4 : % / & : 4 - " 3 ( & 4 5 $ * 3 $ 6 - "5 * / ( ' 3 & & . 6 4 * $ 1 6 # - * $ "5 * 0 / t . ": t t ' 3 & &
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CATCALL
INSIDE: t ,*.#3" t 4*.0/& '&-*$& t ("40-*/& */$ t 40/( 46..*5 (6*%&
www.themusic.com.au
THE DRUM MEDIA • 3
RESENTS SECRET SOUNDS P
THE SMASHING PUMPKINS OCEANIA TOUR
WITH SPECIAL GUESTS WITH SPECIAL GUESTS
WOLFMOTHER
TUESDAY 31 JULY ENT. CENTRE
WED 25 JULY THE METRO (ALL AGES)
WITH SPECIAL GUESTS T
D OU THURSDAY 26 JULY SOL
2ND AND FINAL SHOW ADDED!
FRIDAY 27 JULY ENMORE THEATRE O N SA LE N OW
LISTEN NOW ON
/ RDIO.COM
OFFICIAL SPLENDOUR SIDESHOWS ON SALE NOW
WITH SPECIAL GUESTS
WITH SPECIAL GUESTS
THU 26 JULY THE FACTORY
WIT H
Friday 27th July The Factory
T HE CA S T OF C H E E R S
WED 1 A UG O . A . F
TUE 24TH JULY THE FACTORY
WITH SPECIAL GUESTS
WITH
ZULU WINTER
WED 25 JULY - O.A.F
TUESDAY 31 JULY
OXFORD ART FACTORY
WITH SPECIAL GUESTS
THU 26 JULY THE STANDARD
SAT 28 JULY / THE FACTORY
with special guests
FOR TICKETING INFO VISIT SECRET-SOUNDS.COM.AU
76 7,&.( 21/<
<28 $, 16 .(7 */ 9(18(6 & , 7 ( 21 < 72 $/ (175
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SURF HHGV
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SELECT MUSIC
ITâ&#x20AC;&#x2122;S OUR 7TH Bâ&#x20AC;&#x2122;DAY!!! THURSDAY 21 JUNE
CHARITY FUNDRAISER FOR beyondblue THE NATIONAL DEPRESSION & ANXIETY INITIATIVE
)($785,1* 6(/(&7 086,& $57,676 3/$<,1* $&5266 7+(6( 9(18(6 8367$,56 %(5(6)25' _ 7+( 67$1'$5' _ 2;)25' $57 )$&725< 0$,1 5220 *$//(5< _ 3+2(1,; %$5
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SECRET SOUNDS PRESENTS
THE SMASHING PUMPKINS OCEANIA TOUR
WITH SPECIAL GUESTS
WOLFMOTHER
TUESDAY 31 JULY ENTERTAINMENT CENTRE TICKETS: TICKETMASTER.COM.AU 136 100
TICKETS ON SALE NOW ALBUM OUT 22 JUNE secret-sounds.com.au smashingpumpkins.com
THE DRUM MEDIA • 7
FULL PROGRAM NOW ON SALE SYDNEY FILM FESTIVAL HUB @ LOWER TOWN HALL Grab a drink at the bar and see exhibitions, live music, films, talks and DJs – FREE every night during the Festival.
Sydney Film Festival brings the city to life with over 230 screenings of over 150 films from 51 countries, plus talks, forums, guests and red carpet galas. Check out the full program and buy online at sff.org.au or purchase by phone on 1300 733 733.
SING ME THE SONGS THAT SAY I LOVE YOU THE ZEN OF BENNETT – A CONCERT FOR KATE MCGARRIGLE
KILLER JOE
POLISSE
SAT 16 JUN 8.30PM EV9 SUN 17 JUN 6.30PM EV9
THU 7 JUN 9.00PM EV8 THU 14 JUN 9.10PM EV8
TUE 12 JUN 8.45PM STATE WED 13 JUN 6.15PM EV9
Behind the scenes with icon Tony Bennett as he records an Grammy-winning album of duets with diverse guests including Aretha Franklin, Willie Nelson and the late Amy Winehouse.
A Texas drug dealer hires a cop and parttime hitman (Matthew McConaughey) to murder his mother for insurance money in this sleazy noir from director William Friedkin (The French Connection, The Exorcist).
French star turned writer/director Maïwenn’s third feature is a tough-as-nails drama about the hardened cops who work in the CPU (Child Protection Unit) on the mean streets of Paris.
THE COMEDY
LIBERAL ARTS
JEFF, WHO LIVES AT HOME
THU 14 JUN 9.00PM DOQ2 SAT 16 JUN 2.00PM DOQ2
MON 11 JUN 6.45PM EV8 FRI 15 JUN 6.45PM DOQ2
FRI 8 JUN 8.30PM EV4 SAT 16 JUN 9.35PM EV4
Musician/filmmaker Rick Alverson’s ironically titled feature is an excoriating look at a group of privileged and reckless Williamsburg hipsters; features performances from James Murphy (LCD Soundsystem) and Gregg Turkington (“Neil Hamburger”).
Josh Radnor wrote, directed and stars in this charming romantic comedy in which a disillusioned 35-year-old man, on a visit to his former college, falls for a beautiful and intelligent student (Elizabeth Olsen).
Gentle, warm-hearted, offbeat comedy about an aimless 30-something man (Jason Segel) who is unemployed, lives in his mother’s basement and believes he is destined for something special. Co-stars Susan Sarandon, Ed Helms and Judy Greer.
FRI 15 JUN 9.30PM EV4 SUN 17 JUN 12.00PM EV4 This rousing tribute to the late Canadian singer-songwriter, recorded at New York’s Town Hall, features her famously musical children, Martha and Rufus Wainwright, and friends including Emmylou Harris and Norah Jones.
INFINITE STORIES ONE FILM FESTIVAL 6 – 1 7 J U N E S F F. O R G . A U
8 • THE DRUM MEDIA
THE DRUM MEDIA • 9
ZULU WINTER THE DEBUT ALBUM
LANGUAGE AVAIL ABLE NOW
FEATURES THE SINGLES ‘WE SHOULD BE SWIMMING’ ‘KEY TO MY HEART’ & ‘SILVER TONGUE’ TOURING THIS JULY FOR SPLENDOUR IN THE GRASS & SIDESHOWS ZULUWINTER.COM
ELECTRIC GUEST NEW ALBUM ‘MONDO’ OUT NOW FEATURING ‘THIS HEAD I HOLD’ DEW-PROCESS.COM 10 • THE DRUM MEDIA
! D U O L T I E K LI see Live and LOUD at the
DARLING HARBOUR Level 2 Harbourside Centre SATURDAY 19TH MAY From 9pm
12 • THE DRUM MEDIA
THE DRUM MEDIA • 13
British Techno Pioneer \\
TREVOR ROCKCLIFFE 5hr Set
+
SIMON CALDWELL (FBI Radio) 10 June the Metro Theatre 10pm till 6am Tickets $55+bf ticketek.com.au
PRESENTS
ON CREMORNES BIG CINEMA SCREEN
I
RETRO!
GRIFFIN THEATRE COMPANY PRESENTS A RETURN SEASON OF
ANGELA ’ S KITCHEN 15 MAY-9 JUNE BY PAUL CAPSIS AND JULIAN MEYRICK
+
$100
CASH PRIZE
FOR BEST COSTUME
SUNDAY MAY 27 AT 7PM 380 MILITARY ROAD, CREMORNE BOOK ONLINE WWW.ORPHEUM.COM.AU 14 • THE DRUM MEDIA
TO MAKE A BOOKING CALL 02 9361 3817 OR VISIT GRIFFINTHEATRE.COM.AU
3hr Set
JUNE BANK HOLIDAY WKND
NICHE PRODUCTIONS PRESENTS
THU. 31 ST MAY: THE ANNANDALE WITH SPECIAL GUESTS
+ SPECIAL GUESTS
MAJOR PARTNER
STRATEGIC PARTNERS
ELLESQUIRE & HALFWAY CROOKS DJs
FRI. 25TH MAY VIVID LIVE THE STUDIO
(SOLO) ANTHONY OUSBACK & THE MAMMALS { TICKETS AT WWW.ANNANDALEHOTEL.COM }
(SYDNEY OPERA HOUSE) TICKETS AVAILABLE NOW THROUGH SYDNEYOPERAHOUSE.COM
NICHEPRODUCTIONS.COM.AU
ITSBRUISERBRIGADE.TUMBLR.COM
INDUSTRY PARTNER
PARTNER
DIRECT FROM THE MELBOURNE INTERNATIONAL JAZZ FESTIVAL
NICHE PRODUCTIONS PRESENTS
THE BAMBOOS MEDICINE MAN NATIONAL TOUR
NICHE PRODUCTIONS
FUTURE
PRESENTS
NOW
FEATURING
THE
ROBERT GLASPER EXPERIMENT SPECIAL GUESTS DJS
CIAN
JOSE JAMES TAYLOR MCFERRIN
(CONCH RECORDS - NZ)
& HUWSTON
SUNDAY OXFORD JUNE ART 10TH FACTORY QUEEN’S BDAY WEEKEND
SYDNEY
BYRON BAY
Tickets on sale now through metrotheatre.com.au
Tickets on sale now through oztix.com.au
FRIDAY THURSDAY 22ND JUNE 28TH JUNE THE THE GREAT METRO NORTHERN THE BAMBOOS NEW ALBUM MEDICINE MAN RELEASED JUNE 1ST
TICKETS ON SALE NOW THROUGH MOSHTIX.COM.AU
THEBAMBOOS.COM t FACEBOOK.COM/THEBAMBOOS t NICHEPRODUCTIONS.COM.AU
NICHEPRODUCTIONS.COM.AU
NICHEPRODUCTIONS.COM.AU
|
BECOME A FAN OF NICHE ON
|
FOLLOW US ON
@NICHEPRODUCTION THE DRUM MEDIA • 15
LISA MITCHELL SPIRITUS Limited Edition Fan EP
OUT NOW Catch Lisa on the ‘Heavenly Sounds’ tour nationally in JUNE: Mon 4 Thurs 7 Fri 8 Wed 13 Thurs 14 Fri 15
Christ Church Cathedral, Newcastle, NSW St Stephen's Uniting Church, Sydney, NSW St John's Cathedral, Brisbane, QLD St Michael's Church, Melbourne, VIC Flinders Street Baptist Church, Adelaide, SA St Joseph’s Church, Subiaco Perth WA
watch Lisa’s stunning new video youtube.com/lisamitchellmusic
get a free Lisa track at facebook.com/lisamitchellmusic
16 • THE DRUM MEDIA
ENJA PRESENTS
GEORGE GARZONE ANTONIO SANCHEZ
ALBARE iTD LONG WAY FEATURING
ALBARE Guitar EVRIPIDES Bass MELBOURNE INTERNATIONAL JAZZ FESTIVAL PRESENTS
TUESDAY, 5 JUNE MELBOURNE RECITAL CENTRE
HENDRIK MEURKENS
ENJA PRESENTS
LEO GENOVESE
SATURDAY, 9 JUNE SEYMOUR CENTRE, SYDNEY
OPENING ACT: RENAUD GARCIA-FONS “SOLO” ALBARE iTD
Bookings: ticketek.com.au
www.albare.info
THE DRUM MEDIA • 17
THURSDAY 17 MAY R O C K L I LY P R E S E N T S
T + PLAYWRITE N E M T R A P E D R E + BELL WEATH
WEDNESDAY 16 MAY
DANNY & THE COSMIC TREMORS + THE ASTON MARTINIS + DJ BRIAN FRIDAY 18 MAY
STEVE EDMONDS BAND + DJ SMITHERS
SATURDAY 19 MAY
MR WILSON + DJ URBY
SUNDAY 20 MAY 2PM
BONJAH
+ TIM CHAISSON
STEVE CLISBY BLUES EXPERIENCE + MORGAN JOANEL
HOUSE SPIRITS, WINE & BEER MON-FRI FROM 5-7PM
RSVP ON FACEBOOK
;OL :[HY 7[` 3PTP[LK ()5 ;OPUR HIV\[ `V\Y JOVPJLZ *HSS .HTISPUN /LSW ^^^ NHTISPUNOLSW UZ^ NV] H\ ;OL :[HY WYHJ[PZLZ [OL YLZWVUZPISL ZLY]PJL VM HSJVOVS .\LZ[Z T\Z[ IL HNLK `LHYZ VY V]LY [V LU[LY [OL *HZPUV
18 â&#x20AC;¢ THE DRUM MEDIA
mondays
thursdays
salsa party salsa party & class classss
op open pen m mic ic night nig n ni ig ght g ht register reg gister early earl early y to to play p plla ay y gigs@ gigs@hardrock har rdrock kccafe.co afe com.au m au gigs@hardrockcafe.com.au
live liv li iive vee o original origina rigiin nal music m mu sicc
fr from rom om8.30 8.30pm pm m | free freeentry e entry een ntry
from m8 8pm pm m | fr ffree ree ree entry een ntry ntry
from 8.30pm from 8.30 8.3 0ppm m
fridays
saturdays
mondayâ&#x20AC;&#x201C;friday
late night lounge djâ&#x20AC;&#x2122;s & mcâ&#x20AC;&#x2122;s
late night lounge djâ&#x20AC;&#x2122;s & mcâ&#x20AC;&#x2122;s
from 10pm
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from 10pm
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2 for 1 cocktails, wine & beer 5-7pm
harbourside, darling harbour â&#x20AC;¢ +61-2-9280-0077 hardrock.com/sydney â&#x20AC;¢ find us on â&#x20AC;¢ follow us on
may2012
THE T S I M E CH
sundays
FESTIVAL OPENS NEXT FRIDAY - 25 MAY
‘HEAVENLY’ THE GUARDIAN
SUFJAN STEVENS (VOCALS) BRYCE DESSNER (GUITAR) NICO MUHLY (PIANO & KEYS) PLANETARIUM - NEW SONGS FROM THREE OF NEW YORK’S DEFINING CREATIVE MINDS.
