
How long did it take to write/record? There are a few years of writing in those songs and the EP took seven months to complete; tracking, mixing, crying and mastering.
TOY BOATS DIAMOND TEETH How many releases do you have now? Two – 2AM Bones (demo) and Diamond Teeth EP. How long did it take to write/record? The most part of last year I worked on the songs. We recorded them over a week in January and finished the tracks in early February. Was anything in particular inspiring you during the making? All that I was experiencing inspired the record. What’s your favourite song on it? At the moment, The Colours Went With You. Will you do anything differently next time? The next record will hopefully be a progression, so I’ll be playing around with a few different elements, though there’s nothing that stands out that I would change on Diamond Teeth.
Will you be launching it? Thursday 19 April at Goodgod Small Club.
Will you be launching it? I’m playing a series of free in-store shows to launch it. The Sydney show will be on Saturday 21 April at Resist Records at 4pm.
For more info see: www.facebook.com/tinsparrow
For more info see: www.facebook.com/toyboats or resistrecords.com
ROGERS DOES ROGERSTEIN The Griffin Theatre Company is presenting a intimate evening of song, chat and enchantment this Friday with You Am I’s frontman, Tim Rogers and the talents of his life-long friend, Shel Rogerstein. Come and see them perform like never before with a unique acoustic set and new songs inspired from their travels together through time and space at the SBW Stables Theatre.
HIP HOP BANDITS Their innovative modern take on ‘60s and ‘70s soul music blended with hip hop, reggae and dance grooves has made The Leisure Bandits an exciting new addition to the music scene. The band is coming to Surry Hills’ Mac Hotel this Wednesday to launch their new EP. If that’s not
enough, local talent Blue Candy are joining the celebrations and will be kicking the evening off.
UKULELE POP A love of old vinyl, a dreamlike sense of lyricism with a touch of spontaneity plus a ukulele is what to expect with Sarah Humphreys. Come down for a night of folk pop with a hint of ‘60s flavour this Friday at Newcastle’s Lizotte’s where she is the supporting guest for Daryl Braithwaite.
WEST TIGER HEROES This Saturday, the Bridge Hotel in Rozelle presents another West Tigers Home Ground Heroes event for you with a mammoth lineup. On the bill are Red Oxygen, Road Kill, Daniel Hopkins Band, The Cleanskins, Arms Attraction and Lucy B And The B Sides so don’t miss out.
Was anything in particular inspiring you during the making? Ex-lovers, new lovers, the sun, the ocean, watermelon and avocados. What’s your favourite song on it? Love You Like A Radio. Will you do anything differently next time? We’re in the midst of planning an album now; we have the songs near ready to go. As the EP was recorded in lounge rooms, bedrooms and hallways, this time we’ll track drums and bass for the album in a recording studio and complete the rest at home... we’ll also try to sleep more, get early nights and wake up to the cool brisk air of the morning time. Will you be launching it? Official EP launch is this Saturday 21 April at Goodgod Small Club. Special guests on the night include Love Parade as well as Rascals & Runaways. For more info see: www.jasonandthelyrebird.com or you can join us on Facebook www. facebook.com/jasonandthelyrebird.
ELTON’S PRODIGY Once upon a time, Sir Elton John heard Eran sing and put him on the road as his support act. Four years on and the happily ever after dream is not far off, Eran having been introduced to some of the most creative minds in the business by Elton himself. You can hear him this Saturday at Notes, opposite the Enmore Theatre.
NEW GRASS This Friday night at Notes, The Davidson Brothers – winners of three Golden Guitars – will be bringing their first live gig to Sydney since 2006. Their music is steeped in bluegrass tradition, but with a distinctive new energy and flair, high-energy bluegrass at its best.
SUNDAY AFTERNOON TUNES Mic Conway’s National Junk Band will be putting on a quaint riverside roots show this Sunday
EPIDEMIC…OVER LONG WAY HOME How many releases do you have now? Three. How long did it take to write/record? This one took a good 6-12 months to write and three weeks to record in a Queenslander-style home on the side of a mountain in Central Queensland mining town, Mount Morgan. Was anything in particular inspiring you during the making? The townspeople, who welcomed us like lost sons, the dams and creeks and amazing weather, the process of living and breathing the recording of these songs for nearly a month straight. What’s your favourite song on it? The Stone, definitely. It shows every person in their element. Will you do anything differently next time? Definitely not. We never want to do our recording a different way ever again. Except, that particular house has been sold, so it will be another house on the side of a hill in a rural town, somewhere. Will you be launching it? We’ll be launching it on Thursday 19 April at Bondi Beach Road Tavern (with Siren Lines, Teal and Anto McKeon) and again on Friday 20, Live at the Wall at the Bald Faced Stag (with Siren Lines and Shinobi). For more info see: www.epidemicover.com.au afternoon at Jamieson St Wharf in Sydney’s Olympic Park. Kicking off at 1pm, this will be the perfect way to spend an Autumn afternoon.
SOCIETY OF SINNERS
The Lansdowne Hotel has established this Friday night as punk night. Titled Sinners Society, the evening will feature five short, sharp sets from up-and-coming punk acts from up and down the East Coast. Featuring are Sydney’s The Corps, loaded up with brand new material, psychobilly punk rock act The Switchblades, Wollongong experimental punk act Thomas Covenant and more.
HAVE YOU VISITED ARGENTINA? Queensland producer Alex Ritchie, under the guise of Argentina, is embarking on a debut headline tour for his new single, Chalk Outlines. He’ll be at FBi Social this Friday for your appraisal.
THE DRUM MEDIA • 53
GO YOU GOOD THING
AFTER SLOGGING IT OUT FOR CLOSE TO TEN YEARS ON THE AUSTRALIAN PUB ROCK CIRCUIT, THE GO SET’S JUSTIN KEENAN TELLS CHRIS YATES AN UNEXPECTED OFFSHORE INTEREST IN THE BAND HAS GIVEN THEM A NEW LEASE ON LIFE.
LAUNCHING THEIR SECOND EP, RÜFÜS’ TYRONE LINDQVIST TALKS TO SAM HOBSON ABOUT FEELING FOREIGN AND THE COMPLEX TALE OF HOW HIS BAND’S SOUND HAS EVOLVED alternative acoustic pop. Jon, he didn’t really do much musically until he got out of school, when he started DJing and learning about music production.”
sound like such a wanker when I say this, but we’re going back to Europe for like thirty days straight, and I’m sort of like, ‘Ugh, again?’” Keenan laughs as he plays down the limitless fun he and his band mates are likely to have on their next jaunt through Europe, but he says these days there’s a lot less sex and drugs for The Go Set but, thankfully, still just as much rock’n’roll. It’s not that they’ve gone straight-edge or lost any of their mojo; it’s just that after a good decade of playing shows around Australia and the world, the priorities are less about the partying and more about playing the best show they possibly can. “If you said to any other musician, you’re going to Europe for a month, you’re playing every night, you’re playing eight different countries, you’re playing at five festivals where you’re gonna be playing to thousands of people, dudes would be climbing over each other to get on that flight!” he says without exaggeration. “I’m really aware not to take it for granted because I know it won’t last forever.”
54 • THE DRUM MEDIA
At The Go Set’s current rate, it really seems like it could. After ten years of very regular gigging and a swag of albums, their name is a fixture on what passes for the modern pub rock circuit. The group’s blend of punk, folk and Celtic elements has seen them slot into just about any sort of rock gig you can find in Australia, but even with such a loyal following in their home country it’s hard to sustain a band for too long. It’s shows in Europe, and in particular Germany, that are making a more viable future possible. “Bands that do a lot of work, and show that they’re willing to come back – European audiences really respond to that. I think Australia is spoiled for great live bands. The Go Set are a great live band, but there’s thousands of equally good bands in Australia.” WHO: The Go Set WHAT: The Go Set (Karvin Records/MGM) WHEN & WHERE: Friday 20 April, Southern Cross Club, Canberra; Saturday 21 Sandringham Hotel
ecause we need labels – we need them to sate our burning obsession to compartmentalise ostensibly and affrontingly foreign things – Rüfüs have been labelled an ‘indie dance’ band. But labels distort things. When one listens to Rüfüs, there’s the immediate and striking sense that, though there’s a beat on each of their tracks that’s undeniably danceable, their sound’s actually made of a complex, quilted network of very different things. They’re profoundly more than that tag suggests. “It’s a big part of what we do, I guess, that [deliberate diversity],” the band’s synth player and co-vocalist Tyrone Lindqvist explains. “It’s [all] three of us who write the music, and it started off with just me and Jon [George], and we [alone] came from really different backgrounds. I grew up playing classical music, and piano, and then [went on] to play
“When we got together, I guess our music came of all that difference, and that’s why it sounds like it does… I mean, I’ve come from loving flamenco…. I went to a boarding school and every night they made you study for three hours, but I wasn’t into studying too much, so I’d listen to album upon album, any genre, anything that would tickle my fancy. Jon’s big influence at the time was house music, mine was alternative pop – stuff that’s more hook-based. We met halfway. We did a couple of songs and we just had this feeling – I don’t know – it just felt foreign, in a weird way. Same when we were choosing the band name, and put those umlauts on the ‘U’s. I don’t mean like it was from Europe or anything,” he qualifies with a laugh, “it just had this ‘stranger’ feeling, and we really liked it. It felt right. And when we write music, it’s usually very feeling driven… For our first EP we were going for a very summer afternoony feel, really relaxed, but it has this dark undertone. And then with this new EP, [we’ve] taken that and moved it [into] a more night-time, Sundaynight thing. It’s just got a different vibe to it.” WHO: Rüfüs WHAT: This Summer (Gigpiglet/Inertia) WHEN & WHERE: Friday 20 April, Cambridge Hotel, Newcastle; Saturday 21, Spectrum; Tuesday 24, Trinity Bar, Canberra
HIDDEN IN THE BASEMENT
Katie Noonan’s jazz trio, Elixir – creators of the hauntingly beautiful album, First Seed Ripening – will be playing a couple of shows across NSW this weekend. Made up of Katie Noonan, her saxophonist husband Zac Hurran and jazz guitarist Steven Mangusson, the trio’s latest has been described “a moving, magnificent album”. Catch them at Wollongong’s Ravensthorpe Guesthouse and Restaurant this Friday, and Sydney’s The Basement this Saturday.
FEELING BLUE? PEPPERMINT AND FOX PEPPERMINT AND FOX What’s the title of your new EP and where did it come from? It’s self-titled, but Peppermint And Fox comes from an epiphany I had one day that any flavour and animal makes a neat band name. Honestly, try it. How many releases do you have now? Just the one officially, and of course, a Soundcloud full of unofficial ones. How long did it take to write/record? I chose these particular songs from a bunch I’d written over the last five years. With the help of Paul Murchison, who produced the EP, we did the recording over about nine months on and off. What’s your favourite song on it? It changes, but To Russia With Love was a fun song to record, so it always cheers me up. Will you do anything differently next time? It was definitely a learning curve doing it for the first time, but I wouldn’t change anything. Will you be launching it? The World Bar 3pm Sunday 22 April. For more info see: www.peppermintandfox.com
Following Bluesfest and his supporting tour with Seasick Steve, Claude Hay will be giving an intimate show this Saturday at The Vanguard, alongside Mindy And The Serpents and Lachy Doley. This will be Hay’s final show before finishing up his third album, due in October. Don’t miss this special show.
AROUND THE RIVER BEND
This Thursday night, catch Melbourne-based outfit Lowlakes alongside Round The Corner and Annie McKinnon. With a sound that marries ambient noises with alternative, indie pop, Lowlakes – who are originally from Alice Springs – are the creators of a fascinating sound, so you best head out and see for yourself.
Um, what? This Friday at Marrickville Town Hall, Oka and The Rhythm Hunters, two separate acts, share a bill together to create live world beats and modern mantra sounds, helping the community to get down with wholesome food and a very non-drug high: a yoga rave.
RECORD STORE DAY
It’s that time of year again. This Saturday in Wollongong, head off to Music Farmers for an awesome celebration of the big day. A free barbeque, exclusive releases, a free CD with every purchase and six live bands – including Obscura Hail, Reactionary and The Merchants – you’d better be there.
THE LITTLE ONES
This Friday night, The Little Stevies will be bringing their folk pop sounds to the Camelot
Lounge in Marrickville. The Melbourne band will be leaving their drummer behind and getting back to their roots, armed with only acoustic guitars and three-part harmonies. Don’t miss it.
BYE FOR NOW
SEEING RED This Friday night, catch Red Remedy, The Grand Lethal, Sex in Columbia and Monks of Mellower at The Annandale. Red Remedy will be whipping out some of their brand new material, so amble along and see what they’ve been up to.
THE ROOTS OF IT Sydney musician PJ O’Brien has just released Jefferson Blues, an album full of muscular guitar work and soulful vocals. To celebrate, he’ll be performing two album launches: the first on Saturday at the Empire Hotel in Annandale, and the second at Beaches in Thirroul next week.
KEEP IT UP Brisbane outfit Keep On Dancin’ play a cocktail of shoegaze, reverb-core and surf. They bring to mind a combination of Best Coast and The Velvet Underground. If this sounds appealing, head on down to Oxford Art Factory’s Gallery Bar this Friday night.
THE TALL AND THE SHORT OF IT Oregon native, Shelley Short is a crafter of dynamic alternative tunes, and she’s back in Australia this week for the fourth time. She cites influences like Joni Mitchell and Bob Dylan and delivers songs full of intimacy and sincerity. She’ll be opening for Mick Thomas this Saturday night at the Annandale Hotel.
NICE BOYS AT THE YACHT CLUB Actually, the boys from Yacht Club DJs are the complete opposite of nice. They’re wild, they’re loud and they spend more time out of their clothes than in at their shows. Masters of mash-ups, their insane sets turn even the most sedate crowds to riots. They’ll be playing this Thursday at University of Wollongong’s Uni Bar and Saturday at The Standard in Sydney.
STEVE LUCAS How will you be keeping busy with your time now? I’ll do what I please. Music will always be a part of my life. I’m not planning a life of social and political exile. There are wonderful musicians out there and I want to have the freedom to explore them without being limited to the X legacy. What will you be missing most with time away from music/touring? Good Lord! I’m not dead. I’ll just relax and do as I please. I’ll play music, live love and fornicate! Same as ever. Everything is changing… the whole shape of the industry is evolving. I’m not sure if X fits or if it should fit these days. Can you mention a few highlights of your musical career? In the early days every other gig was a highlight… What is a highlight? We never won an award or achieved any official acknowledgement or recognition so it comes down to the audience. The appreciation of the punters is/was everything. And lowlights…? I’ve buried a lot of friends. I suppose that is as low as you can feel. Ian Krahe’s death was devastating. As was the passing of Steve Caferio, Cath Synnerdahl and there were many others, too many. Farewell shows: X will be at Manly Fisho’s on Friday 20 April and at The Square, Haymarket on Saturday 21.