FROM THE FRONT WOMAN OF THE YEAH YEAH YEAHS
KAREN O IN STOP THE VIRGENS
AN EPIC STAR-STUDDED SPECTACLE DIRECT FROM NEW YORK. RK.
SELLING FAST! FINAL SHOW - 29 MAY. SELL 28 - 3 0 MAY. CONCERT HALL.
3 0 MAY – 3 JUNE. OPERA THEATRE.
MAJOR PARTNER
‘THE VOICE OF MY GENERATION’ STRATEGIC PARTNERS
BON IVER
MY BRIGHTEST DIAMOND WITH STRING ENSEMBLE 27 MAY. OPERA THEATRE.
‘PACKED FULL OF IMMEDIATE MELODIES AND S OUL’
NME
EFTERKLANG & SYDNEY SYMPHONY THE CRITICALLY ACCLAIMED DANISH BAND PREMIERE THEIR NEW ALBUM PIRAMIDA WITH SYDNEY SYMPHONY
26 MAY. OPERA THEATRE.
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
MEDIA PARTNERS
INDUSTRY PARTNER
THE DRUM MEDIA • 19
th f e or ha m rperl hoy te
l
900 PRINCES HIGHWAY, TEMPE PH: 9559 6300 www.valvebar.com.au WED 16TH 7PM THURS 17TH 7PM
25 OOR $ D / 0 LE $2 5 PRESA & SHOW $3 DINNER/TIX R R O E DINN PEN 7PM F O IX DOOR :30PM GET T 1300 8 R O W U SHO .COM.A TIX
Y TH MA
MOSH
25 FRIDAY
FRI 18TH 7PM SAT 19TH 12PM SAT 19TH 8PM SUN 20TH 1PM SUN 20TH 4PM
WRECKAGE BOOKINGS PRESENTS:
“LAKESIDE”
CORE SHOW WITH SUPPORT FROM “THE SHIRE” , “IMMERSIONS” , “VENTURES” , “THRASHED”
“HOW TO SURVIVE A BULL FIGHT”
PUNK SHOW WITH SUPPORT FROM “JESUS CHRIST POSSE” , “BRAVES” , “THE REFLECTIONS” AND GUESTS
RITAM GALAMA PRESENTS:
SKA/PUNK/OI NIGHT WITH “GLUV NEM SLEP” WITH SUPPORT FROM “ENTER SIX” , “STRANGEHOLD” , “PHYSICAL GRAFFITI” , “THE TURPS”
“VICES”
HARDCORE SHOW WITH SUPPORT FROM “DIRECTIONS” , “TRUE LIES” , “MOWGLI” , “SIERRA” , “COLD YOUTH”
“TUNNEL VISION”
BLUES ROCK SHOW WITH SUPPORT FROM “BONES ATLAS” , “FEICKS DEVICE” , “THE CALL”
HARMONICA PLAYERS WORKSHOP PRESENTED BY ANTHONY MAGUIRE
RED LETTER DAY MANAGEMENT PRESENTS:
SUNDAY STAMPEDE
EMERGING TALENT SHOWCASE FEAT: ARRAY OF UP AND COMING BANDS
COMING UP:
Wed 23 May: “Kingston Flavas” Reggae/Ska/Dub night ; Thu 24 May: Wreckage Bookings presents Core Show ; Fri 25 May: Rock vs Metal Show with: “Dirty Dezire” , “Virginia Killstyxx” , “Thrashed” and many more ; Sat 26 May: 12pm: Blues/Flamenco Show with “Eleven Eleven” , “Avain” , “The Bland”; 7pm: Heavy Rock Show with: “Coredea” , “Foundry Road” , “Xamper Phi” , “Not Another Sequel Just Another Prequel” ,”Red Bee” ; Sun 27 May: 3pm: Big Benny Entertainment presents: Rock Show with “Release The Hounds” , “No Headroom” and many more
For band bookings please email valvebar@gmail.com
134 OXFORD STREET DARLINGHURST 2011
Tues Wed
Thurs 17 May
TRIVIA WITH KEVIN $500 PRIZE POOL
Bistro open Lunch and Dinner !!
Weekly Jackpot 7.30pm
THURSDAY 17TH MAY
Jess Harlan Open Mic Night 7.30pm
BYO Instruments (PA Provided) Rock up to play
OPEN MIC NIGHT
Fri ONE NIGHT IN PARIS 18 May + GUESTS
7pm FREE 7.30pm FREE
+ LISSA + Anthony Ousback + Kerryn Fields
FRIDAY 18TH MAY
Stone Monks
CD launch + Jeff + Molly Contogeorge SATURDAY 19TH MAY
Liz Martin
+ JACQUELINE AMIDY + ENTROPIC FRIDAY 25TH MAY
ASHES Sat 7.30pm 19 May THE SWEET JELLY ROLLS FREE + ADAM ROCHE
For Bookings
20 • THE DRUM MEDIA
james@thelaunchsquad.com.au | www.thelaunchsquad.com.au
The Hang
+ Rippogram + Rosie Henshaw SATURDAY 26TH MAY
Petulant Frenzy Play Zappa
Fri 1/06 Little Wolf Sat 2/06 Zoe Keating (US) + Lucinda Peters !Selling Fast! Mon 4/06 Band For Bears Fri 8/06 The Secret City CD launch Sat 9/06 Tangled Up In Bob Sun 10/06 Matt Morrison CD Launch Tues 12/06 Harry Manx (US) Fri 15/06 Hugo Race & The True Spirit Sat 16/06 Steve Edmonds Hendrix & Heroes Sat 30/06 Sunset Riot Fri 6/07 Simone Felice + Josh Ritter Fri 13/7 The Fumes
THE DRUM MEDIA • 21
live
Crossing Red Lines with
Parapluie Rufflefeather and the
Pepperheads at Mona Vale Hotel saturday may 19th
Doors Open 7pm Mona Vale Hotel, 2 Park Street, Mona Vale Cnr Barrenjoey rd and Park st Tickets $10
Last chance to catch
Crossing Red Lines
before a break for overseas travel
22 â&#x20AC;˘ THE DRUM MEDIA
THE DRUM MEDIA • 23
WEDNESDAY 16 8.00PM FREE (FRONT BAR) THURSDAY 17 7.00PM $8.00(DOOR) FRIDAY 18 8.00PM $10.00(DOOR) SATURDAY 19 8.00PM $28.00(PRESOLD) SUNDAY 20 6.00PM $25.00(DOOR) LIC/AA THURSDAY 24 7.00PM $10.00(DOOR) FRIDAY 25 8.00PM $35.00(PRE) $40.00(DOOR) SATURDAY 26 8.00PM $15.00(PRE) $15.00(DOOR)
MUSO’S JAM ALPHA DEGENERATE PARADIGM ANDREW WISHART: + SIERRATONIN + LAZIEST MAN ALIVE
NORSE + SANCTIUM + ARTERIES
X-FACTOR FINALIST ALBUM LAUNCH
BITTER END (USA) + BLKOUT + CIVIL WAR
CHATEAU GENERALS SPIRAL DANCE + THE VENUSIANS + EDEMA RUH
+ DAMH THE BARD
CASCADE
+ MONKS OF MELLONWAH + THE LAST CAVALRY + SICARIA
COMING SOON: THE SWEET APES EVIL INVADERS IV OVER REACTOR
‘GOBOOKEM.COM’
CNR OF GEORGE + SWANSON ST
ERSKINEVILLE 3 DOORS FROM THE RAILWAY STATION
P 9565 1441 ROSEOFAUST@BIGPOND.COM
FRI 25TH MAY
FRI 18TH MAY
BERNIE HAYES
WITH SPECIAL GUEST 9PM
9PM
THE FLAMING STARS Drew & Greg Dean (The Comets, Guitar & Keys), Andrew Travers (Andy 500, drums), Greg Marshall (The Barstuds, double bass) The Flaming Stars cover all aspects of 50’s music and the fun side of the 60’s, playing classic (and some lesser known but no less groovy) Rock ‘n’ Roll, Swing, Rhythm and Blues, DooWop, Bossa Nova, Pop and Jazz.
24 • THE DRUM MEDIA
Bernie is a Sydney institution, having played in and around Sydney venues for a lifetime as part of The Shout Brothers, The Gruesome Twosome, Club Hoy and solo. His is the voice of a whiskey soaked angel, his debut album "Every Tuesday, Sometimes Sunday" earned a rare 5 star review from the Sydney Morning Herald and his song-writing is some of the best (and most underutilised) in Australia. Bringing with him a surprise guest from another legendary Sydney band who confirmed his status as one of Australia's finest singer-songwriters as well.
NOW TUESDAY TO SATURDAY
$10 - $15
STEAK &FROM RIBS 6PM
LEVEL 1 RESTAURANT ONLY
BEST MUSIC THING EVER EVE
12 – 14 SEPTEMBER 2012 BRISBANE AUSTRALIA
THE GLOBAL MUSIC GATHERING SPEAKERS
Ben Lee Artist (AUS/USA) / Ben Swank Third Man Records (USA) / Rene Chambers – Spotify (UK) / Aly Ehlinger C3 Presents (USA) / David Jimenez-Zumalacarregui Primavera (ESP) / Mark Poston EMI Music Australia (AUS) / Charles Caldas Merlin Network (UK) / Jessica Ducrou Splendour in the Grass (AUS) / Ian Haug Powderfinger (AUS) / Ben and Nicky Berger Berger Management (USA) / Richard Moffat Way Over There (AUS) / Lisa Hresko CMJ (USA) / David Bridie Artist (AUS) / Nick Findlay triple j (AUS) AND MANY MORE TO BE ANNOUNCED!
BIGSOUND LIVE Kate Miller-Heidke / Violent Soho / Eagle & The Worm / The Paper Kites / King Cannons / The Cairos / Oliver Tank / Kira Puru & The Bruise / The Trouble With Templeton / The Preachers AND MANY MORE TO BE ANNOUNCED!
THE DRUM MEDIA • 25
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
BOOKINGS
9328 4411
WWW.BLUEBEAT.COM.AU
COOGE E FRI MAY 25
CASH
SAVAGE
& THE LAST DRINKS
+ KIRA PIRU & THE BRUISE
TRIPLE SHOT OF ORIGINAL ROCK SAT MAY 26
The Tonie Christian Band (CD LAUNCH) + CROWSFEAT SAT JUNE 16
Crowsfeat + The Sahara Sound + The Adaptors Band Bookings
info@codeone.net.au - www.codeone.net.au
Tickets & info from www.coogeediggers.com.au
COOGEE DIGGERS 9665 4466 CORNER BYRON & CARR STREETS
THURSDAY 24 MAY
GERARD MASTERS
WITH FULL BAND AND SPECIAL GUEST MISS LITTLE
COMING SOON
TIX ON SALE NOW - SEE WEBSITE FOR MORE
EON BEATS - SAT 2 JUNE FROM MELBOURNE INTERNATIONAL JAZZ FESTIVAL, CHRIS POTTER (USA) WITH THE JAZZGROOVE MOTHERSHIP ORCHESTRA - MON 4 JUNE ELI DEGIBRI QUARTET - WED 6 JUNE, GAIL PAGE - THUR 7 JUNE BARRY LEEF BAND - FRI 8 JUNE, SAMUEL YIRGA - SAT 9 JUNE (EARLY SHOW 5.30PM), THE STRIDES - SAT 9 JUNE (LATE SHOW 9PM)
KITCHEN OPEN LATE FRIS AND SATS
DELICIOUS LATE NIGHT TAPAS 26 • THE DRUM MEDIA
USE ME.
SECRET SOUNDS & COMMUNION PRESENT
TUES 24TH JULY THE FACTORY THEATRE TICKETS FROM: FACTORYTHEATRE.COM.AU, TEL 02 9550 3666
TICKETS ON SALE NOW MICHAEL KIWANUKA HOME AGAIN ALBUM OUT NOW SECRET-SOUNDS.COM.AU COMMUNIONMUSIC.CO.UK MICHAELKIWANUKA.COM BENHOWARDMUSIC.CO.UK
78(6'$< 7+ 0$<
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$ 5$7,21$/ )($5
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~ Comedy Panel ~
'$1 ,/,& &+5,6 7$</25 &/$,5( +223(5 /(:,6 +2%%$ /2$'6 025(
~ Broadcast live on FBi Radio ~ 30
:('1(6'$< 7+ 0$< /81&+%5($. 35(6(17(' %<
+2/< %$/0 ~ Broadcast live on FBi Radio ~ 30 )5((
/ .,1*6 &5266 +27(/ ::: )%,62&,$/ &20
7+856'$< 7+ 0$<
%$+$0$6 !! ~ all the way from Canada ~
%2< 2876,'( *8(676
3/$<:5,7(
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6$785'$< 7+ 0$<
&+$1&( :$7(56 ~ formerly Phatchance ~
+,*+ 1221 )25%(6 30 7+528*+ 2=7,; 25 21 7+( '225
a/$7( 1,*+7 62&,$/ '-Va ~ Broadcast live on FBi Radio ~
)5$0(6 0$77777 $1'(56 30 )5((
THE DRUM MEDIA â&#x20AC;¢ 27
GIVEAWAYS
30
THE SANDRINGHAM HOTEL 387 KING STREET NEWTOWN / 9557 1254 S YEAR WWW.SANDO.COM.AU BOOKINGSCONTACT SANDO@ATOMICDROP.COM.AU WWW.MYSPACE.COM/THESANDRINGHAMHOTEL
CATCALL
will be gracing the Oxford Art Factory stage this Thursday night and we have three double passes to the show to give away.
BONJAH HIT THE LAIR
WED 16 MAY
THE MICHELE MADDEN RESIDENCY
CATCALL GET ARTY
FEATURING: DAVID SWAN (GENEDEFECT), MELISSA JAYNE WYLIE (SONORCAST), MO (HELL CITY GLAMOURS), ADAM CAMM
THU 17 MAY
Showcasing her just released debut album, The Warmest Place, Catherine Kelleher aka Catcall
KADE & THE KARNEEZ UGLY LITTLE SECRETS
FOR MORE GIVEAWAYS THIS WEEK HEAD TO FACEBOOK.COM/DRUMMEDIA AND CLICK ON THE GIVEAWAYS TAB
(FEATURING MEMBERS OF THE CANDY HARLOTS)
MOTHER BRODY, WITCH FIGHT
R.U.S.T. + TOPNOVIL + THE BLAZIN' ENTRAILS (WA) + C.O.F.F.I.N.
SAT 19 MAY
DRUM MEDIA
"ZOMBIE DOG PRESENTS"
PAUL COLLINS (USA) + SOUTHERN PREACHERS
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28 • THE DRUM MEDIA
Giveaways – Check it out for free stuff and head to Facebook for more! 28 The Front Line hits hard with industry fact and conjecture, plus Backlash and Frontlash. 30 Foreword Line – the latest news on tours, releases and more. 32 “Bono said we inspired him and that’s really cool,” says The Temper Trap. 38 Anton Newcombe of The Brian Jonestown Massacre chats to Drum. 39 Releasing an album felt like having an overdue baby – she just wanted it out! Explains Catcall. 44 Kimbra explains the making of Warrior with three artists in three different parts of the world. 45 Devin thinks “fun is sort of neglected right now at shows”. 46 Simone Felice tells Drum about unravelling the riddle of the heart in his solo debut. 46 A free-flying take on touring and recording might frustrate some, but Silversun Pickups won’t have it any other way. 47 A trip to his place of birth, Brazil, inspired Gabriel O’Brien of Gasoline Inc. 48 “Avant-garde jazzy cartoon metal disco” is one way to describe Darth Vegas’ sound. 48 Kate Martin explodes with ideas and her manager and producer has to have an intervention. 50 Liz Martin has ‘plucked’ a couple of ‘chicks’ from around the place to accompany her on tour. 50 The Morning Night discuss how they nabbed Ricky Maymi to produce their album. 50 Raising four and a half grand in just seven days, Jess Harlen’s dreams came true. 50 Mickey Avalon discusses stage personae and what it’s like from a musician’s day-to-day life. 51 Members of The Ocean have moved into a democratic way of contributing to the band. 51 Your guide to Song Summit 2012. 52 On The Record reviews new release albums and singles from Slash, The Temper Trap and more. 54 Chris Maric gets local with hard rock and metal in The Heavy Shit. 56
Sarah Petchell brings us local and international punk news in Wake The Dead. 56 The electronica’s a little leftfield and the soul’s futuristic with Huwston giving us Bebop & Rocksteady. 57 James McGalliard and tales from the mother country in London Fields. 57 Viktor Krum asks you to Get It Together with the latest in hip hop. 58 Dave Drayton gets Young & Restless with all ages goings on. 58 Adam Curley muses on all things pop culture The Breakdown. 58 Cyclone gives you urban and r’n’b news in OG Flavas. 58 Michael Smith delivers some Blow with jazz and world music news. 59 Go south as you enter Pedro Manoy’s Swamp Shack. 59 Dan Condon features the world of blues and roots with Roots Down. 59
FRONT ROW
Check out what’s happening This Week in Arts: Arj Barker talks about his new DVD and Melita Rowston talks about her new play Crushed. 60 Gearing up for his first appearance at the Sydney Writer’s Festival, Benjamin Law talks to Liz Giuffre. Les Ballets Eleoelle’s Men in Pink Tights hit town. Bethany Small tweets about the Narnia Exhibition opening this week. 61 Sam Hobson chats to Marius Holst, director of King Of Devil’s Island. Cassandra Jane brings Back The Showgirl and we have giveaways, whilst Cultural Cringe gets down to arts finances. 62
LIVE
It’s all here: gig reviews, tour guide, what’s happening this week, gig guide, random shit and more. 63 Backstage and BTL – your guide to studios, recording, gear, courses and more. 75 The Classies – need a singer/bassist/drummer/ any other service/product you can think of? Your answer is here. And on iflog.com.au. 77
EDDIE SPAGHETTI (THE SUPERSUCKERS) (USA) *** WWW.MOSHTIX.COM.AU ***
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AIR and APRA Award-winning New Zealand via Melbourne five-piece Bonjah are heading up the Hume once more to deliver their trademark grooves Saturday night at the Metro Lair, with guests Alex Bowen and Quixotics, and we have one double pass to the show to give away.
PUBLISHER Street Press Australia Pty Ltd GROUP MANAGING EDITOR Andrew Mast EDITOR Mark Neilsen ASSOCIATE EDITORS Michael Smith, Scott Fitzsimons FRONT ROW EDITOR Cassandra Fumi frontrow@drummedia.com.au CONTRIBUTING EDITOR Adam Curley EDITORIAL ASSISTANT Celline Narinli 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, 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, Sarah Petchell, 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, Tony Mott
themusic.com.au
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FRONT LINE
INDUSTRY NEWS WITH SCOTT FITZSIMONS frontline@streetpress.com.au
KATE MILLER-HEIDKE CAUSES CONTROVERSY OVER Q&A APPEARANCE
Kate Miller-Heidke’s appearance on ABC TV panel show, Q&A, last week drew mixed reactions on social networking platforms, one even leading to her branding Anthony Callea a “fuckwit”. The popular political discussion show followed a thread debating Labor’s precarious position and the then-upcoming Federal Budget. When asked by host and mediator Tony Jones to comment on a question from the live audience about the budget, Miller-Heidke offered “Wasn’t he voted the best treasurer in the world or something, Wayne Swan? If that doesn’t save Labor – that he’s the best in the world – I don’t think a budget has a chance.” She also got a few laughs when Jones directed another question to her - this time about the carbon tax. “I don’t really care about either of them, to be honest, sorry,” she said. The show, which posts a selection of Twitter comments on-screen during its briadcast, always generates a large amount of Twitter traffic under the hash-tag #qanda and there were a number of comments on Miller-Heidke. Former Australian Idol contestant Anthony Callea was one of the most scathing, posting, “There is one person on the panel tonight that is a total waste of space....embarrassing rep for Gen Y! #qanda”. To this she responded, “Pot Kettle Fuckwit”. Callea then commented on the ‘hate tweets’ he was receiving from users. “The 1 thing I learnt tonight on twitter is... if you have an opinion and you’re not all peace, love and mungbeans you get hate tweet”. His management declined to comment further on the subject but Miller-Heidke offered a blog post to explain her appearance. “A previous guest,” she wrote, “about two months ago I had a request from the producers to come back. My first reaction was ‘no fucking way’. But they were going to let me sing my song, and that made all the difference. I still felt conflicted
AGAINST ME!’S TOM GABEL TO UNDERGO SEX CHANGE
Tom Gabel, frontman for the acclaimed punk band Against Me!, has come out as transgender in an interview with US Rolling Stone. Revealed on the magazine’s website, they report that Gabel has been dealing with gender dysphoria privately for years and had previously only told close friends and family. He will take the name Laura Jane Grace after the gender transition process – which includes hormones and electrolysis treatments – and remain married to his wife Heather. “For me, the most terrifying thing about this was how she would accept the news,” Gabel said. “But she’s been super-amazing and understanding.” Gabel decided that to go public was the best way to deal with the news. “I’m going to have embarrassing moments and that won’t be fun. But that’s part of what talking to you is about – is hoping people will understand, and hoping they’ll be fairly kind.” Based in Florida, Against Me! generated a worldwide cult following with early albums Against Me! Is Reinventing Axl Rose, Against Me! As The Eternal Cowboy and Searching For A Former Clarity. Their last two albums, New Wave and White Crosses, ushered in a far more polished – and dare we say pop-leaning – sound, which split the opinions of the band’s long-serving fanbase. In The Ocean, the final track on New Wave, Gabel sings, “If I could have chosen I would have been born a woman/ My mother once told me she would’ve named me Laura/ I’d grow up to be strong and beautiful like her/ One day I’d find an honest man to make my husband.”
LABEL SCANDAL DIDN’T AFFECT ARTS FUNDING
Federal Arts Minister Simon Crean has told theMusic. com.au that his decisions regarding arts funding in last week’s Federal Budget were not influenced by the scandal regarding funding for classical music label, Melba. After Melba’s level of funding – up to $5 million a year since 2004 – came under attack by contemporary music stakeholders, observers warned that by attacking the distribution of arts funding the music industry could be putting industry-wide funding in jeopardy. A spokesperson for Arts Minister
as vocalist and setting the band’s new location as Perth, Australia. On the profile, which boasts nearly 40,000 followers, he posted, “It’s Crafter here. I would like to announce that the members who used to play in this band have tried to double cross me. I have now kicked out all members of the band and will be looking for legit friends to play within the band. SO HEY GET FUCKED.” Later that morning Crafter told theMusic.com.au, “I woke up to a status update saying I was out of Confession. Then I found an email saying the same thing. However I had not been talked to at all. I then decided, ‘Well fuck it I can just say you are all out and find a new lineup.’”