THE DRUM MEDIA • 55
TUE 17 ADAM PRINGLE, FUNKY AS F#CK: Sandringham Hotel, street level ADAMS GARDEN, COOKING CLUB: 505 - Surry Hills ANDY GATFIELD, DAVE SMITH, REBEKKA NEVILLE BAND: Chinta Ria - Darling Harbour ASHLEY KNIGHT: Jack’s Bar & Grill - Erina GYPSYS ART CLUB, EDDIE BRONSON: Camelot Lounge - Marrickville JOHN LEIGH CALDER: The Lounge- Surrey Hills MUSO JAM NIGHT: Bald Faced Stag - Leichhardt OMG!: Scruffy Murphy’s - City PETER HEAD: The Harbour View Hotel - The Rocks STEVE TONGE: O’Malley’s - Darlinghurst TABITHA: Opera Bar - Circular Quay TCR: Town & Country Hotel - St Peters THE RUBENS, SURES, UPSKIRTS: Good God Small Club - Sydney THE SONGWRITER SESSIONS: Sandringham Hotel, upstairs THEY CALL ME BRUCE: Maloneys Hotel - Sydney
WED 18 ANDY MAMMERS DUO: Maloneys Hotel - Sydney ANTHONY HUGHES AND THE INTERNATIONAL LOVE EXPERIMENT, PAPER CRANE, TAIL (LIAM GORDON): Brass Monkey - Cronulla AYA LARKIN: The Vanguard - Newtown BATTLE OF THE BANDS: Jack’s Bar & Grill - Erina COLD CHISEL: Hordern Pavilion - Moore Park DAN SPILLANE: Mean Fiddler Hotel - Rouse Hill DANIEL HOPKINS.: Taren Point Hotel - Taren Point DIANA ROUVAS: Opera Bar - Circular Quay DJ PAULY: Marlborough Hotel - Newtown DZ DEATHRAYS, VELOCIRAPTOR: Beach Road Hotel - Bondi GOODNIGHT DYNAMITE: O’Malley’s - Darlinghurst GREG SITA, CHELSEA GIBB: Cookies Lounge and Bar - North Strathfield HELMUT UHLMANN, BENWARDI, ELLANA HICKMAN, LYNETTE SMITH: UTS Loft Bar, UTS - Broadway JACK WALTON: The Harbour View Hotel - The Rocks JAMES MORRISON: The Basement - Circular Quay
56 • THE DRUM MEDIA
JAMIE LINDSAY: Northies - Cronulla KIRK VOIDS: Town & Country Hotel - St Peters MICHAEL PETER: Tokio Hotel - Darling Harbour MICHELE MADDEN, BLACKIE, STEVE LUCAS, RICHARD BULL: Sandringham Hotel - Newtown MYE: Artichoke Gallery Café - Manly NATALIE DIETZ: 505 - Surry Hills NICKY KURTA: Summer Hill Hotel - Summer Hill RAINBOW CHAN: World Bar - Kings Cross SCANDALGATE, SMOTHERBOX, GODS OF RAPTURE, FOUULHAWK: Valve Bar & Venue - Tempe STARR WITNESS, DARREN BENNETT, BLACK DIAMOND: Cat & Fiddle Hotel - Balmain SUNSET RIOT, NEON HART, CHI CHI, THE GO GO’S: Annandale Hotel - Annandale TAOS, JOHN CHESHER, BRADEN EVANS, MAI-ANNE: Coach & Horses Hotel - Randwick THE DEAD MARINES: Sandringham Hotel, street level THE DREY ROLLAN BAND: Rock Lily - The Star Casino - Pyrmont THE LEISURE BANDITS, BLUE CANDY, AFRO NOMADS: Macquarie Hotel - Surry Hills THE RUBENS, SURES, PALMS: Good God Small Club - Sydney VAN SERENO, GENEVIEVE CHADWICK, G NUNAN BAND: Lizottes Sydney - Dee Why WILDCATZ: Scruffy Murphys - Sydney WOLF & THE GANG: Lansdowne Hotel - Chippendale
THU 19 ANDREW DENNISON: Narrabeen RSL ANDY MAMMERS: Panthers- Penrith ARREBATO ENSEMBLE: The Sound Lounge Seymour Centre AUROX, FROM AFAR, KARMIC DIRT, ETHAN JOE, MEN OF THE WEST, G62, DISTORTED SOUND THEORY: Mounties - Mt Pritchard BRETT SELLWOOD: La La Land, Byron Bay CASEY DONOVAN: The Vault - Windsor CLAIRE, LITTLE NAPIER: Oxford Art Factory, Gallery Bar - Darlinghurst DANIEL WELTLINGER, IAN & NIGEL DATE., EDOUARD BRONSON: Camelot Lounge - Marrickville
DEE DONOVAN, GROOVEWORKS: Revesby Workers - Revesby ENERATE, SHADOWS AT PLAY, THE NIGHT: Bald Faced Stag - Leichhardt EPIDEMIC OVER, SIREN LINES, TEAL, ANTO MCKEON: Beach Road Hotel - Bondi O BROTHER WHERE ART THOU? TRIBUTE feat. CHRISTA HUGHES, ELANA STONE, BRIAN CAMPEAU, GEORGE WASHINGMACHINE: The Vanguard - Newtown HOODLUM SHOUTS: Transit Bar - Canberra ACT IN MEASURES: Rock Lily - The Star Casino - Pyrmont JIMMY MANN: Campbelltown Catholic Club JO FABRO, MICHAEL WHEATLEY: Blue Beat - Double Bay JON GOMM, ANDY SORENSON: The Basement - Circular Quay JONATHAN DEVOY: Sandringham Hotel, street level JULIA BOOTH, REDRUTH: Mars Hill Café - Parramatta LOWLAKES, ROUND THE CORNER, ANNIE MCKINNON: FBI Social - Sydney MARTY from RECKLESS: The Marlborough Hotel - Newtown NICKY KURTA: Dee Why Hotel - Dee Why PAUL SUN, RAY MARTIN, MARK BATTY: Jazushi - Surry Hills PAYNE RD, SAY IT FOREVER, SEEK THE SILENCE, CLOUD FOUR: The Valve - Tempe PETER LANZON: Artichoke Gallery Café - Manly POND, THE LAURELS: The Standard, Darlinghurst ROB HENRY: Harbord Beach Hotel - Harbord ROCKSTEADY REGGAE ROOTS: 505 - Surry Hills RUSS RYAN: Red Lion Hotel - Rozelle RUSSELL NEAL, ALAN WATTERS: Kogarah Hotel SAM & JAMIE TRIO: Maloney’s Hotel SAX IN THE CITY, JEREMY ROSE: The Spice Cellar - Sydney SCOTT & CHARLENE’S WEDDING, BED WETTIN BAD BOYS, LOW LIFE, CAMPERDOWN & OUT: Red Rattler Theatre - Marrickville SEAL: Sydney Entertainment Centre
SIMON TEDESCHI, SYDNEY OMEGA ENSEMBLE, TEDESCHI & OMEGA: City Recital Hall - Sydney SIRENS SWING BAND: Macquarie Hotel - Surry Hills SOULGANIC: Opera Bar - Circular Quay STEVE TONGE: The Obsever Hotel - The Rocks STONEFIELD, DELTA RIGGS, KINGSWOOD: The Great Northern Hotel, Newcastle SUZY CONNELLY, CHARLIE HORSE, RUSHING DOLLS, MATT PURCELL, THE BLESSED CURSE: Sandringham Hotel, upstairs THE BREWSTER BROS: Brass Monkey - Cronulla THE UPRISING: Scruffy Murphys - Sydney TIGERTOWN, LLUKA: Moonshine Cider & Rum Bar - Manly TIM STOKES: Katoomba RSL - Katoomba TIN SPARROW: Good God Small Club - Sydney TRIBUTE TO NIKOS PAPAZOGLOU: Factory Theatre - Enmore VEEN, DAMPVAMP, GROUP, SKARLETT SARAMORE, BANG BANG ROCK N ROLL, TALES IN SPACE, THE JONES RIVAL: Oxford Art Factory, Darlinghurst YACHT CLUB DJS: UniBar - University of Wollongong ZOLTAN: Northies - Cronulla
FRI 20 AMY MEREDITH: Factory Theatre - Enmore ANDY MAMMERS & CRASH AVENUE: Moorebank Sports Club - Moorebank ARGENTINA: FBI Social - Sydney AUGUST BURNS RD, BLESS THE FALL, NORTHLANE: Metro Theatre - Sydney BEN FINN: PJ Gallaghers - Drummoyne BLACK DIAMOND HEARTS, SAM & JAMIE BAND: Crows Nest Club CARL FIDLER: Observer Hotel - The Rocks CASINO RUMBLERS, ALLS FALLOW, EVERYTHING I OWN IS BROKEN: The Town Hall Hotel - Newtown CHRIS & CHA, NOTHING SACRED: Jack’s Bar & Grill - Erina CONTRABAN, NEON HEART, VANITY RIOTS, RATTLE SNAKES: The Square - Haymarket CORE: Orana Hotel - Blacksmiths DARREN JOHNSTONE: Red Cow Hotel - Penrith
DAVID AGIUS TRIO: East Leagues Club - Bondi Junction DEAD JOHNNY, TAIL, JENNY BROKE THE WINDOW, TAIL, LITTLE BASTARD: World Bar - Kings Cross DJ NINO BROWN: Mounties - Mt Pritchard DJ TONE: Oatley Hotel - Oatley DZ DEATHRAYS, VELOCIRAPTOR, BLOODS: Oxford Art Factory EMMA PASK: 505 - Surry Hills EPIDEMIC OVER, SIREN LINES, SHINOBI: Bald Faced Stag - Leichhardt FALCONA FRIDAYS feat. DR DON DON, DEVOLA., ISBJORN, BERNIE DINGO, MAIA: Kit & Kaboodle - Kings Cross FALLON BROTHERS: Stacks Taverna Darling Harbour FAT ALBERT: Ballina RSL FIONA LEIGH-JONES DUO: Harbord Beach Hotel - Harbord GANG OF BROTHERS, LIONEL COLE, GRACE SENITULI, BUDDY SIONO: Blue Beat - Double Bay GIMMIE FIVE, JEDDY ROWLAND, MIKE SILVER: Cohibar Darling Harbour GOD BOWS TO MATH, YES I’M LEAVING, THE NOCTURNALS: The Roxbury Hotel - Glebe HIP NOT HOP: Custom House Bar - City HIT MACHINE: Scruffy Murphys - Sydney HIT SEEKERS: The Marlborough Hotel - Newtown HOODLUM SHOUTS: Blackwire Records, Annandale HUNTING GROUNDS: Fitzroy Hotel - Windsor HYPE DUO: Courthouse Hotel - Darlinghurst INTIMATE LOUNGE MUSIC: Fairfield RSL, Supper Club JAY & SILENT BOB GET OLD: Enmore Theatre - Enmore JIMMY MANN, DJ MARK FURCHTMANN: Campbelltown Catholic Club JOHN LARDER: Great Southern Hotel - Sydney JONNY ROCK: Parramatta RSL - Parramatta LINES OF CHARLIE, BROKE DOWN ENGINES, CAPITOL, THE NIGHT: Sandringham Hotel, upstairs MAIDEN OZ, DAMAGE INC: Valve Bar & Venue - Tempe MARK DE COSTA, THE BLACK LIST: Rock Lily The Star Casino - Pyrmont
MARK LANEGAN, HOWL AT THE MOON: The Hi-Fi MARK TRAVERS, DAN LAWRENCE: Castle Hill RSL MATT JONES: Novotel Brewery Bar, Olympic Park MATT TOMS: Crown Hotel - Sydney METRIK, DOCTOR WEREWOLF, LINKEN, LKUE, DETEKTIVES, JOE BARRS, GEE FLUXZ: Chinese Laundry - Sydney MIKE MATHIESON, CHRIS ALEXANDER: Sutherland United Services Club - Sutherland MOVEMENT, MANNIQUINS: Beach Road Hotel - Bondi MR BREEZE: Richmond Inn - Richmond NEILL BOURKE: O’Malleys Hotel - Kings Cross NEXT BEST THING: Dundas Sports Club OMG!, MARTY SIMPSON: Dee Why Hotel - Dee Why ORIGINAL SIN - INXS SHOW, SWINGSHIFT - COLD CHISEL SHOW, PLEASURE & PAIN THE DIVINYLS SHOW: Penrith RSL, Showroom PAUL SUN, MATT LAMB, MONIQUE LYSIAK: Arthouse Hotel - Sydney PHILL SLATER QUARTET: The Sound Lounge Seymour Centre POWDERFINGER SHOW: Engadine Tavern QUIET CHILD, BEGGARS ORCHESTRA: Club 77 - William Street, East Sydney RAMPS: Black Wire Records- Annandale RATTLE & HUM-U2 SHOW: Iron Horse Htl Cardiff ROB HENRY: Northies Cronulla Htl ROB MACKENZIE: Oasis Hotel, Campsie SKY BAR: The Watershed Darling Harbour SONS OF MERCURY: PJ’s Irish Pub - Parramatta SOUL SHAKEDOWN DJ’s: The Great Northern Hotel, Newcastle STEVE EDMONDS BAND: The Beach Club - Collaroy STEVE TOUNGE DUO: Mean Fiddler Hotel - Rouse Hill THE ABSTRACTIONISTS: Artichoke Gallery Café - Manly THE BEARDS, THE CROOKED FIDDLE BAND, MOJO JUJU: Manning Bar, Sydney Uni - Camperdown THE DAVIDSON BROTHERS: Notes Live - Enmore
THE GRAND LETHALS, SEX IN COLUMBIA, RED REMEDY, MONKS OF MELLONWAH: Annandale Hotel - Annandale THE HAPPY HIPPIES: Sportsmans Hotel - Blacktown THE KEEP ON DANCIN’S, ATOM BOMBS: Oxford Art Factory, Gallery Bar - Darlinghurst THE LITTLE STEVIES, ILUKA: Camelot Lounge - Marrickville THE LIVING CHAIR: Wentworthville Leagues THE LOUISIANA ROADSHOW: Brass Monkey - Cronulla THE LOUNGEPHONICS: Town & Country Hotel - St Peters THE MEDICS: Good God Small Club - Sydney THE NICKELBACK SHOW: Heathcote Hotel - Heathcote THE WOO HOO REVIEW: Buddha Bar, Byron Bay THE ZEPPELIN SHOW: Bull & Bush - Baulkham Hills THUNDERSTRUCK AC/DC SHOW: Pioneer Tavern - Penrith TIM RODGERS: SBW Stables Theatre - Kings Cross TOM UGLY, ENOLDA FALL, JORDON SLY: Upstairs, Bereford - Surry Hills VENUS: Hillside Hotel - Castle Hill VIDEO JUKE BOX: Sandringham Hotel, street level WILDCATZ: Kirribilli Hotel - Kirribilli X, CHICKENSTONES, YOUNG DOCTEURS: New Manly Fishos YUKI KUMAGAI, JOHN MACKEY QUARTET: Well Connected Cafe Glebe ZOLTAN: Pittwater RSL - Mona Vale
SAT 21 22.214.171.124’S: Factory Floor @ The Factory Theatre - Enmore 031 ROCK SHOW: Scruffy Murphys - Sydney ACCA DACQUIRIS: Opera Bar - Circular Quay ACHTUNG BABY - THE U2 EXPERIENCE: Caringbah Inn ANDY MAMMERS: Harbord Beach Hotel - Harbord BACK TO THE 80’S, ZOOO SUPER BAND: Penrith RSL BEN FINN DUO, ANTOINE: Ettamogah Hotel - Rouse Hill BLUE MOON QUARTET: Fairfield RSL, Supper Club
BOATFRIENDS, CAITLIN PARK, THE UNDERSTUDY: FBI Social - Sydney BOB WALTON, LLOYD SPIEGEL, CLAY BLYTH: Ballina RSL BOOTLEG BEATLES: North Sydney Leagues, Cammeray CAKES: World Bar - Kings Cross CASINO RUMBLERS, POOL PLAYERS FROM HELL, THE WASTED ONES, THE WORKING HORSE IRONS: Hamilton Station Hotel - Newcastle CATFISH SOUP: Orana Hotel - Blacksmiths CHRIS WAINHOUSE: El Rocco Jazz Cellar - Woollomooloo CONTINENTAL ROBERT’S BLUES & BOOGALOO PARTY: Marrickville Bowling Club COUNTERFEIT: TRIBUTE TO WEEN: Town Hall Hotel - Newtown CUT COPY DJ’S: Ivy, Pool - Sydney DARYL BRAITHWAITE, ZOE K: Lizottes Sydney - Dee Why DES GIBSON: Lansvale Hotel - Lansvale DI SOLOMON: Mean Fiddler Hotel, Piano Man - Rouse Hill DOCTORS WITHOUR BORDERS: Mars Hill Café - Parramatta ELEVEN ELEVEN, THE BLAND, SOUTH DEVINE, JACK ANDERSON BAND: Valve Bar & Venue - Tempe ELIXIR feat, KATIE NOONAN: The Basement - Circular Quay EON BEATS PROJECT, EVELYN DUPRAI, LILY DIOR: Blue Beat - Double Bay ERAN JAMES, HEAVY YEN PROJECT: Notes Live - Enmore FALLON BROTHERS: Brewhouse - Marayong GALAPAGOOSE: The Gate - Ryde GAY PARIS, HOODLUM SHOUTS, LO!, SHANGAHI, BRAVE IT THROUGH THE NIGHT, FIREARMS, ONSLAIGHT, INCREDIBLE KICKS: Bald Faced Stag - Leichhardt HEATH BURDELL: Sir Joseph Banks Hotel HORRORWOOD MANNEQUINS, AMODUS, THE DAMNED HUMANS, AS ANGELS BLEED: Agincourt Hotel - Broadway I’M WITH STUPID: O’Malleys Hotel - Kings Cross JASON & THE LYREBIRD, LOVE PARADE, RASCALS & RUNAWAYS: Good God Small Club - Sydney JELLYFISH: Jack’s Bar & Grill - Erina
FREE POOL 6.00 - 10.00
TUESDAY 24TH APRIL A N Z A C D A Y E V E
THE DARK SHADOWS RUST THE TURPS SEEK THE SILENCE FREE 7PM
A N Z A C D A Y
WEDNESDAY 25TH APRIL
ANZAC DAY 2 UP FROM 2PM
BIG SCREEN / 5 PLASMAS “ALL SPORT SHOWN LIVE” SUN Thurs 3 May – The Brass Monkey, Cronulla NSW
Tickets through: BRASS MONKEY - (02) 9544 3844 / www.brassmonkey.com.au & OZTIX - 1300 762 545
Fri 4 May – The Standard, Sydney NSW
Tickets through: MOSHTIX - 1300 438 849 / www.moshtix.com.au
Sat 5 May – The Heritage Hotel, Bulli NSW *
Tickets through: HERITAGE HOTEL - (02) 4284 5884 / www.heritagehotel.com.au & OZTIX - 1300 762 545 / www.oztix.com.au
Sun 6 May – The Heritage Hotel, Bulli NSW
Tickets through: HERITAGE HOTEL - (02) 4284 5884 / www.heritagehotel.com.au & OZTIX - 1300 762 545 / www.oztix.com.au
SYDNEY BLUES SOCIETY 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 • 57
GIG OF THE WEEK
DIG IT UP!