TONIGHT ALIVE: ‘WE DIDN’T HAVE ENOUGH MONEY TO PAY SUPPORT’
and tormented about it, but it was my song, my music, my new record, so I said yes… In the weeks leading up to the taping, I had an anxious tangle in my stomach. I told Clementine Ford that my anus was quivering a little bit. She agreed that that is the feeling you get before appearing on Q&A. Then, a few days ago, I found out that the theme of the show was the upcoming budget. There would also be discussion about interest rates and Craig Thomson. I asked my manager to call the show’s producers, to ask them WTF. What meaningful contribution did they expect me to make, exactly? They assured us that the budget would be just one component of the discussion and that there would still be opportunities for me to talk about social issues and the arts… As anyone who saw it knows, we didn’t move on and the entire show was about Labor and unions and budgets and interest rates and I felt about as useful as a waterproof teabag.” Head to theMusic. com.au to read her full response.
Simon Crean denied that the outrage the scandal caused influenced his decision. The budget includes $3 million over four years for contemporary music. Specifically, $1.7 million over four years will go to Sounds Australia and $1.3 million over four years to continue and “build on” existing industry programs such as Control (music management) and Generate (business development). Brett Cottle, CEO of the Australasian Performing Rights Association [APRA|AMCOS] welcomed the funding, saying it “is important in growing support for the entire music lifecycle – from live music venues in local pubs all the way to Australian songwriters and musicians breaking through in the US, Europe and Asia.” Adversely, the Australian Music Radio Airplay Project [AMRAP], an organisation that distributes Australian music to community radio stations across the country, was dealt a major blow following the Government’s failure to renew its funding. Their current funding expires in June. “It’s incredibly disappointing to see such a valuable project that gets Australian music to radio stations all over the country cast aside at this point and we are determined to work with Government to find a way to keep the project going,” said Catherine Haridy, Chair of AMRAP with the Community Broadcasting Foundation (and also Chair of the Australian Artist Managers Association and manager of Australian artists Eskimo Joe and Jebediah).
MICHAEL CRAFTER KICKS MEMBERS OUT OF CONFESSION
Michael Crafter, the polarising frontman of Melbourne hardcore band Confession, was apparently kicked out of his own band last week, before turning around and kicking the rest of the band out instead. Crafter, a former vocalist with I Killed The Prom Queen and brief Big Brother contestant, tweeted Wednesday (9 May) morning, “hahahaha wow i got kicked out my band without knowing?” (sic) He followed that with, “So i wake up to reading I’ve been kicked out of confession. Without being told. WTF hahahaha”. The band’s listed vocals as “coming soon” alongside other members Adam Harris, Dan Brown, Shane O’Brien and Tim Anderson, before Crafter took over and deleted the other members, re-adding himself
Sydney’s Tonight Alive, arguably Australia’s most successful pop/punk export of the last few years, have confirmed to theMusic.com.au that American band The Dangerous Summer pulled out of their support slot after Tonight Alive couldn’t afford to pay them their originally quoted fee. The Dangerous Summer’s lead singer AJ Perdomo took to Twitter to claim that their cancellation was forced upon them after their original fee had been reneged. “They emailed us two weeks before the tour saying they couldn’t afford the original offer,” he posted. On Friday evening Tonight Alive’s guitarist Whakio Taahi confirmed to theMusic.com.au that his claims were true. He said that the original offer to the band was made by the band’s management, Collateral Management. “At the time we weren’t aware of the original offer,” Taahi said. “It was a bit ridiculous and we had to make them a new offer which was more feasible to us and the tour.” He said that he couldn’t comment further on the situation due to ongoing contract discussions and legal proceedings with the management company. He added, “We apologise profusely to everyone, especially to The Dangerous Summer” and added that, “Aside from all the bullshit, we think this is going to be a really fun tour.”
LIVE NATION BUYS CREAMFIELDS TO EXPAND ELECTRONIC REACH International music company Live Nation has acquired Cream Holdings Limited, which includes the exclusive rights to the Creamfields music festivals held around the world. As well as its flagship festival, Cream also organises artist tours and DJ events. A specialist in the electronic music world, Cream has booked the likes of David Guetta, Tiesto, deadmau5, Swedish House Mafia, Skrillex, Eric Prydz and Paul Van Dyk. Cream expects to attract 350,000 fans to its festivals in 2012 and Live Nation plan to launch new festivals across the burgeoning market of Southeast Asia, which is opening up to Western acts, as well as Europe and North America. “With this acquisition, Live Nation further establishes its position in electronic music and expands its concert platform,” Michael Rapino, President and Chief Executive Officer of Live Nation, said. “We intend to launch new festivals in key markets in North America, Europe and Southeast Asia.”
DEVELOPMENT LABEL JUMPS FROM WARNER TO MUSHROOM
The Michael Parisi-helmed Wunderkind Records, home to Owl Eyes and Stonefield, has signed on with the Mushroom Group of Companies, leaving its current home at Warner. The label, which presents itself as an ‘artist-development’ label and has focused on its two sole signings, announced the move last week, almost exactly a year after announcing its launch. Announced exclusively through theMusic.com.au on 16 May last year, Parisi revealed then that the label was the brainchild of himself
SIA HITS US TOP 5
While local lad Gotye sits atop the US Hot 100 singles chart for a fourth week, making history as Somebody That I Used To Know becomes the first ever song to top the Hot 100, Dance/Club, Dance/Mix and Alternative charts, fellow Australian Sia slipped into the top five with her Flo Rida collaboration, Wild Ones. Wild Ones experienced a slight dip in sales and streams in the States in the past week, but Billboard reports that an increase in radio play helped move the track into the top five. A reworking of the track, as Wild Ones Two, by David Guetta has already topped the US Dance/Club Play Chart. Sia also bulleted up the Hot 100 as featured vocalist on David Guetta’s Titanium, jumping from 63 to 51. It also bullets from nine to six in Dance/Club Play Chart, where Gotye is currently the third Australian to top the chart in 2012. Havana Brown’s We Run The Night, featuring Pit Bull, took a big leap this week from 91 to 72, having spent the past few weeks hovering around the chart’s lower reaches. The track had already topped the Dance/Club Play chart on March 10.
INERTIA/HANDSOME STAFF SHUFFLE Inertia’s current Marketing And Promotions Coordinator Alexandra Young is set to take up the role of Marketing Manager at sister company Handsome Tours, with the current Manager Emma Muskatov departing the role to move interstate. The current Assistant to the CEO and MD, Jess Abood, will fill the role that Young is vacating. The changes will be in place from Friday 25 May.
JOEL MADDEN, KEV CARMODY ADDED TO SONG SUMMIT SPEAKERS
Good Charlotte frontman and The Voice judge Joel Madden and iconic Australian songwriter Kev Carmody have both been added to the Song Summit speakers list. The Sydney-based music industry conference, part of Vivid Sydney this year, will take place Saturday 26 – Monday 28 May this year. Both Madden and Carmody will join In Conversation interview segments. Full details of the conference and showcase’s program and ticketing are available from the website, songsummit.com.au.
STONEFIELD TO HEADLINE BAND COMP FINAL
Go Mason Go, from New South Wales and with an average age of 15, have been announced as the fourth Webcast Winner of the Red Bull Bedroom Jam. Victorian band Stonefield have been announced as headliners for the Bedroom Jam finale.
FRONTLASH
BACKLASH
Good on him for going public about having a sex change operation, a brave stand for any man, or woman, to take.
The Budget cutting AMRAP funding, commercial radio forever bleating about too much Australian content - just how are local acts meant to be heard on the radio?
TOM GABEL
KATE MILLER-HEIDKE The phrase “my anus was quivering a little bit” and frequent mentions of “tea-bagging” in her response to the criticism or her Q&A appearance.
music 30 • THE DRUM MEDIA
and Warner’s then-new Managing Director Tony Harlow, while being run by Parisi and Jacqui Wilson. It will now become an imprint of Mushroom alongside local labels Liberation Music, Illusive Sounds, Ivy League, I Oh You and international arm Liberator Music. Parisi told theMusic. com.au that there is “nothing untoward” about his decision to leave Warner and was keen to stress that “Warner are a fantastic music company, both here and abroad.” He said, “I just thought it was time for a change... I’ve been with Warner for fifteen years or so. It was important to us to find the right home for the two artists, someone who ticked all the right boxes... [Wunderkind’s artists] are young and need proper care and development.” The transfer to Mushroom, who he describes as the “right people”, has been “smooth, because we’re all running in the same direction.” He added, “At the end of the day it wasn’t what was right for me, it was what was right for the artist... It doesn’t matter what label your with, it boiled down to how good your artist is and how good your music is.”
themusic.com.au
AMRAP FUNDING CUT
HATERS GOTTA HATE People unleashing on Miller-Heidke for knowing three-fifths of fuck all about the Budget, how much do you know about its ins and outs of the Budget? Pot kettle fuckwits.
THE DRUM MEDIA • 31
FOREWORD LINE
NEWS FROM THE FRONT
TOUR NEWS BLOOD ORANGE
FRUITS OF BROOKLYN MARK WILKINSON Sydney singer/songwriter Mark Wilkinson is bringing his very popular By Request concert series back to the Café Church in Glebe Friday 27 and Saturday 28 July, after his shows there this Friday and Saturday have already sold out. And, as the name of the tour suggests, fans can request the setlist.
STRANGERS
Be prepared for murder on the dancefloor this May as Essex-raised, Brookyln-based indie bratpack posterboy Devonte Hynes returns to Australia under the moniker Blood Orange. Revisiting material from his critically lauded 2011 album, Coastal Grooves, Hynes has taken time out of his busy production schedule (Theophilus London, Solange Knowles, Teenagers, Bleeding Knees Club) to bring his own ‘80s funk-infused sound of Brooklyn to Sydney Friday 25 May, when he’ll play FBi Social.
With their first Factory Theatre show Saturday 25 August completely sold out, The English Beat have announced a second at the venue for Sunday 26. While we’re on ska, Sunday 10 June sees the Sydney Ska Weekender taking over the Annandale Hotel again and Newcastle DJ The Ska Boss has joined the already bursting at the seams line-up of 13 bands playing from 3pm. Along with the USA’s Dan Potthast and NZ’s Roofdog, you get Sydneysiders Chris Duke & The Royals, Backy Skank, Sublime With Billy, The My Tys and Handball Deathmatch; Melbourne’s Kujo Kings and The Bennies, Adelaide’s God God Dammit Dammit, Wollongong’s Steel City Allstars, Tasmania’s Phat Meegz, and Cairns’ Jobstopper. Delta Riggs and DJ Adam Lewis aka Radiant will be doing the honours before Brooklyn rocker Devin hits the Oxford Art Factory stage Wednesday 23 May. Jazz-pop duo Toucan will be opening for Daniel Merriweather when he hits The Standard stage this Sunday 20 May with his band. 360’s second Sydney date, Friday 29 June at the Metro Theatre, has now sold out, as has his Friday 8 gig at Waves in Wollongong and, of course, the Come Together festival in which he features Saturday 9. Once touted one of the strangest men in acoustic music, Florida-based guitarist Richard Gilewitz is in our patch to play the Harvest Café in Caringbah Sunday 20 May, the Royal Exchange Hybrid Performing Arts Theatre in Newcastle Friday 24, Blue Mountains Grammar School in Wentworth Falls Saturday 25, Mt Victoria House of Prayer Sunday 26 and the Front Gallery in Canberra Tuesday 29. Van She Tech and the Purple Sneakers DJs will be joining the UK’s Tom Vek and Kindness and our own Jonathan Boulet in the Studio at Sydney Opera House Saturday 26 May. Loene Carmen and the band will be shaking things up at Red Rattler before former Paradise Motel member Matt Bailey, up from Melbourne, launches his second solo album, Book Of Illumination, Thursday 24 May. Devotional open the night. Pigeon have been invited to join the Gold Coast’s Tijuana Cartel on their Offer Yourself Tour, which hits the Oxford Art Factory Friday 25 May and the Great Northern in Newcastle Saturday 26. The Hello Morning will be launching their new EP, Without You, Thursday 14 June at Lizotte’s Kincumber, during their forthcoming trip supporting Busby Marou, who will be playing the Cambridge in Newcastle Friday 15, the Heritage in Bulli Wednesday 20, the Oxford Art Factory Friday 22 and Canberra Uni Saturday 23. Newcastle band Alice Vs Everything will be opening for The Mission In Motion when they play the Great Northern in that city Thursday 24 May. Buried In Verona have added Manly Youth Centre Friday 6 July and Unanderra Community Centre Saturday 7 in their forthcoming Notorious Regional Tour dates. These will follow their metropolitan Notorious Tour dates, which sees them play the Hi-Fi Sunday 17 June as part of the No Way Out Festival with Resist The Thought, The Storm Picturesque, Stories, Hallower, Aftermath and The Turning Tide; the Oasis Youth Centre Tuesday 19 with The Shire and the Lanyon Youth Centre Canberra Wednesday 20 with When Giants Sleep and Reigner. THE DELTA RIGGS
32 • THE DRUM MEDIA
STEEL PANTHER
LEATHER-CLAD RAWK
Sex, drugs, rock and LOLs. This seems to be the modus operandi of Steel Panther, an LA-based hair metal band that’s made a name for themselves via their over-the-top shows, interviews and album covers. They’re Van Halen by way of a Spinal Tap blooper reel. Having knocked Soundwave for six earlier this year, the four-piece are coming back to Australia for their first string of headline shows. See the Panthers under the Big Top, Luna Park Friday 5 October. Tickets go on sale 9am Thursday 17 May.
NO STRANGER
They’ve already supported some big names across the Australian touring circuit including the likes of The Darkness, Closure In Moscow, Calling All Cars and many more, but this time Strangers are hitting the road for themselves. The Sydney band will be playing in support of their new single, Persona Non Grata, which will see them visit Sydney’s Spectrum Saturday 2 June. Gatherer will be supporting. Strangers’ debut album is due to drop in August via Permanent Records, so stay tuned!
WELCOME HOME, TANK! EMMA LOUISE
HER BOY
In the past 12 months, Emma Louise has sold out shows across Australia, signed international record deals and generally let the world know that she has arrived and is ready to give you a taste of her considerable songwriting and performing talents. Boy is the first single from her debut album, which will drop early next year, and the nme of the accompanying single launch tour to boot. The swaying, mid-paced song shows there’s a real solid foundation to her songwriting, plenty of depth and broader talent than some may expect. Catch her on tour alongside Argentina at Oxford Art Factory Friday 20 July.
It’s been a big year for 22 year old electronic artist Oliver Tank. Currently in the UK performing at The Great Escape and Liverpool Sound City, Tank returns home in June with a couple of headline shows up his sleeve. After two months abroad, what better way to welcome him back home than with a Welcome Home tour? The Sydney-based artist will be playing the Oxford Art Factory Thursday 24 June. Special guests are yet to be announced.
88 KIDS AND COUNTING
New Zealand duo, KidsOf88, have a new single, a new video and a bunch of Australian tour dates! Tuncan is the first single from the duo’s forthcoming second release, Modern Love. The single features vocal contributions from Alisa Xayalith of The Naked & Famous, and also gives fans a taste of the tropical-pop avenue the band are taking with Kudoro drum rhythms and ethereal melodies. They’ll be performing at the Beach Road Hotel in a free show Wednesday 13 June.
MIIKE SNOW
WIINTER SHOWS
Swedish indie pop group Miike Snow, coming to Australia for Splendour In The Grass, have announced headline shows. After the success of their debut self-titled album in 2009, which spawned the muchloved single Animal, the trio returned earlier this year with follow-up, Happy To You. Now catch Miike Snow at The Metro in Sydney Monday 30 July. Tickets go on sale at 9am on Monday 21 May.
ROSETTA TIM BARRY
FEELING POSITIVE
HOUSE VS HURRICANE
“If this record is uplifting compared to my old ones it’s because I feel stronger from all the beat-downs and shit I’ve taken in the past.” So says Richmond, Virginia singer-songwriter Tim Barry about his new record, 40 Miler. The record, which has just been released, is a little more positive than his previous work but it hasn’t lost the grit and attitude that has made everything he’s been involved with so awesome in the past. After a couple of very successful recent jaunts to Australia, both by himself and as a part of the Revival Tour shows, Barry is wasting no time in getting back Down Under in support of the record, once again playing intimate venues that promise to ensure some pretty magical experiences when he gives us tunes from the aforementioned latest record as well as songs from across his solo career and from when he was out front of punk rock masters, Avail. Catch him at The Sandringham Hotel Saturday 4 August and The Cambridge Hotel in Newcastle Sunday 5.
BIRD OF THE NIGHT
MONSTER TOUR
Philadelphian post-metal outfit, Rosetta, will be returning to Australia this year for a huge 17-date tour. Last in the country back in 2008, the four-piece wowed audiences with their powerful shows. The tour is set to be professionally filmed and included in the band’s forthcoming documentary release. US band City Of Ships and Brisbane’s Nuclear Summer will round out the tour bill. Head along and catch one of their shows, kicking off at The Sandringham Hotel in Sydney Saturday 28 July, then Yours & Owls in Wollongong Sunday 29, Black Wire Records in Sydney Monday 30, Bar 32 in Canberra Wednesday 1 August and The Great Northern in Newcastle Wednesday 8. I AM GIANT
Jack Colwell & The Owls will be releasing their debut album, Picture Window, Tuesday 29 May. Colwell is a classically trained composer and a graduate of the Conservatorium Of Music, but has now turned into an alternative-pop pioneer. The album features vocal contributions from Daisy M Tulley of Bridezille, and was produced by Chris Rollans (Lanie Lane, Cloud Control). Get a hold of some of his dark pop and evocative piano riffs at the album launch, which is happening at GoodGod Small Club on Wednesday 6 June. Supporting the evening will be Packwood, Moon Holiday and Glamour Attack DJs.
A BEAUTIFUL WORLD OF TWO
THE EYE OF THE STORM
The same week as their new album, Two Worlds Collide, is released, The McClymonts have announced their Australian tour dates for 2012. The album is the result of months of songwriting sessions in Nashville during their six-month tour around the USA last year. The sibling sister band wrote or cowrote every song on the album and then worked with three master producers. The three-piece will launch Two Worlds Collide at the Enmore Theatre Saturday 1 September, Saturday 22 at Vikings in Canberra and Newcastle Civic Theatre Friday 5 October.
Melbourne post-hardcore group House vs Hurricane have finished recording their second album, Crooked Teeth. The follow-up to 2010’s Perspectives, Crooked Teeth’s first single, Blood Knuckles, has already been given some music video action, shot in New York City as an ode to Bob Dylan. The album will be released Friday 13 July and they’re embarking on a national tour with friends While She Sleeps (UK), Northlane and Heights coming along for the ride. They’ll be causing a storm at The Hi-Fi Saturday 28 July and the Oasis Youth Centre Wyong Sunday 29.
SMOKIN’ THROUGH THE WINTER
Benjamin Francis Leftwich will be visiting our shores for the first time ever, his debut tour of Australia scheduled for this July. The 21 year old British songsmith recently wrapped up a tour with The Jezebels in the US and is now ready to head Down Under for a handful of shows in support of his 2011 release, Last Smoke Before The Snowstorm, which scored a spot in the UK top 20 chart. He’ll be playing an intimate show at The Vanguard Wednesday 18 July. Brisbane’s The Trouble With Templeton will be supporting.
STEEL METAL A GIANT PURPLE HEART
New Zealand modern rockers, I Am Giant, have been based in the UK for quite some time now, taking the time to ingrain themselves in the European scene and, frankly, making a pretty damn good fist of it. Their debut record was released earlier this year and the band well and truly made themselves known as a more-thanworthy proposition on the live stage when they toured Australia on the back of it. The critically acclaimed release was produced by Forrester Savell and features a guest appearance by Dead Letter Circus frontman Kim Benzie, so that ought to give a you a fairly good idea of the musical ground that they cover. The band return to Australia mid-year to tour on the back of the latest single from that record, Purple Heart, and you can catch them at Spectrum in Darlinghurst Thursday 5 July.
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This year will see the first annual Steel Assassins festival, a two-day event that will smash its way through The Sandringham Hotel. Presented by Metal Evilution, the festival is inspired by European events such as Keep It True and Headbangers Open Air, and intends providing metalheads with a festival lineup embracing both melodic and traditional elements with a diverse range of bands stemming out of thrash/speed/power heavy metal. The weekend will be headlined by Perth prog/power metal beasts, Voyager, along with international guests Megahera, who will be travelling all the way from Italy for their first Australian visit ever. The lineup also includes Soulforge, Overdrive, Metal, Rampage, Dark Order, Silent Knight, The Loving Tongue, Avarin, Fenrir and Temtris with more acts yet to be announced. The festival will run from Friday 2 to Saturday 3 November.
THE DRUM MEDIA • 33
FOREWORD LINE
NEWS FROM THE FRONT
MONUMENTAL TOUR
Three weeks ago Children Collide unleashed their third full-length record, Monument, following a well publicised stoush within the band that saw drummer Ryan Caesar decide to leave the band following the tour in support of that record’s first single, Sword To A Gunfight. The latest news out of the band’s camp is that frontman Johnny Mackay has decided that he is going to move to New York City next week, just a month after the release of the new album. But he has said he’ll be back a few times through the year so the band can remain active on the Australian live scene, the first of his return trips to happen in August when the band launch the album following the release of its second single, Cherries. The mammoth tour takes place at The Standard Friday 17 August, The Entrance Leagues Club Thursday 30, The Fitzroy Hotel in Windsor Friday 31, Wollongong Uni Bar Saturday 1 September and Zierholz at the University Of Canberra Sunday 2. CHILDREN COLLIDE
CATCH A FISH Fresh of the No Plans tour and singing tales and songs – some old, some new – singer and pianist Don Walker, who is best known for writing many of the hits for Cold Chisel, and his other band, Suave Fucks, have announced a national tour he’s dubbed Night Fishing Tour. Head along to one of his shows either at the Brass Monkey Thursday 30 August, The Vault in Windsor Friday 31 or Notes Saturday 1 September.
KINGS OF REGGAE Reggae outfit, Kingfisha, have announced the release of their self-titled debut album and will be hitting the road on a national tour in June. The Brisbane six-piece have taken Jamaican rhythms and infused them with honest songwriting and strong melodies to create their genuine Australian reggae sound. The self-titled debut was recorded and produced by Pauli B (The Beautiful Girls, george) at the Tanuki Lounge in Brisbane’s West End. Lose yourself in some reggae/dub and see the band live at The Heritage Hotel in Bulli Friday 8 June and Blue Beat at Double Bay Saturday 9.
WAY TO WAR Kirin J Callinan returns with a brand new 7” single, W II W (Way To War), taken from his forthcoming solo debut, which he’ll be launching with an East Coast tour. The single is notably perverted, raw and fun, and is accompanied by a B-side track, Thighs. Performing with a full live band, Callinan will launch the single at GoodGod Small Club Friday 22 June. Tickets are on sale Wednesday 16 May.
LOSING TIME Sydney singer/songwriter, Snez, has released her long-awaited second album, 8 Lives Left To Lose, out now, with an East Coast tour to follow. After receiving wide praise for her debut album, Gypsy Soul, in 2009, Snez has spent the last three years touring the nation. She’ll be playing at Maitland Regional Gallery on Sunday 3 June before a whole run of regional NSW dates.
LIFE AND DEATH Psych/punk rock outfit, Alithia, which translates from the Greek to truth, will be touring nationally in support of their new video, Fallen Times. The band’s music is a celebration of life and death, darkness and light, confusion and clarity. To celebrate the release of the brand new video, they’ll be playing at The Sando in Sydney Friday 15 June and The Maram in Canberra Saturday 16.
DD TAKES FLIGHT Hailing from the south of Auckland, David Dallas has announced his Big Wings Tour, which sees the rapper perform three intimate shows across Australia. His second album, The Rose Tint, has been nominated for NZ Music Award Album Of The Year, Best Urban/Hip Hop Album and Best Male Solo Artist. He’ll be performing with a full live band, The Daylight Robbery. Catch him at Civic Underground on Saturday 9 June.