Dig It Up! is a massive celebration of the Hoodoo Gurus’ 30 years of recorded history. Come along as the Hoodoo Gurus invite some of their favourite acts and influences in a one-of-a-kind event spread across four venues in Sydney. Catch all the excitement this Sunday 22 April with bands starting from 1pm. The day will see the likes of The Sonics, Died Pretty, 126.96.36.199’s, Royal Headache, Hard-Ons, Belles Will Ring and many, many more hit the stages of The Enmore Theatre, Notes, The Sly Fox and The Green Room. A big day for fans of the Hoodoo Gurus.
JUBILANTS, EVAN & THE BRAVE, CAMDEN: Oxford Art Factory, Gallery Bar - Darlinghurst LACHLAN DOLEY, CLAUDE HAY, MINDY & THE SERPENTS: The Vanguard - Newtown LAST DINOSAURS, MILLIONS, GRISWOLDS: Oxford Art Factory - Darlinghurst MACHINE: Macarthur Tavern - Campbelltown MAD COW: Campbelltown Catholic Club MANNINS, MULLER QUARTET, MIKE NOCK: 505 - Surry Hills MARC WHITE!: Chatswood BBQ Buffet - Chatswood MARK DA COSTA, THE BLACK LIST: Crows Nest Club MARK TRAVERS: PJ Gallaghers - Drummoyne MICH THOMAS, SHELLEY SHORT, WINTER STATION: Annandale Hotel - Annandale MICHAEL BOLTON: Sydney Opera House MICHAEL MCGLYNN: Kirribilli Hotel - Kirribilli MIDLAND, PEKING DUK, MO FUNK, BEN KORBEL, ROBBIE LOWE, JOHN GLOVERNORTHIE, KING LEE, ELLA LOCA, THE SLIPS: Chinese Laundry - Sydney MIKE MATHIESON, CHRIS ALEXANDER: Dooley’s - Lidcombe MISSION JONES: Stacks Taverna Darling Harbour MONSIEUR CAMEMBERT: Camelot Lounge - Marrickville NICKY KURTA, DAVID AGIUS: Northies - Cronulla
58 • THE DRUM MEDIA
NOVA TONE: Kingswood Sports Club PANORAMA: 3 Wise Monkeys - Sydney PASSENGER: Factory Theatre - Enmore PAUL SUN, TREVOR GASCOIGNE: Epitome Café - Lane Cove PEPPERMINT JAM: Rooty Hill RSL PETE: The Belvedere Hotel - Sydney PETER CHRISTIE, JASPER HOLLIS, JESS HOLLAND, THE SILVER SPURS: The Roxbury Hotel - Glebe PLEASURE + PAIN, DIVINYLS SHOW: Bull & Bush POP FICTION: Canterbury Hurlstone Park RSL QUASIMODO, MISSISSIPPI SHAKEDOWN: Brass Monkey - Cronulla REASON8ERS: Huskission Hotel - Huskission RED OXGEN, ROAD KILL, DANIEL HOPKINS BAND, THE CLEANSKINS, ARMS ATTRACTION, LUCY B, B SIDES: Bridge Hotel - Rozelle ROB HENRY, DAN LAWRENCE: Observer Hotel - The Rocks ROCK MY SOUL: Oatley Hotel - Oatley RUFUS, POLOGRAPHIA: Spectrum - Darlinghurst SAM GILL QUARTET: Artichoke Gallery Café - Manly SARAH PATON: Novotel Rooty Hill SHANE FLEW: The Friendly Inn, Kangaroo Valley SIX 60: Metro Theatre - Sydney
STEVE EDMONDS BAND: Wallacia Hotel - Wallacia STORMCELLAR: Bald Rock Hotel - Rozelle THE BANDITS: Mounties - Mt Pritchard THE CITY SHAKEUP, SOAPBOX SUMMER., SOMETIME SOON: St James Hotel - Sydney THE DAVIDSON BROTHERS: Italo Australian Club -Canberra THE DEEP: Coogee Bay Hotel - Beach Bar THE FEELERS, GASOLINE INC: Beach Road Hotel - Bondi THE FOO FIGHTERS SHOW, THE NICKELBACK SHOW: Blacktown RSL - Blacktown THE GO SET, HANDSOME YOUNG STRANGERS: Sandringham Hotel, upstairs THE SHIVON DUO: Parramatta Leagues - Firehouse UP DAY CLUB DJ’S: Phoenix Bar, Exchange Htl VAN SHE, MITZI: Warehouse PartyByron Bay VENUS: Mean Fiddler Hotel - Rouse Hill WAYNE PEARCE & THE BIG HITTERS: The Marlborough Hotel - Newtown X, QUEEN OF SWORDS, BUNT, 77 SUNSET STRIPPERS: The Square - Haymarket YELLOW SOX, BRYSTER, MATT ROBERTS: Cohibar - Darling Harbour
YUKI KUMAGAI, JOHN MACKEY QUARTET: Well Connected Cafe Glebe
SUN 22 ACE: Brighton RSL Brighton-Le-Sands AIMEE FRANCIS: Salisbury Hotel - Stanmore ANDY MAMMERS DUO: Mean Fiddler Hotel - Rouse Hill APHRODISIAC: Jacksons on George BRAD JOHNS: Harbord Beach Hotel - Harbord CAMBO, ROB HENRY, MIKE BENNETT: Observer Hotel - The Rocks CRAIG THOMMO: Parramatta Leagues - Firehouse DANSWEETO, CHASING AMY: Mars Hill Café - Parramatta DAVE TICE, MARK EVANS, THE SLOWDOWNS: Sandringham Hotel, street level (afternoon) DAWN OF THE AGES, PURENVY, PARENTHIA, BLIND INSIDE: Luck Australian Tavern - St Marys DIG IT UP!, THE HOODOO GURUS, THE SONICS, DIED PRETTY, REDD KROSS, THE 188.8.131.52’S, TEK & YOUNGER, THE FLESHTONES + MORE: Enmore Theatre DISCROW & DANIEL WEBB: La La Land, Byron Bay DJ TONE, ASH LISLE: Oatley Hotel - Oatley
ELEVATION - U2 ACOUSTIC: Orient Hotel - The Rocks GIANT STEPS: Opera Bar - Circular Quay GLENY RAE VIRUS & THE TAMWORTH PLAYBOYS, HER TAMWORTH PLAY BOYS: Marrickville Bowling Club HARRY’S LOOKOUT: Orana Hotel Blacksmiths HIT MACHINE: The Three Wise Monkeys - Sydney JEMMA: Campbelltown Catholic Club JJ DUO: Gymea Bay Hotel JOHN LEIGH CALDER: The Lounge- Surrey Hills JONNY GRETSCH’S WASTED ONES, THE POOL PLAYERS FROM HELL: Botany View Hotel - Newtown KOTO DREAMING: Camelot Lounge - Marrickville KRISHNA JONES: Oscars Hotel - Pyrmont LIMITED HEAD SPACE, GRAND UNION, THATS THE LAST STRAW, COREDEA, TOM ELLIOT: Valve Bar & Venue - Tempe LUKE AUSTEN: Penrith RSL MAMBO ITALIANO: Westmead Tavern MARK LUCAS & THE DEAD SETTERS, CHUCK’S WAGON: Petersham Bowling Club MARTY STEWART: Hurstville RSL Club - Hurstville MATT JONES DUO, DAVID WHITE DUO: Northies - Cronulla MATT VAUGHAN, VINYL RICHIE, MC GAFF-E, UP DAY CLUB DJ’S: Phoenix Bar, Exchange Htl MICHAEL BOLTON: Sydney Opera House MICK THOMAS, SHELLY SHORT: Coogee Diggers - Coogee MYSTERY GUEST: The Belvedere Hotel - Sydney PAUL GREENE: Penrith RSL, Castle Lounge PENNY BLACK: Jack’s Bar & Grill - Erina PEPPERMINT & FOX, ATLAS B SALBESEN, N MARTIN, MONKS OF MELLONWAH: World Bar - Kings Cross PETER HEAD TRIO: The Harbour View Hotel - The Rocks REDUNDANT TECHNOLOGY, HALF WAIT: Sandringham Hotel, upstairs SCREAMING SUNDAY: Annandale Hotel (afternoon) - Annandale SHANE MACKENZIE: Cohibar - Darling Harbour STEVE EDMONDS BAND: Wickham Park Hotel - Newcastle
TAHIR QAWWAL, BOBBY SINGH: Camelot Lounge - Marrickville THE BARON OF BLUES, MARK HOPPER: Artichoke Gallery Café - Manly THE CITY SHAKEUP, SOAPBOX SUMMER.: Liverpool PCYC THE GHALI GROOVE BAND, JOSEPH KARL: Brass Monkey - Cronulla THE GOOCH PALMS, SPENCER P JONES, KIM SALMON, KIM & SPENCER: Sly Fox Hotel - Enmore THE GREAT AWAKE, DIVIDERS: Annandale Hotel - Annandale THE HOWL & MOAN, EARTH TO AUDIO, PAPA PILKO & THE BIN RATS, MOTHER BRODY, THE SHADY EXPEDITION, THE PIERCE BROTHERS: Bald Faced Stag - Leichhardt THE POD BROTHERS: Mosman RSL THE SLOWDOWNS: Sandringham Hotel, street level THE STRIDES: Rock Lily - The Star Casino - Pyrmont THE WHITE BROTHERS, RENAE STONE: Ettamogah Hotel - Rouse Hill TOM T DUO: Coogee Bay Hotel - Beach Bar U2 ELEVATION: The Orient Hotel, The Rocks YUKI KUMAGAI, JOHN MACKEY QUARTET, PAUL FURNISS, TONY BURKYS, ALAN GILBERT: Cronulla RSL - Cronulla
MON 23 ANGIE DEAN: Castle Hill RSL BRIAN CAMPEAU SOLO: 505 Surry Hills CAMBO: Observer Hotel - The Rocks RUSSELL NEAL, CLAY & KELLY: Kellys on King - Newtown SIMON AMSTELL: Enmore Theatre - Enmore SONIC MAYHEM ORCHESTRA, BEN HAUPTMANN: Blue Beat - Double Bay UP DAY CLUB DJ’S: Phoenix Bar, Exchange Htl
T TED A
ER 1 B M U N N O IAN
“O’Brien is a talent to watch”
AL USTR TS THE A AND ROO S E U . T BL CHAR
Tom Hyslop - BLUES REVUE, USA
Warringah and Manly Councils proudly present
The Vasco Era The Rubens Sures ~ Georgia Fair plus local acts
‘JEFFERSON BLUES’ CD LAUNCH
SAT APRIL 21
EMPIRE HOTEL, ANNANDALE 8PM - $15
+ DON HOPKINS (SOLO) + SPECIAL GUESTS AVAILABLE FROM ALL GOOD RECORD STORES, ITUNES AND WWW.PJOBRIENBLUES.COM
Sunday 2 29 April Dee Why Beach 12 noon - 7pm
Street Art and Cultural Demos “Before I die...” Walll
all ages - security - no alcohol or glass - smoke free 9976 1487 email@example.com facebook.com/2012YouthFest warringah.nsw.gov.au manly.nsw.gov.aU
Celebrating Youth Week
THE DRUM MEDIA • 59
PERMANENT RECORDS AHEAD OF INTERNATIONAL RECORD STORE DAY, CHRIS YATES TALKS TO FOUR VERY DIFFERENT INDEPENDENT STORES ABOUT WHY THEY STARTED THEIR SHOPS AND HOW INCORPORATING IDEAS OUTSIDE THE NORM ARE HELPING THEM KEEP THE DREAM ALIVE. Surprisingly, Brennan says that the record side of the business is actually keeping them afloat, and in a town with an ever-dwindling amount of live venues, he’s stoked with the gig he has planned for Record Store Day. “It’s my dream lineup!” he laughs. “I don’t even have to go to gigs any more, I just get them to play in my shop.”
hen Tim Brennan moved his humble guitar shop Tym Guitars to a bigger store in Brisbane’s Fortitude Valley eight months ago, he decided to indulge a lifelong dream of also making it a record store. The way he acquired stock might seem heartbreaking – he used his own personal record collection to kick things off. “I actually got Luke [Henery] and James [Tidswell] from Violent Soho to come around and take them all to put in the shop,” he explains. “James was like, ‘Man, are you sure you don’t wanna look through this?’ but I knew if I started looking through it I would start taking stuff out and all the good stuff’s gonna come out and then there’s no point to this.” Tym’s Guitars has become the primary venue for bands to play all-ages in-stores and make appearances in Brisbane and Brennan is still overwhelmed when it comes to who he has managed to lure into the store to play. “I got to stand in my shop and watch Future Of The Left play Lightsabre Cocksucking Blues! It was like a dream come true.”
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In another example of combining multiple business ideas, Jeb Taylor’s Music Farmers in Wollongong is part of a large warehouse space which is used as both a gallery and a venue. The gallery space is currently hosting an exhibition of works by Deniz Tek from Radio Birdman. The stage was recently graced by Bonnie Prince Billy during a stop over on his Australian tour. Taylor says he never really set out to start a record store. “When it started it wasn’t really intentional. It started in a small little space just down the road from where we are now, and I’ve always booked venues and looked after bands, and at the time we leased a space which was really just for that. It had a shopfront so we just started selling stuff from friends’ labels and stuff we had an association with. It just sort of grew organically into a store from there.” After trying out Record Store Day for the first time last year and having a massive time of it, Music Farmers have booked a stack of local bands for a free, all-ages gig and BBQ. Record Paradise in St Kilda, Melbourne started life very differently. Current owners Renae Maxwell and Paul Allen took over a business that had been running since 1955. “Warren Warburton is his name,” Maxwell says of the previous owner, “and he is a bitter, twisted sadist and I don’t think he’ll mind you printing that,” she laughs. “It would be hard to prove defamation because it’s a pretty
accurate description! He loved his records and had this amazing archive of vinyl – probably about 50,000 records.” Allen holds down a day job as a hairdresser, and Maxwell says that job basically subsidises the store but, despite this, they are reluctant to diversify the business into incorporating other elements in fear that it may dilute what Record Paradise is all about. Still, she’s also realistic about their options. “We’re 40 years old and this is our life now. We’ll do everything possible to keep it alive. If it comes to it we could incorporate the hair-cutting; that’s something we are having to think about for next year, but it does water it down and changes the emphasis of what we’re about. “Record Store Day allows us to bring a whole bunch of capital in for one day which helps us out over quieter times. We’ve got live bands playing out the back in the car park [including a secret band they’re not revealing until the day]. We’re live streaming our shop for one hour via the internet. We’re gonna get some coverage of the shop as well as broadcasting the secret band from 4pm to 5pm.” Maxwell says that the resurgence in locally-produced vinyl has been vital for Record Paradise’s survival. “Labels like RIP Society, who have released bands like Woollen Kits and Royal Headache, and the Dick Diver and The Twerps albums all on vinyl has been amazing for our shop and for vinyl culture.” Based in a prominent high street location in Sydney’s Inner West, Repressed Records is a vital part of the local scene. The store doubles as the unofficial headquarters for Nic Warnock’s label, the aforementioned RIP Society. He started the label to release the first Circle Pit 7”, Total Waste, when no one was interested.
“All these people that were apparently interested in releasing it were flaking out on them so I was like, ‘I’ll do it,’” he says. “So RIP Society started out of that; it was basically a necessity. I saw all these great bands that no one in the established music industry was willing to touch in Australia and release them in a way that I as a fan or the bands would find appealing.” So how important to the label’s success has been having the base of Repressed Records to operate from? “It’s pivotal,” he says with conviction. “I don’t think the record label would exist without it. I just think having that musical hub of a record store is kind of like a visual summary of what’s gone on. It also helps link new releases into the lineage of what’s happened in the past. I’m sure that for labels like Bedroom Suck in Brisbane, who I kinda see as like a brother label, I’m sure that they would agree that Repressed Records is a pretty pivotal part of their existence.” Warnock will be launching some records on Record Store Day at Repressed, which obviously mean a great deal to him on a personal level. “Brendon Annesley, who ran a record label in Brisbane called Negative Guestlist, passed away a few months ago. Between his girlfriend and myself and a couple of other people have taken on the task of making sure all the records he had planned get released. There’s been some hurdles but the first three will be in for Record Store Day. It feels really good to be able to do it because I respected him and his vision so much and his record label was very important to the shop.” For a longer version of this story and more info on Record Store Day, visit themusic.com.au.
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BEATDISC RECORDS PETER CURNOVIC – OWNER/MANAGER What do you specialise in? New and used vinyl (local and import), CDs and more (covering most genres). We also stock a lot of locals and customer orders. What’s getting a flogging on the store sound system at the moment? Between The Devil and The Deep – Paper Spine, Ceremony – Zoo, Charge Group – Charge Group, Dirty Three - Toward The Low Sun, Magnetic Fields – Love At The Bottom Of The Sea, Sharon Van Etten – Tramp How is your store celebrating Record Store Day? Stocking exclusive RSD releases, 10 per cent off storewide sale, free customer BBQ, giveaways, ping pong and party! We walk in to your shop with $150 to spend – what do you recommend? Lou Reed and Metallica – LULU: Deluxe Box Set (‘cause no one ever will!). The way people consume music has changed remarkably over the past ten years – what do record stores have to do to remain relevant? Staying relevant by kicking it old school – bringing in a wider selection of new and pre-owned vinyl, and offering the consumer a completely different experience to what Waffles and iTunes give them. Contact details: Shop 11 Queensland Arcade 181 Church Street Mall, Parramatta Phone: 9891 9330
CHRIS SAMMUT – OWNER
GRAHAM NIXON – OWNER
STEVE KULAK – CEO
What do you specialise in? Vinyl (new and second hand) and T-shirts. More the alternative and punky/garage side of things.
What do you specialise in? Hardcore and punk music and merchandise. We stock CDs, vinyls, merch, DVDs, books, magazines – basically anything we can get our hands on.
What do you specialise in? Music, film, books and cultural must-haves. On the music front, specialist reissue labels such as Ace, Repertoire, Omni, Cherry Red, Water, 4 Men with Beards, Smithsonian Folkways and Sundazed have found a welcome home on our shelves as well as cult contemporary labels like Jack White’s Third Man Records. Australian indie explosions Sensory Projects, R.I.P. Society and Chapter Music sit beside the worldly likes of World Circuit, Now Again and Cumbancha and we stock the most comprehensive selection of new vinyl and 7” in Australia.
What’s getting a flogging on the store sound system at the moment? The Men - Open Your Heart, Swell Maps - Trip To Marineville, Total Control - Henge Beat, Dick Diver. How is your store celebrating Record Store Day? We’ll have a T-shirt sale, CD clearance sale plus anyone who spends over $100 gets a $10 gift voucher for their next visit. Are you stocking any exclusive Record Store Day releases? Yep, loads hopefully. LCD Sound System, Tomahawk, Black Angels, Lee Hazlewood, M. Ward, Morrissey, David Bowie, Doomriders, Sigur Ros, Botch, Isis, PIL, Arcade Fire and loads more. We walk in to your shop with $150 to spend – what do you recommend? Royal Headache LP, The Faith/Void Split LP, Black Sabbath Vol 4 LP, Stone Roses and Smiths’ Hatful of Hollow T-shirts. The way people consume music has changed remarkably over the past ten years – what do record stores have to do to remain relevant? Have a niche market, stay relevant to younger people and communicate with your customers. Contact details: 356 King St, Newtown Phone: 9557 6237
What’s getting a flogging on the store sound system at the moment? Balance And Composure – Separation, Toy Boats – Diamond Teeth, La Dispute – Wildlife, All Pigs Must Die – God Is War, any Ceremony. How is your store celebrating Record Store Day? A Record Store Day exclusive 7” we released by I Exist. Members from I Exist will be working in the store throughout the day as well. We also have Toy Boats performing in the store from 4pm. Are you stocking any exclusive Record Store Day releases? Along with the I Exist 7”, we also have Ignite’s LP, NOFX’s 7 Box Set, Sense Field’s Killed For Less, Endpoint’s LP, Into Another LP, Poison Idea’s 7”, Holy Fever’s 7”, plus several other titles!
How is your store celebrating Record Store Day? We’ve got 20 per cent off vinyl, 20 per cent music book titles, $10 LPs, $10 CDs, 20 off off music DVDs, plus in-store DJ sets from TITLE music gurus, giveaways and free 7” records slipped mysteriously in your bag while you peruse the trestles.
We walk in to your shop with $150 to spend – what do you recommend? The new I Exist 7”, Jawbreaker’s Dear You, Gorilla Biscuits’ Start Today, Carry On’s A Life Less Plagued, La Dispute’s Wildlife, Burning Fight Book, and I’ll throw in a Resist shirt – sweet deal.
Are you stocking any exclusive Record Store Day releases? We’ve got Lee ‘Scratch’ Perry’s Blackboard Jungle Dub: 3x10 Coloured Vinyl, Tomahawk’s Eponymous to Anonymous 3LP from Ipecac, PiL’ One Drop 12”, LPs of the Rough Guides To Psychedelic Africa and New Orleans both on 180grm and download card and so much more from Ugly Custard, Quantic & Alice Russell, Hiss Golden Messenger and more.
Contact details: Basement of 294 King St, Newtown Phone: 02 9557 8771 Website: www.resistrecords.com
Contact details: 499 Crown St, Surry Hills, Phone: (02) 9699 5222 92 Willoughby Rd, Crows Nest, Phone: (02) 9437 4997
SATURDAY 21ST APRIL
OPEN: 10AM - 4PM 62 • THE DRUM MEDIA
EARLYBIRD: 9AM - 10AM
A C CE S S O R I E S
E DI TI O N
BLUEJUICE’S JERRY CRAIB ACCESSORISES
ccessory ak’ses(ə)rē (also accessary)noun (pl.-ries) 1. a thing that can be added to something else in order to make it more useful, versatile or attractive. Bluejuice released their third album, Company, late last year, but it’s taken them until April this year to officially launch the disc with a national tour. Bluejuice’s musical director Jerry Craib was kind enough to take some time out from their tour schedule to fill us in on the incidental items that help to make a Bluejuice show come together. It’s time to discuss the glamourous side of music-making and touring... accessories. We’ve all got our favourites. Maybe yours is a mic stand that your older brother’s friend left in your garage in 1998. Maybe it’s a little ‘50s suitcase with brass latches that you keep your cables and spare 9-volt power supply in. Here are three of mine. Wooden keyboard case - Firstly a wooden keyboard case, painted black, covered in stickers and held together by gaff. It’s the only rock and roll thing I own. It’s lined on the inside with red velvet. It has brass latches. It’s falling apart. In fact it has always been falling apart. It will continue to fall apart, slowly. That is its beauty. It will outlive me. Why so? Gaff! More on gaff later. Guitarists and bassists carry ‘axes’. Drummers hit the skins. Frontmen belt out the hits. Keyboard players … play the keyboards… just not that cool. However, for those solitary few moments when I’m unpacking my keys from its case, I’m Eddie Van Halen playing Jump, kinda cool. Keith Richards would be proud to be buried in my keys case. Modern digital keyboards, unlike guitars and
PICKS, CABLES, STANDS, TOOLS, ROAD CASES, CAPOS, GAFFA TAPE … COLLECTIVELY KNOWN IN A MUSICIAN’S WORLD AS ACCESSORIES… WHICH HAPPENS TO BE THE THEME OF THIS MONTH’S AUSTRALIAN MUSICIAN FEATURE. WE’RE TALKING THE SMALL BUT ESSENTIAL ITEMS A GIG JUST COULDN’T DO WITHOUT. WHO BETTER TO TELL US ABOUT THE IMPORTANCE OF ACCESSORIES THAN A WORKING MUSICIAN.
Jake could not put on a show. Gaff has held his microphone to the cable for many years now. Frontman cable swinging wouldn’t be possible without you, gaff. From the bottom of my cold cold pop music heart, I salute you, gaff. www.bluejuice.com.au/
basses are not really customisable. My keyboard is identical to thousands of others. No one has my case though. Not one other stinking muso. I should also mention that the handle on the case is now a wee three-cable-tie gaffpadded jobbie, thanks to the elite handle-breaking skills of our bass player, Jamie. Don’t touch my stuff man. Instrument cable - Second on my accessory super list, is whatever instrument cable I’m currently calling my favourite. You may know what I’m talking about. When you get a cable that rolls perfectly, clicks into the input jack with a reliable clack, never crackles, never fails you. And most importantly, a cable that you can brag (lie) to your mates about and say that you’ve had since Year 10 band practice. With such a cable, inner peace on the stage is reached. A great cable is a badge of honour that you hold dear to your heart. Knowing that you have taken care of something longer than the last seven relationships you’ve had. My current “15 year old” favourite cable I got custom made by Richard from Sydney Sound Cables, a couple of years ago. The cable is Canare, imported from Japan. The connectors are Neutrik, imported from Liechtenstein. Can one tell the difference in sound quality? Not me. Why do I bother buying it? Reliability… maybe. Keeping up with the Jones’… probably. Having something to talk about on the road… most definitely. Us musicians are proud of our custom gear. Each of us wants the best thing, and for no one else (except the bass player on that 1972 Miles Davis album) to own the same thing. It’s the little (ludicrous) things. Finally the king of music industry accessories: Gaff - Gaff is stronger than love and more resilient than custom aluminium road cases. Gaff will laugh in the face of airport baggage handlers. Gaff will bandage your wounds and hold up your banner. Gaff doesn’t require careful handling. Gaff won’t hit on your girlfriend back at the hotel. Gaff is solid. Everything I use has gaff on it. Bluejuice’s current stage show uses fluorescent gaff to decorate all the instruments, stands, amps and hardware. We then get our friend and lighting guru, Eamon, to shine UV light on all of it. Gaff can get pretty when you need it to be. I have an expensive keyboard stand that looks like a Star Trek vessel, but is made like a cheap pair of shoes. Great concept, terrible execution in construction. I’d love a new one as the job it does is irreplaceable. However I just can’t afford a new one every three months. Enter Gaff. Gaff has held this rubbish contraption together way too many times than I care to admit. Thank you gaff. Gaff will tear us apart. Without gaff, our singer
Jerry’s Gear • Symphony Upright Piano • Nord Electro 2 • Nord Electro 3 • MicroKorg • Korg R3 • Korg MS2000 • Hohner Pianet T • Casio SA-20 • HG Palmer Chord Organ • Fender Telecaster 72 Thinline Guitar • Martin Traveller acoustic guitar • Yamaha classical guitar • Tobias Growler bass • Mac with Reason • Akai MPK 49
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What have you used in the past? Elixir strings on my acoustic (13 gauge on the 6, and 10 gauge on the 12 string) because they’ve kept their tone the longest. I learned a trick from a Romanian gypsy of repairing broken strings if they break at the saddle. I got quite good at it, so I could change a string in under a minute on a good night. It kind of became part of the show. Sometimes recycling four or five times each string, I’d see just how many gigs I could do on one set. I think my record was 17 in a row.