IN BRIEF Electronic three-piece Lemonade release their new album, Diver, Friday 25 May, on which day guest fiddle player and vocalist with The Decembrists, Sara Watkins, releases her new album, Sun Midnight Sun, and Julia Stone finally releases her second solo album, By The Horns. Meanwhile, classically trained composer turned alt-pop artist Jack Colwell releases his debut album with his band The Owls, Picture Window, Tuesday 29. To mark its 20th anniversary, electronic music and arts collective Clan Analogue will shortly release a new compilation album, Headspace, a tribute album to Sydney electronic music pioneers Severed Heads. Edward Sharpe & The Magnetic Zeros release their second album, Here, Friday 1 June, on which same day Icelandic duo Human Woman will release their self-titled debut album, though it’ll be The Beach Boys releasing their first album of new material in years, That’s Why God Made The Radio, on that day that’ll get the bulk of mainstream media salivating. Shawn Colvin releases her eighth album, All Fall Down, Tuesday 5 June, while Friday 8 June finally sees the release of the new album, Spirit Bird, from Xavier Rudd, as well as the new one from Lil’ Band O’ Gold, Plays Fats, featuring guests Robert Plant, Lucinda Williams, Ani DiFranco, Jimmy Barnes and Tim Rogers, and the new album, Bear Creek, from Brandi Carlile. Nelly Furtado releases her fifth album, The Spirit Indestructible, Friday 15 June, the same day also seeing the release of a 2CD edition of the new album, So Runs The World, from soon-to-visit Josh Ritter, the fifth album, Go, from Minneapolis rockers Motion City Soundtrack, the legendary German band Can release their 3CD boxed set of unreleased material, The Lost Tapes, Sheffield, UK’s Reverend & The Makers’ third album, @reverend_makers, and the new album, Looking For Myself, from Usher. 34 • THE DRUM MEDIA
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THE DRUM MEDIA • 35
FOREWORD LINE
NEWS FROM THE FRONT
RETURNING TO PARADISE Having headlined Splendour In The Grass last year UK band Coldplay announced in March that they would be heading back to Australia again this year, and have now confirmed venues and dates for that upcoming Australian tour. In a message posted by frontman Chris Martin on the band’s website, he wrote: “We can’t wait to get back to Australia and New Zealand this November. They’re such special places for us… These venues are pretty huge... and we’ll be bringing everything we’ve got. It’s going to be big.” Supporting Coldplay on the tour are The Temper Trap and American sister duo The Pierces. They will be playing at the Allianz Stadium in Sydney Saturday 17 November. Tickets go on sale through Ticketek at 9am on Friday 25 May. There will be advance tickets made available on Thursday 17 May, to all Visa cardholders, from noon in Sydney.
COLDPLAY
ROARING CHOIR Tasmanian indie-pop outfit, Tiger Choir, are taking their debut album, Unicycles, on a tour of the mainland, which is a far cry from the Bruny Island shack south of Hobart in which it was recorded. Previously, the three-piece have supported the likes of Deerhunter, The Drums and Moon Duo. You can catch Tiger Choir at FBi Social Friday 24 May.
KATIE NOONAN AND KARIN SCHAUPP
MUSIC OF THE SOUTH
FUN.
GET SOME FUN. INTO YA!
One of the most prominent pop acts in the world at the moment, you’d be forgiven for not knowing who fun. were at the start of the year. Indeed, you’d still be forgiven now, but with the trio appearing on the Splendour In The Grass line-up it’s probably about time you found out. After building a strong base with their 2009 debut, Aim And Ignite, the band have enjoyed chart-dominating, Gotye-esque success with We Are Young – featuring Janelle Monae. And not just overseas either; the track has topped our own charts. As well as their festival appearance, they’ve announced their first ever Australian headline shows. They’ll be performing at The Metro Wednesday 25 July.
SPINNING K
Katie Noonan and Karin Schaupp are two of the most respected and loved names in contemporary classical, jazz and popular music, and they’ve found that together they’re a pretty formidable force. The two classically trained musicians are releasing their second record, Songs Of The Southern Skies, in August, with Noonan on vocals and Schaupp on guitar performing some much loved Australian (and New Zealand) tunes by, among others, the Finn Brothers, Cold Chisel, Nick Cave, Icehouse, Bic Runga, Gurrumul, The Easybeats, Vince Jones, Gotye and many more. They’ve put together an enormous national tour in support of the record that sees them playing Lizotte’s Newcastle Thursday 11 October, Laycock Street Theatre in Gosford Friday 12, Street Theatre in Canberra Saturday 13 and Sunday 14, IPAC in Wollongong Friday 26 and City Recital Hall Saturday 27.
New York house icon, Francois Kevorkian, better known as Francois K, will be heading to Australia for a series of dates showcasing his 40 years’ worth of experience in the electronic music scene. The French-Armenian DJ began spinning in underground New York clubs and has since collaborated with the likes of Eurhythmics, Diana Ross, Jimmy Cliff, The Smiths, Pet Shop Boys, The Cure and Kraftwerk. In the early ‘80s, Kevorkian built his own recording studio called Axis Studios. Catch this experienced and worldrenowned DJ at Goldfish in Sydney Saturday 9 June.
A JOURNEY INTO CULTURE Internationally renowned rhythmic didgeridoo player, Ganga Giri, along with his world electronic fusion band, is set to launch an exciting new visual projection show on their Get It Started Single Tour
this May and June. The live visual projection show has been produced in conjunction with Australian/ Serbian VJ and artist Meltstation and features footage captured by Ganga Giri on his travels deep into the heart of Australia and around the world. Get a cultural experience like no other and head to one of his shows either at the Builders Club in Wollongong Friday 25 May, Transit Bar in Canberra Saturday 26, the Great Northern in Newcastle Thursday 31, The Rhythm Hut in Gosford Friday 1 June, Petersham Town Hall in Sydney Saturday 2, Manly Boat Shed Thursday 7 or the Clarendon Guesthouse in Katoomba Friday 8.
SEASONAL CHANGE Having supported the likes of Closure In Moscow, Tonight Alive and These Kids Wear Crowns and toured with Sienna Skies and Built On Secrets, Sound Of Seasons are embarking on a headlining national tour of their own and bringing some friends with them. Dubbed the Winter Horizon Tour, Sound Of Seasons will be joined by Summerset Avenue - who’ve honed their craft supporting for the likes of The Getaway Plan and Break Even - and Check Your Smile. They will be playing at Expressive Grounds in Palm Beach Friday 29 June (Check Your Smile only; all ages), the Hotel Gearin in Katoomba Sunday 1 July, Mars Hill Café in Parammatta on Tuesday 3 (all ages), Hamilton St Station in Newcastle Wednesday 4 (Sounds Of Seasons only), Liverpool PCYC Friday 6 (all ages), SFX in Sydney Saturday 7 (Check Your Smile only) and Woden Youth Centre in Canberra Wednesday 11 (all ages).
ROCK’N’ROLL MARKETS This year the Sydney Rock’n’Roll & Alternative Market is moving to a new home – Manning House and Manning Bar at Sydney University. The grand re-opening takes place Sunday 3 June. Across three levels, the ultimate subculture market will have over 50 amazing live music culture-related stalls. Fans of rock’n’roll, rockabilly, goth, ska, metal, punk, swing, burlesque and so much more will be catered for. The market includes rock’n’roll, alternative and vintage fashion for men, women and children, as well as jewellery, accessories, records, CDs, DVDs, books, art, collectables, food stalls, live music and loads more. The market stalls will be open from 10.30am till 4pm with live music from 11am through 5.45pm. Entry by donation.
Less travel time...
...more party time
Going to Splendour? Fly direct. Over 24 flights a day from Sydney direct to Gold Coast Airport, means you’ll spend less time travelling and more time enjoying the party. 12109
Fly with Jetstar, Virgin Australia or Tiger Airways direct to Gold Coast Airport.
36 • THE DRUM MEDIA
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www.thebasement.com.au
The Home of Live Music Since 1973 SUNDAY MAY 20
BLUES TAKE A LOOK CARAVAN WITH EUGENE BRIDGES, RAY BEADLE & MATT ANDERSEN The best of Australian, American and Canadian blues.
TUE 15 MAY
JOSH OVERETT + STARR WITNESS + PHILLIP BRACKEN A night of witty, thought provoking and catchy songs
WED 16 MAY
THE LURKERS + CHAIKA Bluegrass meets gyspy in a NSW Folk Fed presented show
FEMME DA FUNK
THU 17 MAY
GREAT BIG GIG IN THE SKY (PINK FLOYD SHOW)
FRI 18 & SAT 19 MAY
Pure love for music and a passion to perform
2 5 M AY - 2 J U N E . S T U D I O.
VIVID LIVE
STUDIO PARTIES A HANDPICKED SELECTION OF MUSIC TASTEMAKERS T RA N S F O R M T H E S T U D I O A N D W E S T E R N F OY E R S OV E R F I V E N I G H T S .
It’s sold out 8 years in a row, & is close to doing so again
THE WORLD IN THE BASEMENT
TUE 22 MAY
OLIVER GOSS
WED 23 MAY
Soul, pop and jazz influences from 3 local talents
+ THE YELLOW CANVAS A songwriters special, with two upbeat acoustic acts
25 MAY: NIGHTS LIKE THIS Danny Brown & MED with Ellesquire, Halfway Crooks DJs Da 26 MAY: MODULAR NIGHT Tom Vek, Jonathan Boulet, Kindness MAJOR PART PARTNER RTNER
31 MAY: FBI RADIO / PENNY DROP PARTY Zola Jesus, Light Asylum, Forces 1 JUNE: FUTURE CLASSIC PARTY Isolée, Jacques Renault, Flume, Future Classic DJs
STRA STRATEGIC RAT ATEGIC
2 JUNE: GOODGOD DANCETERIA! Egyptian Lover, Nicky Da B, Prince Zimboo, No Zu, Donny Benét, Egyptia Geoffre Geoffrey O’Connor, Straight Arrows, GoodGod Sound Unlimited 2 5 MAY - 3 JUNE: VIVID LIVE FESTIVAL BAR Presented by Mastercard. You’ll never see the Western Foyers like this again! Killer cocktails, food & DJs nightly.
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
OSCAR JIMENEZ Watussi’s frontman launches his new single
THU 24 MAY
COMING SOON @ THE BASEMENT IN APRIL: MAY 25: FOURPLAY + CIRCLE OF RHYTHM MAY 26: DAVID MYLES + CAMILLE & STUIE MAY 29: STORYLINES W/ JENNY MORRIS, JEFF DUFF, STEVE BALBI, SIMON MELI MAY 30: GLENN CARDIER
FOLLOW US: ON FACEBOOK @ THE BASEMENT SYDNEY ON TWITTER @ #DOOR_DIVA NEW BISTRO & SHOW PACKAGE AVAILABLE SELECTED DATES IN MAY
THE DRUM MEDIA • 37
IN GOOD CONDITIONS
THE BIGGER PICTURE
If it feels like The Temper Trap spend very little time on our shores these days, it is because they have bigger fish to fry and they are refreshingly honest about their motivations. Guitarist Lorenzo Sillitto and bass player Jonny Aherne admit things have changed a lot since their days of driving between Sydney and Melbourne in their van because they were the only two cities where they could get gigs.
The Temper Trap might be known for music that enters your subconscious and just won’t leave, but the band’s Lorenzo Sillitto and Jonny Aherne told Monique Cowper they have grander aspirations for their new self-titled follow-up to Conditions. Cover and feature pics by Kane Hibberd.
N
o one could label The Temper Trap one-hit wonders after the success of their debut album Conditions, but the phenomenon of Sweet Disposition has clearly left the band concerned that their second album be judged in its entirety, rather than by one song which takes on a life of its own. Many people would assume that writing a song that becomes so embedded in people’s consciousness would be a rare privilege, but it can also be a heavy burden. It can leave the remaining body of work, and even future music, forever compared to it or worse still – completely ignored. There are no complaints from The Temper Trap’s guitarist Lorenzo Sillitto and bass player Jonny Aherne when talking about their breakthrough, song but there is a hint of frustration. “I thought Love Lost was the best song,” Aherne says. “I had no idea that Sweet Disposition would get the reception that it did. It kind of eclipsed everything else and took on a life of its own.”