STUART FRENCH What kind of strings do you use and why? Fender electric guitar strings because I like the tension and they seem to last me well. String gauge? 10/46 on a Tele and 11/49 on a Gretsch. Worst string stage nightmare? I’ve rarely broken a string but with the odd guitar, if I pick too hard on my high E string, it goes down and gets caught under a fret or the front pickup without my knowing until I go to play that string. And it’s usually in the middle of a solo. Camille and Stuart French’s new album, Big Days & Little Years, available now. www.camilleandstuie.com
are my favorites and open to suggestions. I tend to go for heavy strings, as it’s all about the tone for me. But electric is a whole new world. I keep a Taylor acoustic with old strings on it in the studio. It has a beautiful rich dull tone... You never know when the perfect musical moment will arise. I also have an old Gibson L50 with a P90 in it - it needs a wound ‘G’ which you don’t find in mum and dad music shops in rural Australia. Worth the hunt though - it has a stage presence all its own.
again by recommendation. However, I just found the Slinky strings not to be as vibrant as the Elixir Worst string stage nightmare? I was performing on a very cold night at the Canberra Country Music Festival 2009 and trying to keep my strings in tune in below zero weather proved to be absolutely disastrous. I don’t think we had a single string on stage in tune.
STEPHANIE JANSEN What strings do you use and why? Elixir Custom Light strings, mainly because they last so much longer than regular ones. They have a deep and bright tonal quality I really like and they tend to break much less frequently.
Craig Morrison’s self-titled debut album out now.
Any on stage string nightmare stories? I was playing a gig at the Nambour Entertainment Centre and broke 4 strings at once on my 12-string, having already broken two on my 6. So I finished off the set with harmonica and a stomp box. Luckily I’ve a few written for this format. Paul’s new album, Behind The Stars, out now. www.paul-greene.com
What used in the past? I’ve used Elixir strings since I was about 11 years old. My dad, who taught me to play guitar, has always used them and swears by them. I’ve used other brands on rare occasions out of necessity, but feel they’ve never stacked up to Elixirs, so now I always make sure I carry spare sets.
Worst string stage nightmare? I once broke a string during the first song of a major gig, with no spare guitar. Terrible! Fortunately a stage tech came to the rescue whilst I engaged the crowd with some light-hearted banter. Stephanie’s EP, risky, out now. www.stephaniejansen.com.au
LUKE YEOWARD (King Cannons) What strings do you use and why? Fender Super Bullet strings on my Fender Esquires and Telecasters. I hit my guitar pretty hard as a rhythm guitarist, but I also do some lead work from time to time, so the heavy bottom, light top .010.052 gauge works best for me. These strings have a bullet end, nickel-plated steel for a brighter tone and longer sustain. Pretty simple, I love the tone and the feel of them. I have used other strings in the past, but these ones are the best for me. King Cannons new album due mid year. www.kingcannons.com
CRAIG MORRISON What strings do you use and why? I use Elixir. A good musician friend put me onto them a while ago and I’ve never looked back. They have a beautiful sound and Elixir strings seem to really last. I used Slinkys by Ernie Ball in the past,
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TRISTAN GOODALL (The Audreys) Type of strings he uses and why? It’s a little pedestrian but for my main electric guitar on stage I use good old D’Addarios. I play a Gibson ES-135 that has a trapeze tailpiece and some other brands just aren’t long enough. I favour the light top/ heavy bottom custom gauge for a thick, warm sound.
What have you used in the past? As a youngster in the ‘80s I favoured the Dean Markley Blue Steel cryogenically-frozen strings but soon grew out of that little gimmick! Any on stage string nightmare stories? Oh yeah, way too many to recount here and mostly involving my ‘60s banjo or Taasha’s delightful but temperamental ukulele. The Audreys new album, Collected, out now. www.theaudreys.com.au
PAUL GREENE What strings do you use and why? I’ve recently changed from being an acoustic player to electric on my new album (6 and 12 string - separately obviously). So I’m back to the drawing board on what
As a band, we’ve always used D’Addario XL Nickel Wound strings. Initially, it wasn’t a conscious decision. The studio we rehearse at only sold those strings, so that’s what we played. They were always super cheap too. I must say, however, the D’Addarios have served us well over the years. We all have really different playing styles too. Leigh likes to play really hard, so needs a guitar string that’s willing to cop a flogging in the name of a good time. Daniel, Andrei and I are quite lazy when it comes to changing strings so if we can slap on a set and still have them sounding good in six months, we’re happy. www.weareblackfox.com
ow roll them cases out and lift them amps/ Haul them trusses down and get’em up them ramps/ ‘Cause when it comes to moving me/ You guys are the champs,” wrote Jackson Browne in his song dedication to his road crew The Load Out from his 1977 album, Running On Empty. Anyone who has witnessed the set-up of a major concert or even local pub gig would realise how much work is involved in show’s production. With so much going on, and usually in a hurry, you would also realise the potential for error and the importance of good quality gear to withstand the rigours of a show’s preparation. Noel Bennett has worked in the industry since the early ‘70s, loading in and out artists such as Max Merritt, Brian Cadd and Grace Knight and was the front of house sound guy for the Little River Band for eight years. Bennett believes one of the most important accessories a musician needs to consider is the roadcase in which your gear travels. “I’ve seen necks snapped off guitars because they have been put into soft cases and put into the back of a truck. I’ve seen a two-inch alloy pole gone through a Roland digital piano. Roadcases are essential,” says Bennett. Well-travelled guitar tech Joe Yammouni recalls a 1973 Gibson Goldtop Deluxe arriving at a gig in Asia with a broken headstock and damage to all the controls. It was packed in a standard guitar case rather than a sturdy flight case; hence the damage. While even a flight case is not a guarantee of a damage-free trip, it certainly increases your chances of your gear remaining intact. Colin Pedlar is another roadie with a fine rock pedigree, having worked with The Screaming Jets, The Angels and Jimi Hocking. He’s seen plenty of amplifiers take some hard falls off the back of trucks, but if they’ve been secured in a good case, the damage has been minimal. “Most of the cases I have dealt with are custom-made and they do what they’re supposed to do,” says Pedlar. Bennett agrees. “The ones with foam lining, ply and good quality outer casing, whether hardened plastic or there was a period where they made them with thin metal and vinyl… as long as they are rigid and the items inside don’t move around, you should be right.” However, it’s not just the venue where your gear can come under fire; airports can be a place of much grief for many musicians. Melbourne-based roadie Alex Saad explains. “I used to see cases thrown out of aeroplanes. This is going back to the ‘80s but it wouldn’t have mattered what sort of case it was or what was in them, they would have been damaged.
all going anti clockwise. When you wire them into a plug you wire them anti-clockwise. When you wind up a cable, you are meant to go over and under, to stop it from twisting. You should wind from the male end always and always over and under, not around your elbow. Elbows are for ropes!” Bennett suggests that you not only purchase quality cables, but also look after them: “Keep them clean. Make sure you take any labelling tape off them. Coil them correctly. Don’t tie them in knots, use a bit of insulation tape to secure them.”
THE GEAR SHIFT NOBODY KNOWS MORE ABOUT STAGE GEAR THAN AN EXPERIENCED ROADIE. THEY’RE THE ONES WHO TRANSPORT IT, PLACE IT ON STAGE AND THEN REMOVE IT NIGHT AFTER NIGHT. WHEN AUSTRALIAN MUSICIAN WANTED TO KNOW A THING OR TWO ABOUT MUSIC ACCESSORIES, WE WENT STRAIGHT TO THE SOURCE AND SPOKE WITH SOME OF AUSTRALIA’S BUSIEST ROADIES ABOUT CASES, STANDS, CABLES AND GAFFA. I think today though people are more aware of getting the correct case for their instrument.” Airlines such as Virgin and Qantas have recently relaxed luggage fees for musicians so that it isn’t as expensive to travel now with your gear. However this obviously still does’t ensure its safety. A couple of international musicians had such bad experiences with airlines and their belongings that they took revenge in song. Travelling on an airline from Sydney to Byron Bay, American roots guitarist Dale Watson was so frustrated at losing a box of CDs that he’d paid more than $600 in excess baggage fees to transport, that he penned a song called ‘We Don’t Careways’. The YouTube clip received over 17,000 hits and the airline paid Watson over $2,500 in compensation within hours of the clip going live. Canadian musician Dave Carroll aimed his anger at United Airlines with his none too subtle song, ‘United Breaks Guitars’, after witnesses had seen airline ground staff flinging guitar cases recklessly around the tarmac. The overriding theme in much of what these roadies had to say is the importance of quality accessories, particularly your cables. “The last thing you want is a bad cable letting down some part of the signal chain. If you know your cables are top quality, then it’s easier to do the fault finding. If you have a bunch of cheap cables in the system, as soon as something goes wrong, it makes the fault finding so much harder,” says Pedlar. “As long as they are rolled up correctly, under and over, they don’t get the twists.” Alex Saad has a more technical view of the significance of a properly wound cable. “Cables are interesting because not many people know how to wind a cable properly. A cable is made from the male end to the female end. For example, a 240 volt cable, like a normal extension cable, they’re made with the wires
Of all the accessories we got to speak about with our road gents, the item they got most excited about was gaffa tape! Bennett recalls, “I remember the days when we didn’t use gaffa and the stages were very messy. People would get caught up in them. It can be used for so many things. I’ve seen situations where if there weren’t enough ratchett straps, the gaffa would hold the PA together or hold mic stands together.” Saad suggests gaffa now has some competition. “Gaffa is good for holding down cables but I think electrical tape use is almost as popular as gaffa for keeping stuff tidy. Gaffa is good for stuff on the floor. Electrical tape holds stuff on trusses and holds audio cables together.” However despite its foibles, Pedlar’s allegiance remains with the trusted gaffa tape. “Gaffa can fix just about anything. It can solve problems but it can also cause problems. I’ve seen it tear paint off walls and lift carpet off the floor when it’s not supposed to.” Pedlar has also seen some unorthodox use of the tape. “Twenty years ago, a support band did the wrong thing by the main act I was working for. Some members of the main band went backstage and dismantled a guy’s bass… took the neck and machine heads off, undid the pickups. They took everything out and wrapped it up in one giant ball of gaffa. It was a bit of a lesson to the support band. A gig’s road crew has enough to think about without musicians adding to their grief with problems which they really should have sorted out themselves.” Our roadies were keen to share some final gems of advice - don’t forget to pack your strings and batteries for a gig. Bring your own power leads. Don’t tap on your microphone. Don’t lean on the mic stand and certainly don’t twirl it above your head. You’ve been told!
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A CASE FOR QUALITY
or a musician, your gear is your most important asset and consequently needs to be protected from the hardships of baggage handlers, over-enthusiastic roadies and constant gigging. It’s important to transport your instruments in cases that will guarantee their survival. So, rather than just accept the traditional case options on the market, why not consider something unique to your needs and appealing to your eye?
he Guitar Jack 2 from Sonoma Wire Works is basically a device used to connect an instrument, mic or any other audio hardware (such as a mixer) to your iPad or iPad 2, iPhone 4 or iPod Touch. The fun and games commence once you’re connected and can access the apps to create your music. In reviewing the Gear Jack 2, we really only need to know a couple of key things: is the construction solid and is the signal it emits clear and strong? The answer to both is a resounding yes!
Brisbane-based roadcase manufacturer www.cases.com. au is not a large company but that’s the way they like it. It means they can provide high-quality products and personalised service. The guys at www.cases.com.au have been in the case business for a long time, boast a combined experience of over 50 years and are acutely aware what their customers want. www.cases.com. au was established with the merger of two distinctly different companies: Blue Cat Case company, which was a manufacturer of custom cases, and Go Case, which was an importer of racks, packing cases and briefcases. Having both custom fabrication and off the shelf imports has been a winning combination for them as they roll into their tenth year of operations. Their cases are produced using a mix of cuttingedge technology and good old-fashioned blood, sweat and tears, constructed partly by hand and partly by robotics-based machinery. The best aspect of what www.cases.com.au do is they can custom design cases to your specific needs. Their innovative design team can create a case for you that is not only durable, but cleverly constructed using only the best quality components. Cases may feature drawers, compartments, shelves and shaped foam. Whatever you need, they can include. www.cases.com.au work with a wide variety of companies developing product for stage, computer industry, audio and broadcast industries. Cases can be constructed for any musical situation, catering for guitars, amps, racks, pedal boards, amp heads and combos, keyboards, synths, drums, mixers and DJ gear. In fact, if it hasn’t been made and you need it, then www.cases.com.
REVIEW: SONOMA WIRE WORKS GEAR JACK 2
au will look forward to the challenge of helping you. Handles and castors can be attached to make these cases as user-friendly as possible. Not only are the cases as sturdy as they should be, but also innovative in design. You may add logos or artwork of your choice to sync in with your company/band image. The purchase of a roadcase is an important investment, so why not take the time to chat with the guys at www.cases. com.au, discuss your needs and give them the opportunity put forward some no obligation options.
A solidly built aluminium unit quite weighty for its size, its features include a 1/4” instrument input with configurable Pad, Lo-Z and Hi-Z modes, and a 1/8” stereo output with increased drive for your headphone and a 1/8” stereo mic/ line input with Pad, Normal and Boost modes. Each input offers 60dB of continuous level control. The unit has four rubber pads on the bottom so it can sit tight and flush with a table surface. Probably one of the only negatives is the only thing holding the Gear Jack 2 to your IOS device is the docking connector itself. You need to be mindful of knocking the unit while in use, as movement may result in loss of signal connection. Perhaps any future mods to the Gear Jack could include some kind of clip device to hold it secure or even a wide rubber band would do the trick. However if the unit is placed out of harm’s way, there shouldn’t be any issues. Cables snap snuggly into the metal inputs without a hitch and the unit docks into your IOS device quite easily too. Design-wise, the polished metal unit looks like an extension of your iPhone.
guitar brand-specific app), Four Track (a multitrack recording app which is not free) and Studio Track (multitrack recording software you’ll also have to pay for). You can also use other music apps. To begin, you need to plug the Guitar Jack 2 in before launching an app. The Guitar jack control panel can be found under Song Tools in the Four Track app. Once connecting an instrument or microphone to the unit, the sound quality is faultless with no dropouts, hiss or interference of any kind noticeable. Guitar Jack 2 is one of many IOS connectors available on the market now, but this one just seems to be more solid and rates high on sound quality too, producing true, realistic tones. You won’t find a product manual with the unit, merely a few beginner instructions on the packaging; however, it really doesn’t warrant one. There’s not much to know before you’re connected and creating music. At $199, it’s more expensive than some, but you get what you pay for; solid construction and perfect sound reproduction. www.innovativemusic.com.au
Four Guitar Jack enhanced apps are recommended for use but don’t come automatically; you’ll need to download them. These include Guitar Tone (a free app featuring amps and effects), Taylor EQ (a free Taylor
The M.I.P.A. 2012 winning H2n features our best microphones yet and is the only portable recorder with five mic capsules onboard. The H2n offers four unique recording modes: Mid-Side (MS) stereo, 90° X/Y stereo, 2-channel and 4-channel surround sound. Pictured actual size. Newly designed user interface. Bigger and brighter LCD screen. Five new mic capsules. USB 2.0 interface. Analog Mic Gain for precision volume control. Edit audio onboard. Onboard reference speaker and stereo output. New data recovery function. 20 hours of battery life. Create stunning 360° surround sound recordings. Linear PCM recording at up to 24bit/96kHz quality. Broadcast Wave Format support. 32GB SDHC card support. WaveLab LE software included for editing and mastering. Two Year Warranty when purchased from Authorised Australian dealers
The first portable Mid-Side recorder 66 • THE DRUM MEDIA
THE DRUM MEDIA • 67
BEHIND THE LINES WITH MICHAEL SMITH
ALLANS PRO TOOLS CLINICS Hosted by Avid Australia and presented by Drew Parsons (Audio Applications Specialists, AVID), Allans Music + Billy Hyde is giving you the chance to get better acquainted with Pro Tools 10 software with two free clinics, 6pm Monday 23 April at the Camperdown store and 7pm Tuesday 24 April Pitt Street Sydney store. Get the inside on everything you need to compose, record, edit and mix high-quality audio whether you’re a seasoned pro or just getting started in audio recording. As always, space is limited so it’s worth logging your interest by RSVPing.