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There is no doubt Conditions was a strong album. The band had plenty of variety to choose from when selecting their first single. After three years of writing the album, the band moved to the UK before its release to “see what happens”. Sillitto says they tossed up between Science Of Fear and Sweet Disposition. “Everything on the radio was electronic pop then so we decided to do something different and tackle it that way.” They released Sweet Disposition, leading to the album selling almost a million units worldwide, being nominated for BRIT Awards and winning ARIAs. That year it was impossible to turn on a television or radio without hearing the infectiously uplifting song. Sweet Disposition stayed in the charts for three months, peaking in the UK at six, prompting the band to make a tough moral decision when Swedish House Mafia released a very Ibiza-sounding remix, which went on to win a Grammy. It was recommended to the band that they bundle the remix in with the single in what would have surely moved them to number one. “I’m glad we didn’t,” Sillitto reflects. “We ultimately decided we didn’t want to align ourselves with it so we held back. Reaching number six is a massive success. I’m glad we did it on our own and not off the bat of someone else.” For Australian audiences it may seem as though The Temper Trap has been missing in action since Conditions, but their UK base has kept them consistently busy for the last three years. “Everything just snowballed out of the UK,” Aherne tells. “Originally we just had this idea to get out of Australia. You see all these international bands travelling and of 38 • THE DRUM MEDIA
course it was something we wanted.” Sillitto agrees there was no grand plan for world domination, just an aim to “give it a red hot go”. “From the moment we arrived, it was surprising how many shows we could play and people would turn up at gigs.” Eventually they had to put a stop to the touring, which left six months in 2011 to write their followup album with a new member, a more electronic sound and the determination to produce an album of work rather than a collection of singles. They headed to LA’s Sound Factory studios to work with the man behind much of Beck’s output, Tony Hoffer. Instead of recreating Conditions, or moving in a completely different direction, the new album picks up where their debut left off with a consistent feel while exploring new sounds. “We really wanted to push ourselves and move forward,” Sillitto implores. “We wanted to try different things and the things that Tony said really resonated with us. He wanted to focus on our strengths and enhance them. It was important to us that it was a very Temper Trap album; that it still sounded like us. I think we’ve cemented our sound and found the things we’re good at. I think that’s come out a lot more.” Both musicians insist they didn’t feel the pressure of second-album syndrome and went into the studio with a “whatever, happens, happens” attitude. Sillitto believes that the new album has defined their sound, while Aherne thinks it has picked up on their live strengths. “Something like the Drum Song is something we really enjoy doing live,’’ he says. “We enjoy that kind of thing so we’ve just gone with it.” There are also a lot of synthesisers thanks to new member Joseph Greer on
“
me, but so many acts can seep into your subconscious. I think this album is much more about how we’ve changed ourselves and how that’s shaped our sound.” One of the most appealing elements of The Temper Trap is frontman Dougy Mandagi’s incredible vocals. Sillitto was keen for audiences to hear the full range of Mandagi’s talent. “I think this album showcases Dougy’s voice more,” he iterates. “Obviously I’m in a band with him so I know what he’s capable of and his range, but he’s very versatile. Everybody wants him to sing falsetto and he’s conscious of that, but it’s important that it complements the music rather than just making it about Dougy singing the way people are used to hearing him. He has a really strong voice which comes across on this album.” Aherne says the band had to resist the urge to ask their frontman to write more of the kind of uplifting lyrics that worked well for them on Conditions and the result is an album with a different tone. “I know what people are attracted to about our music is that uplifting quality musically and Dougy’s lyrics. But you can’t force it. I tried, to be honest, to say, ‘Dougy make it more positive’, but he’s very honest with his feelings and hopefully he’ll have that compelling effect regardless. I think people will find it refreshing and inspiring.” If Aherne and Sillitto did have to name one song on the album that could recreate Sweet Disposition for them, there is a favourite in mind: Trembling Hands. “I feel there is one song that is a real bridge of the old with the new stuff, I think it is one of the best tracks on the album with lots of harmonies and I think it will connect with people on a similar level.”
WE ULTIMATELY DECIDED WE DIDN’T WANT TO ALIGN OURSELVES WITH IT SO WE HELD BACK.”
keyboards. “I guess that’s the main difference,” Sillitto ponders. “Having Joseph contribute to the writing means he has brought his style into our sound.” Of course there is also that now infamous U2 versus The Temper Trap feud, which Sillitto is loathe to discuss. The Edge was quoted as saying that The Temper Trap had ripped off their sound and later Bono said that he was personally inspired by the Australian band. Sillitto then joked on radio that he had caused a rift within U2. “Bono said we inspired him and that’s really cool,” Sillitto says. “So I just joked that we must have caused some infighting. I think what The Edge said in the first place was a bit rich to suggest I stole his guitar sound. They’re definitely an inspiration for
It is however, plainly obvious that The Temper Trap are very keen for audiences to embrace their whole album this time; success from one or two hit singles just won’t be enough. “This really feels like an album when you listen to it,” Aherne offers. “There is a lot of detail. The singles on Conditions kind of eclipsed everything else. We can’t recreate that and we hope people will get hold of the whole album and not just one song.” WHO: The Temper Trap WHAT: The Temper Trap (Liberation) WHEN & WHERE: Thursday 31 May & Friday 1 June, Sydney Opera House Concert Hall
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When questioned about why they why they are only doing three major Australian cities this time around, Sillitto gets straight to the point. “We don’t want to neglect Australia, it’s our home, but unfortunately we are in a position where people elsewhere want us,’’ he explains. “It’s a very exciting time for us. Our American label is very determined to break us there and we need to spend more time there.’’ One look at their tour schedule is revealing. At the beginning of this month their schedule had them playing 15 shows in the UK, 12 across Europe, 11 in the US and Canada plus three days at Lollapalooza and just six in Australia. They have, however, promised to come back home before the year is out. The Temper Trap may have achieved incredible success in the UK, but when it comes to the all-important American breakthrough, they find the road to a number one US record just as difficult as any Australian band before them. “You have to spend so much time on the ground there,’’ Sillitto tells. “It’s not like here. Every state is like its own separate country and you have to do multiple interviews and shows in every state.’’ Sillitto said they were even prepared to forgo some of their UK success to build on the US. “Even in the UK we can afford to do a few shows and leave because America has become the main focus. We have ambitions to grow as a band and grow our fanbase and make this into a lifelong profession. Hopefully we can even play in some new places we’ve never been to. We’re not afraid of hard work and nothing has ever come to us on a platter.’’ Aherne has a more unique take on why it is important for the band to get out to fans in America. “It’s like talking to someone over the phone when you are playing a record. When you are face-to-face with someone, playing live, it makes such an impact.’’
THE HUMANS ARE DEAD Anton Newcombe, the maniac at the helm of controversial psychedelic rock bohemians The Brian Jonestown Massacre, talks to Chris Yates about his new album, Aufheben, aliens destroying the human race and DJs that he’s glad are dead.
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nton Newcombe – the legendary frontman of one of rock music’s most interesting outfits of recent years – is in an unexpectedly jovial mood as he answers the phone from Germany. It’s early in the morning in Berlin, but still, he’s surprisingly with it and ready to rant. “I read an article in The Economist,” he starts, explaining what the title of the new album, Aufheben, is all about and already contradicting the image of the drug-addled vagabond he’s often laughably portrayed as. “It talked about this German word that meant to destroy something in order to revere it and rebuild it. Germany has this word, because of their history over the last hundred years, so they have had to destroy their history and culture in order to build it back up again. “I wanted this idea like you know how they sent out this record into space and it has all this music on it, like The Beatles and all this music that’s for the aliens to find or whoever – well I like the idea of just sending out a plaque with the pictures of the humans on it (he’s referring to the cover of Aufheben – a Carl Sagan diagram from The Voyager program), and it just says this one word, to let them know that in order to understand or preserve the human race, they’re gonna have to destroy it first.” Trying to coerce aliens into destroying the human race – that’s more like it! The album itself is one of the strongest of BJM’s career, built from the ground up around solid drum beats and heavy bass lines that Newcombe says were just the result of him fucking around in the studio, not really knowing where to start. “Wow, that’s so amazing that you came to that from listening to it, because that’s absolutely how it came together. I don’t go into a studio with ideas ready to record, I just get in there and see what happens. So we’d been in the studio for three days and there were all these people who were in there with me and I had nothing. I was coming up with nothing. So then I was like, you know, I just got on the drums, and I would watch YouTube videos and I would like try to de-construct what the drummers were doing and just try to play the drumbeat myself, and then it would all fall apart but we’d have some part of a song and I would just build it up from there.” He sounds confused when trying to recall specifics from the album sessions, and when asked whether Will Carruthers from Spacemen 3 played bass on the whole record he kind of trails off. “Yeah he played some bass... I think... on some of the tracks, but you know I just need to be around people when I’m making music, because the music doesn’t come from within me. You know? I just pull it out of the air or something so whether that’s my friends or some guy from Iceland or whatever, you know, I need those people around for the music to come out or it just doesn’t happen.” Over the last few albums, and particularly on 2010’s Who Killed Sgt Pepper? EP, Newcombe has dabbled in adding some electronic elements to the band’s sound. Let’s get a few things straight about where he stands on this kind of thing: he hates German electronic
music, saying it’s all stupid house and techno, but he does like some of the trippier elements of dubstep and in particular rates the work of Burial very highly. “I don’t have this feeling where I want to make or I enjoy electronic drum music, you know like UNKLE – those expert remix DJs or whatever. Man, like I fucking do not understand it. Also like you know those DJs, someone sent me a photo or tweeted a photo of this guy with his laptop open and it said like ‘DJ A-Trak’ or someone ‘just played a killer set!’ (laughs) I was, like, you know, if you stole their laptop and you could learn how to press play on his iTunes then you could play a killer set as well. It’s like fucking Madonna man, you know, she goes to Europe and she goes to Denmark and she gets the best guy in Denmark to make her a song and she gets the best DJ from someone else to make her a song and then she just sings on them and then somehow they’re her songs. But that’s her power, and you know what, we’re talking about her right now. Even that DJ AM, you know, he died recently, and he just got Mixmaster Mike or someone to make all this cool shit for him and he would just replay it on a computer, you know? Fuck that guy.” Okay then, shit’s getting a bit real. Let’s try a different tack and concentrate on why Newcombe has managed to keep a band together after all these years, when bands that emerged from the same ‘scene’ like the Black Rebel Motorcycle Club had massive peaks before disappearing into relative obscurity. “That’s been a very clear agenda from me from the beginning,” he says with renewed focus. “I didn’t want to make music that could be used on the television or the radio to sell tampons or toothpaste or whatever. There was never any danger of my music having that appeal, and that’s why I think it’s still going. You know like The Stone Roses or my friend Steve Kilbey from the church, because he had this flash in the pan success it’s like he’s doomed to never be taken seriously again. It doesn’t matter how good his music is, it’s like because of this one-time success, no one looks at it the same way. I never went out and said, ‘I’m gonna go in and make this kind of record.’ Like, ‘I’m gonna put on a leather jacket and make this kind of music.’ And heaps of people do it that way, and have always done it that way. Like The Beatles, you know, they were like, ‘We’re gonna take Chuck Berry and... I don’t know, oh, Elvis, and we’re gonna be that band today.’ And it worked for them. But I never know what I’m gonna do before I do it or how it’s gonna sound before I make it. “Plus there’s this thing with my music that it can be taken in so many different ways. Like it’s a rock band, or a psychedelic band, or a folk band or an art project or something. It can slot into so many different places that I never had to worry about it appealing to any massive audience.” WHO: The Brian Jonestown Massacre WHAT: Aufheben (Ace/Inertia) WHEN & WHERE: Thursday 17 May, Metro Theatre; Friday 18, ANU Refectory, Canberra; Friday 25, Newcastle Leagues Club; Saturday 26, Oxford Art Factory
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SHARE THE MUSIC With an ARIA and the top song prize for both the Vanda & Young and the International Songwriting Competition amongst a long list of accolades to come from debut record Vows, Kimbra was doing just fine before Gotye came along. Tyler McLoughlan quizzes the international starlet on how life is on the other side of Somebody That I Used To Know.