BC RICH COFFIN CASES B.C. Rich, a name synonymous with metal guitars, is thrilled to have an association with the legendary Coffin cases. These cases have been especially designed in conjunction with Coffin cases to give you the most features possible for storing and transporting your B.C. Rich instruments. The Coffin-shaped cases have the B.C. Rich logo in white on the outside with very rugged hard vinyl. There is contrasting red and black velvet interior emblazoned with the B.C. Rich logo. Other features include raised neck support, versatile Velcro block for a custom-tight fit of any B.C. Rich model, a roomy storage compartment, two supportive neck rests and a raised fingerboard padding in the top of the case. Available in three sizes.
INTERNATIONAL RØDE ROCKS COMP The Australian-owned microphone manufacturing company, RØDE, has announced an international band competition, RØDE Rocks, designed to discover and showcase the best in independent, unsigned talent and reward them with an all expenses paid recording session in Hollywood, as well as studio prize packs of microphones and speakers. To enter, you need to record an original composition of more than two minutes in length and then create an accompanying video that features at least one RØDE microphone. After uploading the video to YouTube, you simply visit the RØDE Rocks website and submit your details along with a link to the video. Saturday 30 June, a panel of judges including Matt Sorum (Guns N’ Roses, Velvet Revolver, The Cult), David Catching (Queens Of The Stone Age, Eagles Of Death Metal), Howlin’ Pelle Almqvist (The Hives), James Lavelle (UNKLE), Band Of Horses, Gareth Liddiard (The Drones), Har Mar Superstar, Deuce and Warpaint will pick ten finalists, their videos then being showcased on the RØDE website for two weeks during which time visitors will be invited to vote for their favourite performance. First prize is return flights to LA to record at The Record Plant in Hollywood, with producer Alain Johannes (Queens Of The Stone Age, Them Crooked Vultures). Providing additional production and engineering support during the session will be John Merchant (Michael Jackson, Lenny Kravitz) and Grammy Award winner Francis Buckley (Aerosmith, Black Flag), then it’ll be professionally mixed and mastered ready for the winning act to release. The winners will also receive vocal training from SLScertified instructor Robert Stevenson. Second and third prizewinners will each receive a studio prize pack worth over US$15,000. firstname.lastname@example.org
68 • THE DRUM MEDIA
DEAN MARKLEY’S LOVE POTION #9
GHS BASS FLEA SIGNATURE
Dean Markley recently announced the reintroduction of their original guitar care polish, Love Potion #9. The polish is available from music retailers worldwide. Gentle enough for daily use, Love Potion #9 is a simple, efficient way to care for all wood-crafted instruments. Applied daily, the concentrated formula provides streak-free lustre and shine and extends the life of the instrument. www.cmi.com.au
RESEALABLE MULTI-PACKS GHS Strings continues its innovative approach to packaging with the world’s first resealable guitar string package. GHS Strings “Multi” 5-Packs and 2-Packs are sealed at the factory for freshness in a tamper-proof package. The exclusive package design includes built-in zipper lock which allows the user to remove only the packs required at a given time and then reseal the package to maintain freshness. The GHS facility is 100 per cent humidity controlled with state-of-the-art equipment and highly skilled technicians ensure factory freshness in every airtight Fresh Pack produced. Each Electric Guitar Boomers and Acoustic Phosphor Bronze Multi-Pack of guitar strings has two extra High E strings, free. Bass Boomers Multi-Packs include two complete sets of bass strings. These packs easily fit into any guitar case and are available in a variety of gauges. www.dynamicmusic.com.au
GHS strings are now proudly endorsing The Chili Peppers’ Flea. He uses the tried and true formula of GHS Bass Boomers. GHS Bass Boomers are a Nickel-Plated Steel wrap wire with a special combination of Stainless Steel and Nickel Plate on the low E string. The unique Boomer hex core gives this string added strength. The Red Hot Chili Peppers count on Flea to provide that hard-driving bottom end and these strings are a crucial part of that signature sound. www.dynamicmusic.com.au
ESP STOOL AND STRINGS OFFER Anyone purchasing an ESP or LTD 100 series guitar, can now also acquire a quality ESP guitar stool and set of Dean Markley Helix strings, valued at $138, for just $19.95. Offer is open until June 30, 2012. The guitars themselves are on special too, with discounts of up to 40 per cent off. www.cmi.com.au
K&M IPAD HOLDER RANGE More and more people are using their iPads for use on stage, whether it’s for set lists, lyrics or score chord charts. But where do you put them on stage? K&M have come up with a range of holders that either attach to the thread of your mic stand or clamp onto the upright of your mic or music stand www.trc.com.au
Released back in 2008, GrabAxe provides excellent protection for your guitars on stage. The only safer place is in your guitar case! GrabAxe can be used in conjunction with your guitar stand, acting as a safety belt, or replace your stand for more stage room. GrabAxe is small and lightweight. Fits in your pocket, gig gag or case, and can be left on your amp! GrabAxe can secure up to four guitars to your amp at one time (one per package)! GrabAxe comes with the main strap, side mount adapter and deck pad.
K&M 16150 GUITAR HOLDER
One of the biggest problems when performing live is lack of stage space. The KM 16150 allows you to hang your guitar from your mic stand. There’s even a space for two picks in the rubber ring that protects the back of your guitar from the stand.
GUITAR GEAR GGT301 HEADSTOCK GUITAR TUNER The Guitar Gear GGT301 Headstock Guitar Tuner is a new fully-featured headstock tuner for guitar, with an amazingly bright and easy-to-read display that makes it so much easier for you to get into tune quickly. The GGT301 is chromatc, so you can tune to whatever you like, and is sure to be an essential part of your guitar gear arsenal from now on! Just add one of our 25 pick mega packs and it will also ship free! RRP $29 www.guitar-gear.com.au
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THE DRUM MEDIA • 69
VIC FIRTH ESSENTIALS STICK BAG Cleverly designed to hold four or five implements, a hook-and-strap system allows for secure suspension from the floor tom or snare. An internal pocket and elastic drum key loop make the bag complete! www.musiclink.com.au
HISCOX HARDCASES ERNIE BALL COBALT STRINGS Ernie Ballâ€™s Cobalt strings are a significant new product for guitarists and bass players. As soon as you string up a guitar or bass with Cobalts â€“ before even plugging it in - you can feel the difference (smoother, more buttery feel). Once you plug in, you immediately hear added punch and extended frequency response. Ernie Ball Cobalt Strings are a new spin on Ernie Ballâ€™s best-selling set of strings, which have been played by the likes of Eric Clapton, John Mayer, Steve Vai and many more. Engineered to maximize output and clarity, Ernie Ball Cobalt Slinky Guitar Strings are the latest innovation in string technology. Seeking to provide guitarists and bassists with a new voice, Cobalt strings provide an extended dynamic range, incredible harmonic response, increased low end and crisp, clear highs. Cobalt provides a stronger magnetic relationship between pickups and strings than any other alloy previously available. Cobalt Slinkys are also soft and silky to the touch, making string bending a breeze.
GALACTIC GL004 MUSIC DUAL LED LIGHT With the Galactic Music clip-on LED, you can perform everywhere from concert halls to jazz clubs with some extra light to see what youâ€™re playing. It features dual goosenecks and multi-directional beams for adjustability over a wide variety of applications. Simply press one of the buttons on each individual LED light head to turn on a single or dual LED light. The Music LED runs on the three AAA batteries included or can be connected via the USB adaptor to a laptop or computer. RRP $20
Established in 1985, Hiscox Cases Ltd. is the brainchild of Brynn Hiscox, a professional guitar maker. Being acutely aware of the lack of quality cases on the market, he used his engineering background to design a case that stood up to his exacting requirements. Brynnâ€™s customers demanded cases that had higher protection but with less weight. Pro Music, Hiscoxâ€™s Australian distributor, imports a wide range of their gear including a variety of cases for guitar, mandolin, sax and other horns, violin and cello. Guitar cases are custom-made to fit specific brands too including Fender and Gibson, and Hiscox even get as specific as a case for the the Brian May model electric.
GROOVETECH JACK AND POT WRENCH Instrument and amp jacks are notorious for coming loose, and with a shallow nut and recessed cavity, access can be challenging. However, the GrooveTech Jack and Pot Wrench provides three thin-wall sockets - 1/2â€?, 7/16â€? and 12mm - in a compact 4â€? tool to handle the most common sizes of jacks and pots on instruments, amps and other audio gear. Add a dab of threadlocker and youâ€™ll probably never have to deal with that loose jack again. Sockets are pro-grade with a dazzling polished chrome finish. GTJPT1 www.trc.com.au
BESPECO CABLES Made in Italy, Bespeco produce a quality range of cables and stands, all thanks to their professional and technological research and development, the selection of components and the rigorous quality control at each productive stage. Bespeco offer two options of supply with their cables, either on a reel/roll or factory assembled. This applies to microphone/instrument cable, multicore, speaker cables and electrical mains cable. Assembled cables are neatly presented for effective selling and display, either in an eye-catching cardboard sleeve or in a bag. Either way, these are available in different colours and lengths. Another great feature of Bespeco cables is that they are now equipped with a strap-band, neatly holding the cable in place once folded! The strap-band and (if fitted) the rubber jack, may be personalised with your own name/company logo. www.dynamicmusic.com.au
GUITAR GEAR UGRIP FA10 HAND EXERCISER The uGrip green is light tension. Exercise with caution and be sure not to overextend yourself at first. This is a great hand exerciser for players of any instrument!
VOX ACOUSTIC AMPLUG
Finger-span can be extended by shifting the fourth button. Price? $19.99 RRP
The headphone guitar amp that lets you enjoy serious guitar sound, fast. Jamming late at night? Dont want to wake the neighbours? Maybe you want to work out a lick with your MP3 player without taking the time to set up your amp. You want to play guitar right now. amPlug is the answer. Simply plug this palm-sized headphone guitar amp directly into your guitar and enjoy serious guitar sound anywhere, anytime. Now available in six styles: Lead, Bass, VOX AC30, Classic Rock, Metal and Acoustic. AUX in jack lets you jam along with your CD/MP3 player.
Use it to warm up before playing and to strengthen/stretch the fingers. It features unique ergonomic design that allows you to exercise the fingers, wrists and forearms while practising the correct action. Increases finger speed, strength and independence.
GUITAR GEAR UGIG INTERFACE FOR IPHONE IPAD The uGig is an iPhone/iPad interface that allows you to make use of a variety of great guitar apps. There are some great free apps to choose from and the uGig is an affordable way for you to try them all out, have a bit of fun and rock out. The uGig can also plug into your guitar amp, which means you can get your great guitar tones through an amp, or even a PA system if you need a back-up should your amp go down! Just plug the uGig into the deviceâ€™s headphone jack, your instrument into the uGig and connect the output of the uGig to an amplifier or other device that has line input capability. Then youâ€™re ready to rock! RRP $21 www.guitar-gear.com.au
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What do all these shows have in common?
AUDITION!!!! - MASTER THE AUDITION PROCESS - BUILD CONFIDENCE - DEVELOP YOUR ATTITUDE - SONG CHOICE - PRESENTATION - APPEARANCE - PERFORMANCE
MADCDs cos Cos we g ive a sh it
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0413161726 or email email@example.com for more information Steve Clisby has worked with the best: Tina Turner, Chaka Khan, Hot Chocolate, Kool and the Gang, Crusaders, Mothers Finest, Level 42, Hot Chocolate, Santana, James Cotton Blues Band, Frank Zappa, Taj Mahal, Narada Michael Walden
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THE DRUM MEDIA • 71
BTL - BEHIND THE LINES
X Factor, The Voice, Australia’s got Talent
BTL - BEHIND THE LINES
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CALL DRUM MEDIA 9331 7077
ph: 9550 3977 firstname.lastname@example.org www.zenstudios.com.au
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PH: 02 9981 1489 72 â€¢ THE DRUM MEDIA
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EMPLOYMENT ADMINISTRATION 15year old bass player looking to join metal or punk band. influences include metallica, slayer, megadeth, anthrax, pantera, ozzy osbourne/black sabbath and many more. email email@example.com
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STAN AND HIS VAN (+ STAGING) We offer Man and Van services, and Staging support. Ford Transit Van; high top, long wheelbase, for bands, PA, or any general moving work, we haul, bump in/out, or for any “man and a van jobs” give us a call. We also have Staging (6 panels: 2m x 1m x 480mm) plus PA, back line amps, even guitars and basses. Operators available. Sydney Metro area. 0400 319 580
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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
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 oreMail: email@example.com
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FILM & STAGE
LOOKING FOR AN ACTOR
With the best value & most receptive mastering service in the business we exist to serve you, and your music. > Your music will pass delicately through the finest valve & solid state outboard equipment on earth, under the microscope of a worldclass monitoring system & acoustic environment, and 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 & The Ramones. > Our pricing is fixed & 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
ENTERTAINMENT TRIBUTE SHOW NEEDS SOUND GUY..
COLOUR BORDER 00 135 : gID iFlo
SUPER BOLD HEADING
Professional Upright Yamaha U3 M 131cm height in Black with stool. Excellent condition with beautiful sound and action. YOM: 1981-1982. Perfect for student or professional. Regretful sale but moving interstate. A must to inspect. Serious buyers only. $3700 Call Vincent 0415363874, Padstow, Sydney.
Learn to record pro sounding tracks rock tracks,mixing secrets,mastering made easy and all taught by the pros visit - www.toneartist.com
THE BUTLER MASTERING...
GIG POSTERS / ALBUM ART
SINGING TEACHER WITH STUDIO
ARE YOU KEEN TO RECORD YOUR DEMO BUT DON’T WANT TO WASTE MONEY ON A DEMO YOU’RE NOT 100% HAPPY WITH? AS A PROFESSIONAL SINGER OF 18 YEARS AND SINGING TEACHER OF 7, I CAN NOT ONLY RECORD YOUR DEMO IN MY STUDIO WITH THE SAME QUALITY AS YOUR COMMERCIAL STUDIOS, BUT ALSO GUIDE YOU VOCALLY THROUGH EACH SONG COVERING TECHNIQUES SUCH AS BREATHING, PRONUNCIATION, DYNAMICS, PHRASING, SUPPORT AND OF COURSE EMOTION. OR WHATEVER ELSE IS REQUIRED TO OPTIMISE ON YOUR RECORDING. WHETHER YOU ARE LOOKING FOR AN AGENT TO REPRESENT YOU, WANTING TO AUDITION FOR BANDS OR MUSICALS, AN ACTOR COMPLETING YOUR PORTFOLIO OR WANTING TO DO FOR YOUR OWN ENJOYMENT OR AS A GIFT, PLEASE CALL ME TO DISCUSS YOUR NEEDS. FOR ONLY $70PH I WILL ENSURE YOU HAVE A MORE POLISHED AND VOCALLY PROFESSIONAL DEMO THAN YOU WOULD HAVE OTHERWISE ACHIEVED AT A COMMERCIAL STUDIO. IF YOU ARE PERSUING A PROFESSIONAL CAREER YOU ONLY GET ONE CHANCE WITH YOUR DEMO. IT’S IMPERATIVE YOU PUT YOU ‘BEST FOOT FORWARD’ TO AVOID HEARTBREAK AND DISAPPOINTMENT. SO TO GET STARTED ON YOUR BEST RECORDINGS TO DATE OR FOR ANY QUESTIONS, PLEASE CALL LOUISE; 0452 006 693.
REPAIRS GUITAR REPAIRS AND SETUPS Professional Guitar Tech and Luthier. Clients have played with Jimmy Barnes, Guy Sebastian, Human Nature, Short Stack, Moving Pictures etc. All repair work and setups. Call Timo 9484 4374
WWW.MUSOSREPAIRSHOP. COM.AU From acoustics to zithers we can fix it! Repairer/luthier with decades of experience will get your axe back into shape. Quality, guaranteed work without the rip-off. Jeff 0448559947
TUITION Drummer, Lessons Drum Lessons avaliable in Gladesville Teach all Levels,ages & experience.16 years experience. I studied at The Billy Hydes Drumcraft ,Obtained Dipolma in Drummming Mob: 0402 663 469 Michael
5 STRING BANJO TUITION Up-Picking (Pete Seeger Style) and 3 Finger Picking (Scruggs Style). tel. John 0431953178
ADVANCED SLIDE GUITAR Advanced slide guitar, lead & rhythm & lap steel. All styles. Beginners welcome. Ph Jeff. 0412518070
ALT COUNTRY/PUNK/BLUES/ FOLK! Now I’ve got you’re attention, would you like to get guitar or steel tuition in any of the above styles? Learn from someone who knows & plays this music. Lead/ rhythm, learn what you want straight up.Low on theory, high on pulling a great sound & playing style! Call Jeff 0412518070.
ATTENTION: MUSIC CREATORS Contact me for your free chapter of my book “ Chord Voicing for Composers, Arrangers, Songwriters and Pianists”. The complete guide to advance harmony. email@example.com
BASS TUITION Qualified and experienced bass teacher, offering private tuition according to your needs and goals.Beginners to advanced students. Wide range of styles including Jazz, Rock, Funk, Latin. http://www.marcosgil.info/tuition.htm
BASS TUITION Playing professionally for 34yrs, teaching for 10, if you want to read or just get your chops up, in any style, ring Jeff on 0448559947. Gosford location, 6 days
Beginners to Advanced Easy and Effective Singing lessong workshops include -Vocal scales - pitch and breathing excercises -singing and learning songs of choice -performance techniques -songwriting
BLUES GUITAR TUITION
Want to know what it takes to record a song? Book in an obligation free Q&A session in our recording studio at Five Dock. Visit www.musicentourage.com or email firstname.lastname@example.org
You’ll never regret recording your songs... but we garuntee you’ll ALWAYS regret not doing it! ***Every song Produced, Mixed & Mastered to Radio Release Quality*** email@example.com www. musicentourage.com
With experienced and fully qualified tutor. Who has 20 years of studio and live performance. Most styles including Rock, Pop and Jazz. Learn to play your favourite songs, practical theory, improvisation, proper technique, etc. etc. Beginners to advanced are welcome. In the convenience of your own home. Good results guaranteed. Phone Oles on 0407413143 or email firstname.lastname@example.org
GUITAR TUITION BY MAL EASTICK Enrolling new students now for 2012. Tuition customised - beginners to professionals. Blues, rock, tone & theory my specialties. 39 years professional experience, national concert touring level, 4 Gold & 2 Platinum albums. Central suburban Sydney location. M: 0407 461 093 - E: email@example.com
GUITAR TUITION Fingerstyle guitar, open tunings, slide, flat picking, improvisation, rock, country, blues, folk, celtic styles, music theory, arranging, ear training, singing, banjo and mandolin. www.acousticfingerpicking.com PHONE JOHN: 0431953178
GUITAR TUITION Play your favourite tunes whilst learning all about the language of music with this complete, holistic approach to song-based tuition. 10+ years of practical and educational experience. All welcome - call Jonathan on 0401675919. Darlinghurst based.
GUITAR.BASS & UKULELE. Current professional performer and teacher for 30 years. Learn Chords, Scales/Modes, Arpeggios, Music Theory & Ear training. Learn your favourite guitarists songs and tunes. 0422 838 924
K-POP STAR AUSTRALIA
K-POP STAR AUSTRALIA Learn to sing, dance and perform like a K-POP Star either professionally or just for fun! A FREE CONSULTATION SESSION 765 Pacific Hway Chatswood http://www.facebook.com/Kpopstaraustralia 0416-211-891 (Ivan SI) firstname.lastname@example.org
LAP STEEL & GUITAR LESSONS Lap steel guitar/Dobro/Slide open tunings & standard guitar tuition by experienced live & recording musician. Let me get you playing great lap steel & slide quickly in any style. Beginner pedal steel lessons also available. Inner west location with relaxed & patient teacher. Phone Jeff 0412518070
LEARN FROM A SIGNED VOCALIST! Modern-Vocal-Lessons- 25yr Old Signed Vocalist/ Artist. Recorded Vocals for #1 Aria Album. Lessons at Gordon. Beginners to experienced singers welcome. 1hr lessons $50, Half-Hour lessons $30. Call AJ on 0448-080-619.
From Robert Johnson to Eric Clapton. tel. John 0431953178
DRUM LESSONS Drum lesson available I play jazz, rock, pop, funk, flamenco, soul, fusion, singer songwriter Iv been playing professionally in sydney for the last 10 years with a variety of bands. Im currently playing with Bluejuice, The Subterraneans, Steve Hunter Band, Rescue Ships, Bandaluzia, Joe Fabro Group . Will structure lessons to each individual PH 0414097025
DRUM LESSONS Want to be a recording artist? We’re looking for singers/songwriters for recording & development. Contact email@example.com or 02 4013 1977
Learn to play all styles with drummer/musician of 20+ years experience. Beginners welcome! Josh 0439470651 Paddington
DRUM TUITION. Drum Tuition in Stanmore with a Billy Hyde trained Teacher. Dip Ed, Dip Drums. All levels and all styles taught. Beginners Welcome!. Call Lee 0403307796. www.lee-carey.com
Eastern Suburbs guitar/ukulele/bass/slide lessons with APRA award winning composer. Highly experienced, great references, unique individually designed lessons from Vaucluse studio. Learn to play exactly what YOU want to play! www.matttoms.com
Learn The Drums - Have fun and discover your rhythm. I’ve created a step by step program for you on learning how to play the drums, go to www.chrismccaig.com/ learn-the-drums
LYRIC WRITING You’ve always wanted to write a song – let’s start with the lyrics. No matter what type of music you’re into, the basic techniques and elements for writing lyrics are pretty much the same. This course will show you how to get an idea or emotion down on paper and formulate it into a lyric. You will learn how to write in different styles and see how words and music fit together. Whether you want to write your own songs, or just love listening to them, this course will help you appreciate the craft of song writing even more.Visit www.sgscc.edu.au and search “Lyric Writing”.
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
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
GUITAR LESSONS NEWTOWN
SWEETLEAF REHEARSAL STUDIO MTDRUITT open 7 days, 3 rooms, aircon, food & beverages, Flat lug, Parking, PA & Lighting Hire Call - 9832-8890
International and Aussie musicians birthdates posters and calenders. I’m currently after the birthdates of S Wrights Hard Road Band members. www.davesbirthdatecalendars.com.au
Peavey Bandit 80watt 12” guitar combo 2 channel. Footswitchable. Great fat tone. Reverb/saturation etc. USA made. VGC.$350. Ph.0428744963. Cooroy
Beginners-to-Advanced. Learn the Jimi-Hendrix LedZeppelin Level of guitar playing, or just strum chords to sing songs. 1xFREE lesson-appraisal-$40hr Beginners you are most welcome. Acoustic-Electric-Classical Guitar all styles. CALL Brian 0405-044-513.
For a limited time. Free online and print classifieds Book now, visit iflog.com.au
PIANO: BLUES, ROOTS & POPULAR
VOCAL TUITION for students having problems with pitch, placement and breathing. tel. John 0431953178
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
Wanted left handed electric guitar teacher Parramatta area, Contact John at... email@example.com
VIDEO / PRODUCTION D7 STUDIO MUSIC VID FROM $250 music vid $250. Live gig edits, multi angles, fr $125 a set, 1 live track $100. All shot in full HD. firstname.lastname@example.org 0404716770
PRO DRUMMER AVAILABLE FOR GIGS Experienced drummer with 20years of playing available for Gigs. Can fill in at short notice, play one off gigs, studio sessions, reading gigs and covers. sbkemsley@ yahoo.com.au
PRO DRUMMER SEEKS BAND
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
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
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
MUSIC PRODUCER Professional, seasoned music producer available for creative and commercial work. Low price, high quality, many genres both organic and electronic. Email for obligation free quote email@example.com
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
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
Professional Sydney drummer with 20yrs experience seeks like minded originals band/ musos to collaborate with. Professionally trained by some of Australias best drummers including Lucius Borich(COG) and Chris Brien. I have Professional gear and my own studio. Looking to join/create something unique, mainly influenced by progressive and heavy rock/metal bands such as TOOL, Mastodon, Helmet, Porcupine Tree, Soundgarden, Faith No More, Melvins, Meshuggah, COG, Karnivool. PROFESSIONAL BANDS/MUSOS ONLY. Contact Scott 0400800875
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
Professional mature-age Drummer/Vocals/reads/ back acts/shows - all styles including jazz - available for casual work. phone:(02) 9807-3137 eMail: email@example.com
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
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.
SINGING TEACHER WITH STUDIO
ARE YOU KEEN TO RECORD YOUR DEMO BUT DON’T WANT TO WASTE MONEY ON A DEMO YOU’RE NOT 100% HAPPY WITH? AS A PROFESSIONAL SINGER OF 18 YEARS AND SINGING TEACHER OF 7, I CAN NOT ONLY RECORD YOUR DEMO IN MY STUDIO WITH THE SAME QUALITY AS YOUR COMMERCIAL STUDIOS, BUT ALSO GUIDE YOU VOCALLY THROUGH EACH SONG COVERING TECHNIQUES SUCH AS BREATHING, PRONUNCIATION, DYNAMICS, PHRASING, SUPPORT AND OF COURSE EMOTION. OR WHATEVER ELSE IS REQUIRED TO OPTIMISE ON YOUR RECORDING. WHETHER YOU ARE LOOKING FOR AN AGENT TO REPRESENT YOU, WANTING TO AUDITION FOR BANDS OR MUSICALS, AN ACTOR COMPLETING YOUR PORTFOLIO OR WANTING TO DO FOR YOUR OWN ENJOYMENT OR AS A GIFT, PLEASE CALL ME TO DISCUSS YOUR NEEDS. FOR ONLY $70PH I WILL ENSURE YOU HAVE A MORE POLISHED AND VOCALLY PROFESSIONAL DEMO THAN YOU WOULD HAVE OTHERWISE ACHIEVED AT A COMMERCIAL STUDIO. IF YOU ARE PERSUING A PROFESSIONAL CAREER YOU ONLY GET ONE CHANCE WITH YOUR DEMO. IT’S IMPERATIVE YOU PUT YOU ‘BEST FOOT FORWARD’ TO AVOID HEARTBREAK AND DISAPPOINTMENT. SO TO GET STARTED ON YOUR BEST RECORDINGS TO DATE OR FOR ANY QUESTIONS, PLEASE CALL LOUISE; 0452 006 693.
MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with over 30 artists and strives to offer creative quality Music Videos. Visit www. immersionimagery.com or email email@example.com for a no obligation quote
MUSICIANS AVAILABLE BASS PLAYER 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
BASSPLAYER/BV-SINGER SEEKS-TO-FORM-OR-JOIN ROCK/POWERPOP/ALT BAND. P-bass/pick player. Experienced song/music writer. Enjoy simple songs in vein of The Vines, Weezer, Best Coast, Band Of Horses, Alkaline Trio. Based in Hornsby. See-my-ad-on-Gumtree-formore-info. txt045-104-2869
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
Professional Bass Player available for session work, gigs, functions, tours, casual or permanent work. Flexible rates. Pro gear, pro attitude, extra reliable and easy going. Check my site for more info. www.marcosgil.info
SLIDE GUITAR TUITION All styles from Duane Allman and Ben Harper to Blind Willie Johnson and Son House. www.acousticfingerpicking.com tel. John 0431953178
VOCAL TUITION AND COACHING In vocal trouble? Want to sing in tune? Bella Musica’s Foundation Technique Course is now open for new pupils. The course covers basic vocal technique and will personally guide you to your goals, amateur or professional. Vocal Coach Meera Belle is an experienced artist and teacher working across all genres from opera to contemporary. Visit www. meerabelle.com to see what singers say about her teaching. Phone 0406 512 162.
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.
Musician/Guitarist seeking fame. I play blues and have a good ear for melody and improvisation. Im looking for likeminded people who want to start touring. Go to peterbuckley.me
OTHER Guitarist and drummer looking for established Singer/ band with agency backing for working. Originals or covers. All Genres firstname.lastname@example.org
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
SINGER FEMALE SINGER Dedicated and devoted singer looking looking to join an originals or cover band. Ability to sing various styles, jazz, blues and rock. I have my own transport. Influences Funk, Soul and Rock. Call Julie on 0419606657
DJ Dj available Dubstep to Drum&bass. Willing & able to adapt to your event. Low hourly rates. Everything negotiable. Easygoing, flexible entertainment. Call for a quote today. KN!VZ Entertainment Group Ph:0415680575
DJ AVAILABLE DJ for all occasions - Parties, Formals, Weddings. House, Electro, Dance, Hardstyle, Dubstep, R’n’B and Hip Hop. Latest Pioneers equipment and great Lighting Effects. Call Jake’DJ Splice’ 0423255668 or inbox - www.facebook.com/#!/pages/Dj-Splice
TED ON YOUR BEST RECORDINGS TO DATE OR FOR ANY QUESTIONS, PLEASE CALL LOUISE; 0452 006 693. iFlogID: 18193
TOP INTERNATIONAL DRUMMER available. Great backing vocals, harmonica player and percussionist. Gigs, tours, recording. Private lessons/mentoring also available. www.reubenalexander.net
MUSICIANS WANTED BANDS A FREE RECORDING FOR YOUR BAND Semi professional band required for small studio production. Original material only! Artist will receive EP at end of production. All expressions of interest to be emailed to firstname.lastname@example.org
Accomplished Rhythm Guitarist required for dedicated originals band based in Western Sydney.Must be a competent acoustic and electric player with great gear and tone. Age 24-35. Scotty 0408 289 384
RINTOUL DJ/Buttonpusher. Plays most genres from Dubstep to Gabber. Punctual. Reliable. Up to $100 p/h ono. m:0438848155, e:rintouldj@hotmail. com for bookings.
DRUMMER A1 PRO DRUMMER AVAILABLE for freelance gigs, tours etc. Extensive touring experience, gret time/tempo/ groove, great drum gear and pro attitude. Sydney based but will travel. More info, ph 0419760940. www. mikehague.com
Experienced Soul / Reggae / R’N’B / Blues / Funk / Rock drummer (36yo) available for work preferably in Northern Beaches. Call Michael 0402 549 423
ALT/PUNK/ROCK BAND Guitarist looking for drummer,bassist,second guitarist to start band. 80s 90s alt/punk/rock/grunge.. replacements,wipers,husker du,dinosaur jr,...etc,call or txt todd 0401504832...inner sydney
ATTENTION ALL CHICK ROCKERS 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.
BLACK METAL GUITARIST WANTED Fatigue, new Sydney Black/Thrash Metal band need a tight, fast guitarist. Songs written and demoed, visit soundcloud.com/totalfatigue to listen. Influences include Absu, Melechesh, Blut Aus Nord, Deathspell Omega. Interested parties email email@example.com.
CANBERRA Band Members Wanted. Drums, Bass, Vocals for hard rock originals. Please send emais to firstname.lastname@example.org for info and demo.
Drummer requires cover band &/or the setup of a cover band. Simple popular dance songs, etc. Muso’s who catch on quick needed. Regular work the aim, with favourable outcomes. Phone 0403 063 922 or text Drew - experienced drummer.
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
DRUMMER Aggressive solid drummer needed for band. have material written and demos recorded. rehearse in the wollonong area, keen to gig asap. age/sex/skill level not important. Contact 0403508102 for demos
CENTRAL/COAST. BLUES/ROCK COVERS ORIGINAL BAND.require DRUMMER TO JAM REGULY, MAYBE PLAY LIVE LATTER MUST BE KEEN TO PLAY/JAM. SUIT DRUMMER WITH PREVIOUS BLUES TO BLUES/ROCK COVERS EXP. PH 0449536661
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
Drummer looking for a band (Inner Sydney)? Tired of being “just the drummer”? Do you play like Keith Moon, Ginger Baker, Mitch Mitchell... or better? Email email@example.com
Guitarist wanted for weekend workshop with bass player and drummer. Workshop only-we focus mainly on jazz standards, reggae, rock and funk grooves. ph 0414 421 252.
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
GUITARIST WANTED Sydney’s premier rock band ‘Talk it up’ are now auditioning for a second lead/rhythm guitarist. Vocal ability preferred. We are agency backed performing three to four shows per month. Experience, pro gear and attitude essential. Check out our website www.talkitup.net.au call Craig 0417 411 244
HELLO I’m looking for a versatile creative musician or two, a Jack or Jill of a few trades as it were, with vocals and harmonies to form a blues & roots, county, folk partnership based in the Inner West. Middle aged +. Mark. 0412277383. Call me. Let’s see what happens. Perhaps you’re a virtuoso on one instrument alone; that would probably be okay too :) if you can harmonise.
New fresh artists, creatives & musicians wanted for tri annual event, great exposure/networking - must have own equipment, get your name out there- email firstname.lastname@example.org
POGUES ROOL OK! Inspired by the Pogues concert to form a like-minded acoustic kick-arse Celtic-punk bar band? Dig the Clash, the Band, Serge, Johnnies Cash/Horton/Thunders, Father Ted, and Lee Hazlewood? Embrace your inner Shane and let’s talk about what you can bring to The Flying Fecks. Call Father Todd Unctuous 0407 286 391 for absolution.
Experienced energetic drummer wanted for sydney 3 piece. age 20-30. influences: ramones, queen, nirvana, brian-jonestown-massacre, beatles etc.100% commitment needed as we wanna get proper busy. call dee 0431317613
Lycanthia seek Heavy Metal double kick drummer for gigs and recording, must have gear and transport. Please contact email@example.com
PSYCHROCK BAND SEEKS DRUMMER
Singer required for 3 piece jazz /funk band with a good repertoire of tunes. Will also consider working with singers wanting to develop their repertoire. Contact 0414 421 252.
Singer required for Latin Duo. Must be able to sing in Spanish. 0416020051
TURBOWITCH seeking drummer, bassist, second guitarist & vocalist. PSYCHEDELIC OLD SCHOOL DOOM METAL inf by Black Sabbath, Led Zeppelin, Wolfmother, Quest For Fire, Witch + many more. age 21-26. Sydney central based. contact: firstname.lastname@example.org
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?
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
BASS PLAYER Bass Player for 1/2 rock covers, 1/2 ac/dc show. we have awesome Bon, Angus & Phil looking for the others. or just to play covers till malcolm turns up. our studio’s in sutherland shire.call or txt Mick 0420 317537 or firstname.lastname@example.org
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: email@example.com
BASSIST WANTED! You MUST be an outstanding male bassist! Rehearsing at Wetherill Park, New South Wales. Drummer is forming a fast paced original rock band to get signed to a 360 deal. Must be ambitious, self-motivated, committed, reliable and have a lot of drive. Musical direction: Muse, The Killers, Michael Jackson and AC/DC. Age: 18-30. Only contact me if you want to get signed to a 360 deal! Contact Will: firstname.lastname@example.org
KEYBOARD PLAYER WANTED Alternative rock band with it’s own recording studio from the northern beaches is looking for a keyboard player. Having your own gear ie sampler/keyboard and the ability to play bass/guitar would be an advantage but not necessary. Contact: email@example.com
Sydney based Funk band who plays originals and covers seeks a keyboardist. Needs good gear and own transport. Contact firstname.lastname@example.org.
SAXOPHONE SERIOUSLY SEEKING SAXES Dedicated amateur group gives you a chance to try out your Charlie Parker chops. Workshop environment Phone Dave on 9807-8866 or email email@example.com
CAN YOU SING?!!
SONG WRITER SINGER-SONGWRITER WANTED! You MUST be an outstanding male singer-songwriter! Rehearsing at Wetherill Park, New South Wales. Drummer is forming a fast paced original rock band to get signed to a 360 deal. Must be ambitious, self-motivated, committed, reliable and have a lot of drive. Musical direction: Muse, The Killers, Michael Jackson and AC/ DC. Age: 18-30. Only contact me if you want to get signed to a 360 deal! Contact Will: firstname.lastname@example.org
Burn Antares - Psychedelic-rock band with Manager, Promoter and Label looking for a new fulltime drummer. for more info call 0405442443 or email email@example.com
Singer wanted for our cover band. Our current female singer will be leaving us soon. We are looking to replace her by either a mature male or a female singer . We play classic rock numbers from any era as long as it makes our audience sing and dance. We are all mature musicians who want to have fun playing rock and only plan to do a couple of gigs a month . We rehearse once a week in Alexandria.
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!
Yo Fuckers! Royal Ace needs a new drummer, were an established rock band wanting you to come bang shit. Check us out and shoot us a message facebook.com/ royalaceband PEACE!
GUITARIST 18 year old guitar player looking for another guitar player. Influences: GN’R, Aerosmith, Zeppelin, New York Dolls. Preferrably someone in the south (Shire). Call Tom on 0401722767
Great Vocalist Needed for Alt/Prog Rock band. Band has lots of playing/touring experience and needs YOU to fill the void. Lots of material ready to go. Contact Ayden 0421633283
Indie Pop singer wanted for recording of already written songs, for album release and small tour (acoustic duo) .Contact firstname.lastname@example.org
MALE SINGER WANTED
Dead Bird Empire is looking for a Singer. We are based in sydneys north and we are aged between 22-24. We are looking for a strong voiced alternate rock singer in their twenties. Check out Dead Bird Empire on triple j unearthed and send us a text if your interested on 0408696162. Cheers.
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
Melodic Rock Vocalist wanted by dedicated originals band based in Western Sydney. Join a pro level band with studio, pro gear and songs with great hooks. Scotty 0408 289 384
GUITAIST WANTED 2nd guitarist wanted for rock covers band must have good gear and be able to play it
Guitarist for 1/2 rock covers, 1/2 ac/dc show. we have awesome Bon, Angus & Phil looking for the others. our studio’s in sutherland shire.call or txt Mick 0420 317537 or email@example.com
RHYTHM GUITARIST WANTED! You MUST be an outstanding male rhythm guitarist! Rehearsing at Wetherill Park, New South Wales. Drummer is forming a fast paced original rock band to get signed to a 360 deal. Must be ambitious, self-motivated, committed, reliable and have a lot of drive. Musical direction: Muse, The Killers, Michael Jackson and AC/ DC. Age: 18-30. Only contact me if you want to get signed to a 360 deal! Contact Will: firstname.lastname@example.org
Rhythm/Lead Guitarist Required for exciting pop-rock band/show, Album on iTunes. Reliable, excellent Guitarist who can also play jazz and country. Paid performances. Phone Geoff at Extraordinary Entertainment 99691179 (Mosman).
ROCK LEAD GUITARIST WANTED
Pro singer wanted for established 5 piece band Newcastle band. covers and originals. Hardrock,blues. pop,rocknroll. Exp band gigged with Angels 2 booking agents paid gigs booked. Peter 4984 4731
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.
SINGER WANTED Looking for a versatile singer to front rock covers band
SINGER-SONGWRITER WANTED! You MUST be an outstanding male singer-songwriter! Rehearsing at Wetherill Park, New South Wales. Drummer is forming a fast paced original rock band to get signed to a 360 deal. Must be ambitious, self-motivated, committed, reliable and have a lot of drive. Musical direction: Muse, The Killers, Michael Jackson and AC/DC. Age: 18-30. Only contact me if you want to get signed to a 360 deal! Contact Will: email@example.com
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
SERVICES BEAUTY SERVICES CUSTOM MADE MUSICIAN PLUGS
SCHOOL OF ROCK ZEN STUDIOS
Musician Plugs come in four different filter choices to reduce the volume of loud music to a safer level. They will not distort the tonality of the music, rather simply reduce the volume ‘equally’ across all tones. Fitted by a qualified hearing professional we have a number of locations throughout Sydney as well as in the CBD. To make an appointment call 9223 0225.
GRAPHIC DESIGN The Cleftomaniacs (pun intended!), the enthusiastic 25-member a cappella choir who brought you the most recent Sydney A Cappella Festival, invite new members, especially those lovely tenor & bass blokes. Eclectic repertoire from Sting to gospel to classical polyphony and we love to gig! Rehearsals school term Thursday evenings in Waterloo. Contact Catherine 02 9388 7010 / 0414 517 010 / firstname.lastname@example.org
MUSICTUITION PRODUCTION COURSE 6 WKS.
$200 plus per gig. You must be committed. We are playing 2 to 4 gigs a week. We work sick or well.. You will be payed more for functions. You will be payed a minimum of $200 ex Gst per gig. All songs are in the original key. The singer will do approx 70 per cent of vocals We play mainly Pop and Dance music with a rock edge. Please call 0414 919 010
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
CLASSIC ROCK SINGER WANTED
KEYBOARD Keyboard player required for working band playing swing, blues and r’n’r. Jazz experience favoured. vatm.com.au
SYDNEY DUO NEEDS FEMALE SINGER
Pro singer wanted for established 5 piece band Newcastle band Newcastle area. Covers , originals hard rock,blues,pop,rocknroll exp band gigged with Angels,paid gigs booked Peter 4984 4731
Professional Drummer wanted for Inner West Alternative Rock band. Required for album launch early June. Must be: Aged 25-35, available days, reliable, professional gear. Fast learner, positive attitude...Paid accordingly
Professional Bass Player wanted for Inner West Alternative Rock Band’s Album Launch. Must be: Aged 25-35, available during the day,professional approach, fast learner. The right person will be paid.
Versatile guitarist to play rythm and lead in working band playing swing, blues and rnr. Some jazz knowledge favoured. vatm.com.au
FULL COLOUR BAND GIG POSTERS @ AMAZING PRICES 100 A4 full colour on Gloss = $40 100 A3 full colour on Plain = $50 100 A3 full colour on Gloss = $80 100 SRA3(32 x 45cm) full colour on Gloss = $80 WWW.BLACKSTAR.COM.AU
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
SINGING, BASS, GUITAR, DRUMS
Get your Band or Business Online Cost effectively and PROFESSIONALLY from $299 including Hosting and email addresses! Contact email@example.com or see www.bizwebsites.com.au
Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Logos, Hosting and 5xemail addresses and much more! Contact firstname.lastname@example.org or see www. bizwebsites.com.au
Limited Edition mens tees and hoodies with a sense of humour. All hand-screened and numbered. monstrositystore.com
The School of Rock offers tuition in singing, bass guitar, electric guitar, drums and song writing techniques. Our instructors have years of experience showing young musicians how to play and take that talent onto the stage. For more information visit our website at www.schoolofrockinnerwest.com.au or www.zenstudios.com.au. Ph: 9550 3977
Your Album Cover?! It’ll look killer with the help of the award winning Wealth & Hellbeing Creative team! Turn your local look into an international standard release: www.wealthandhellbeing.com Call Lix 0405809066
Basketball Players Wanted for Eastern Suburbs comp - email@example.com
OTHER EARPLUGS FOR MUSICIANS Protect your hearing with custom moulded earplugs designed to reduce the level of sound without adversely affecting the frequency response of the music. Choose between 10,15 and 25dB attenuation. Fitted by professional audiologist, by appointment only. Ph 9387 3599
WANTED! TATTOOED PEOPLE
Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact firstname.lastname@example.org or see www.bizwebsites.com.au
Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Hosting and 5xemail addresses and much more! Contact email@example.com or see www.bizwebsites.com.au.
If you have tattoos, show them off. Be a part of my portrait photo project, young/old/male/female all walks of life. Be photographed and score a free portrait. Call Sandra: 0422680556
GOOD WITH YOUR HANDS? Good with your hands? Private massage job available $50/hr no experience necessary (sorry no dudes) anyway text your name to 0450 758 399
If you want to use DRUGS, that’s your business If you want to STOP, we can help. Narcotics Anonymous 9519 6200 www.na.org.au
Need to promote your restaurant, club and make it the place to go? Contact us now, because providing good entertainment is a personal skill. Chris 0419 272 196 firstname.lastname@example.org
K-POP STAR AUSTRALIA
K-POP STAR AUSTRALIA Learn to sing, dance and perform like a K-POP Star either professionally or just for fun! A FREE CONSULTATION SESSION 765 Pacific Hway Chatswood http://www.facebook.com/Kpopstaraustralia 0416-211-891 (Ivan SI) email@example.com
What happens when you start paying attention? When you become an active member and start participating in this elusive thing we call life. WWW.WHATISTHEHAPS.COM
THE PREHISTORICS are looking for an accomplished lead guitarist for establshed original rock band. Checkout website to review songs: www.theprehistorics.com If you dig it, phone Brendan on 0430 1977 17
For a limited time. Free online and print classifieds Book now, visit iflog.com.au
iFlogID: 17805 Your Album Cover?! It’ll look killer with the help of the award winning Wealth & Hellbeing Creative team! Turn your local look into an international standard release: www.wealthandhellbeing.com Call Lix 0405809066 iFlogID: 18086
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THURSDAY 23 AUGUST metro theatre www.metrotheatre.com.au or (02) 9550 3666 tickets on sale now
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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...
Published on Apr 16, 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...