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s Australia woke up to the highlyanticipated Splendour In The Grass line-up announcement last month, Kimbra’s inclusion on the bill became somewhat overshadowed by the news later that day: boosted by a host of live television performances and an appearance in Glee, Somebody That I Used To Know had reached the number one spot on the American Billboard charts. “I know, it’s crazy!” Kimbra Johnson squeals down the phone from LA en route to Amsterdam. “It’s just so awesome to hear that news. It’s been a massive week for both me and Gotye, playing Saturday Night Live and then going up to Coachella, so it definitely feels
like there has been a really genuine buzz around the song which is probably what helped it to head up the charts a bit.” Not content to simply sing the duet, Johnson and Gotye (Wally De Backer) physically depict the body language of a couple mid break-up with every performance of Somebody That I Used To Know, the sentiment brought sharply into lounge rooms worldwide with their up-close Saturday Night Live appearance. “Of course the song is emotional you know and it means a lot to us. I think for that performance especially being TV we wanted to make it so that the emotion came across. I always mean it when I sing it… we feel it when we sing it,” she says. Throwing herself into the break-up zone for four intense minutes at a time, Johnson is able to initiate the jilted lover sequence without finding it at all difficult to return to her regular self. “I guess that just comes from being able to separate the art from the person, you know? And me and Wally have worked together a long time now with the song and we’ve sung it together tonnes of times and I think we’ve come to that place where we walk on stage and we have that moment and then as soon as it’s over, we go back to being friends. I think everyone understands the song obviously isn’t about an actual relationship…” Even without the outpour of widespread public confidence arising from that song, Johnson’s bold and artistic performance style teamed with songwriting nous beyond her years had already set her on the path for international success, though certainly via a lengthier, more traditional trajectory. Off the back of her 14-date American support slot with Gotye, she was greeted with blocks-long queues for her own headline arrival in LA. “I didn’t expect that – it was really encouraging to play our first two shows in LA and have this incredible response,” she says humbly. “The first show was [a] KCRW [radio showcase]… which is the one that attracted a couple of thousand people down to the venue, then the second show was a ticketed show at The Troubadour and yeah that sold out in under a minute. “Of course it feels great; like I said it’s really exciting if you have that as a first response. I guess a lot of people can sometimes struggle when they have their first time coming to the US and maybe playing very small shows, whereas I felt very blessed to have such an incredible introduction to America and also to have such a loyal fanbase from the start. There were people in the crowd singing all the words to the songs; that’s really encouraging,” she says of the response ahead of the May 22 US release of Vows. Johnson’s American reception has also brought about some shoulderrubbing surprises for the kiwi. “I’ve kinda become friends with the guitarist of The Dillinger Escape Plan, who are one of the biggest metal bands in the world and I was a really big fan of them when I was in high school. And then he went and looked me up and said, ‘I really love your music lets hang out’. So we ended up becoming really good friends in New York and talking about making music together, so that’s kinda pretty random… It makes me feel very excited to know that I can now, you know, get in touch with some of my idols and people that have influenced me. You know like I ran into Florence & The Machine at Coachella and got to hang with her for a while and it was really nice; it’s cool to meet all these amazing people,” she says brightly. Back in Johnson’s adopted Australian homeland, the momentum has continued with the release of new single Warrior, a collaborative project with Mark Foster (Foster The People) and A-Trak (Duck Sauce) accompanied by a slick WWF fight style clip. “It was for Converse, so they do collaborations every few months. The last one that they did was with Andre 3000 and LCD Soundsystem, so of course I jumped at the opportunity to be a part of it. I think A-Trak and Mark were the ones to select me to be the vocalist, so it was an awesome opportunity to work with two artists that I really, really love… “It was a pretty crazy process actually. I recorded some of the vocals for that track in the airport of Hamburg in Germany and at the time A-Trak was in Paris and Mark Foster was in Los Angeles, so we were all on different continents writing it together over email. We only just got to be in the same room together the other night at Coachella. The video itself was done to green screen and we couldn’t make it work to be in the same place at the same time, so it’s been a very 21st century collaboration,” she admits. Making her way back to Australia for Groovin’ The Moo and her first headline shows in almost a year, Johnson’s visit precedes her return to the States for the launch of Vows and an extensive support slot alongside Foster The People. “I’m excited about that one; I mean now that I’m such good friends with the band it’s going to be a really fun little group. We might do some more writing together on tour and that would be fun and we’re gonna get up and do Warrior together, which will be fun,” she says. Undaunted by her in-demand status across the globe, though admitting that she might need a bit of a rest at some point, Johnson takes a moment to reflect on her path in the past year. “I guess there’s a few emotions; obviously I’m grateful and excited, but it’s also been cathartic. I’ve spent a very long time working on this record Vows and anticipating the moment where I could come out share the music with people and really connect with people in a way that I feel I’ve been called to. It’s been great to have that moment to share in such a sort of artistic way with Gotye as well.” WHO: Kimbra WHEN & WHERE: Thursday 17 May, Enmore Theatre
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WARM FOR CATS Sydney’s Catcall aka Catherine Kelleher has just dropped her epic pop masterpiece The Warmest Place and is basking in the wave of relief that comes with finishing a project of this magnitude. She tells Chris Yates about how the whole thing came together, who’s playing in her new live band, and defends her unabashed love of all things poptastic.
“Y
eah! So relieved. Relief is definitely the feeling,” Catherine Kelleher replies when questioned about the imminent release of debut Catcall album The Warmest Place, so many years in the making. “I kept feeling like I was about to have a baby and it was overdue and I was like, ‘Get out!’ I just wanted to get it out. It’s the process - you know, some parts of it I had control over and other parts like the time-frame I didn’t have control over, and also I’ve done a lot of growing since I started getting the record made. I think I still can’t even quite believe that it’s done. It felt at times like it was never going to be finished ever, like I was never going to be able to put it out!” It’s no wonder the record took the time it did. Kelleher worked with multiple producers, shooting ideas back and forth across the country, reworking old ideas, deconstructing and reassembling songs – it’s a very different way of working than she was used to as an indie rock kid playing in her band Kiosk. “I always start with the producer sending me a bed,” she says of the process of her songwriting these days. “Like a beat or an instrumental or something like that – some kind of an idea. It always starts off with them. I need a melody or a beat or a bassline to start working on an idea. I’ll start writing after that with my production set up in the room. I’ll work on the lyrics and the melody and the vocal performance. Then we’ll send the tracks backwards and forwards between the producers and start really working on the production. Sometimes it’s the original that we use. With the Van She remix of Satellites, that was actually the original version of it we started working on. That’s how it started, then Bry Jones did some other production on it and we ended up going with that. A couple of times the original production changed quite a bit, but sometimes it was just like an extension. The melody of The World Is Ours was originally all with synthesisers but we ended up changing it to guitars and trying out a kind of punkier, Go-Go’s style mix and we stuck with the guitar version. The different versions of all the songs are really quite interesting; maybe they’ll get released one day.”
backing tracks or anything. It means we’re a bit freer to jam the songs a bit and you’re not stuck to a sequence. Plus I’ve actually had nightmares about the backing track stopping and you’re just stuck on stage with nothing happening – no sound. Oh god, that would be a nightmare, but I never have to worry about that which is great!” WHO: Catcall WHAT: The Warmest Place (Ivy League/Liberation) WHEN & WHERE: Friday 18 May, Oxford Art Factory; Saturday 19, Chino’s, Newcastle
There’s more to this story on the iPad Given her indie roots, it’s interesting to learn that songs didn’t start as guitar-based demos. “I always find that the melody or the beat has to inform the emotion of the song,” she says. “That’s how I get inspired and I just sit with headphones on and listen to it really loudly. There’s some instances where the first thing I’ve written, in terms of the melody and some of the lyrics, are still there at the end.” The album opens with the first solo track Kelleher ever wrote, an a capella number called The Warmest Place, which she also named the album after. She borrowed some of the lyrics for a section of the heartbreaking track August, written on the one-year anniversary of a tragic event in her life. “It was a year after my dad passed away that we recorded it, so in August the next year on the first anniversary,” she says explaining the very personal details of the song. “If I even tried to sing it in the studio it wouldn’t have captured it. We would never have gotten the pain and what someone described as post-traumatic shock when I first recorded August – because that’s what I had – we would never have gotten that performance again. The song became sort of about that experience and why I was making music. The interpretation of that and how it became the music that I wanted to know. It’s not like I’m re-inventing the wheel with my music, I’m just trying to be honest and tell my own story, I guess.” The heaviness of the inspiration behind August is a little contradictory to the rest of the album, which is for the most part a much more lighthearted affair. Kelleher’s love of pop music bubbles to the surface on every number, and even though stylistically the songs jump around, there’s a lack of seriousness and a spontaneity that is immediate and infectious. There’s also Kelleher’s detailed musical knowledge informing so much of the pop in an almost insidious way. Take Art Star for example, one of the most sugary pop exercises on the album, but it’s clearly got its roots dug deeper. She’s basically ripping off New York post-punkers ESG, and not in any way hiding the fact. “A lot of people I think will miss that ESG, Delta 5 reference,” she says excitedly. “When I was writing that song, I wanted to get inspired by those two, but I think a lot of people will just hear that and think that song’s so immature. Well, it’s supposed to be tongue-in-cheek and it’s supposed to be bratty and it’s supposed to be not too overthought. It’s supposed to be simple and cheeky and so on, but I think people will miss that. I try not to read reviews but I remember one where they said that was the weak point of the album, or it said that I need to develop my songwriting or whatever. The whole point of that song was that it was supposed to be done quickly and it’s supposed to be really immediate – very, very simple. I’m not into earnest music at the moment. I like the really, really simple, fun ideas.” Turning a record that is entirely a studio project into a set that can be performed by a proper live band is no small task. Kelleher is confident that the hired guns she has drawn together are doing an amazing job of accomplishing it. “Drums is a guy called Simon Parker who used to play in Damn Arms and Los Valentinos. On guitar I have Al Grigg, who used to play in Red Riders and now plays in Palms. My producer Andrew Elston, who is a DJ under the name Toni Toni Lee, is playing in the band as well, he is doing guitar and keyboards and sampler. On bass I’ve got a lady called Bec Allen who is in this girl group kinda band called The Fabergettes. There’s no laptops or we’re not relying on
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GOT SWAG “I think fun is sort of neglected right now at shows,” Devin Therriault declares. He also accepts Bryget Chrisfield‘s challenge to lick Iggy Pop’s face should their paths cross.
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peaking from his apartment in Brooklyn, Devin Therriault (who’s dropped the exotic surname these days) chuckles when asked whether his current lodgings are an improvement on the basement apartment in which he composed much of the material on debut offering, Romancing. “It’s much better,” he reckons. “It’s got windows, it has two rooms – yeah, it’s real nice. It’s the best apartment I’ve had.” A room with a view? “It’s a back view of [what] looks like a trash dump.” Therriault was also working a terrible job at a Brooklyn shipping warehouse around this creative time and so the subject of his povo culinary habits is raised. “I would eat the same thing every day, which was a salami and cheese sandwich with mustard, because everything else was deadly,” the frontman describes his lunchtime rations. “But I just went to the place that was there. There’s only one option over there: it’s called John & Frank’s. It’s a terrible little deli but, yeah, I ate that every day for two years. That’s the only place in walking distance from the warehouse. It’s just desolate, there’s nothing there. There’s no reason for you to be there at all if you didn’t work there.”
It’s difficult to find anything written about the New Yorker that doesn’t include the word ‘swagger’. “It’s alright. I mean, that’s a popular word right now. Especially in New York, like, everyone’s ‘swag’, ‘swag’, you know what I mean? So obviously they mean like Jagger - you know, vintage swag. I think it’s from I Don’t Think I, that song, and I think maybe more with the demo – I think the demo version is better than the album version but, yeah, I dunno, it’s just the attitude is different to the Devin persona that is singing the songs. The whole Romancing thing, I mean there’s definitely a sense of humour about it. It’s about fun, which I think fun is sort of like neglected right now at shows.” Ahem, what about The Hives? “He [Howlin’ Pelle Almqvist]’s unbelievable!” Therriault admits. “Yeah, I really like them. I remember he did a battle of the bands – The Hives and The Vines – and it was really cool. [The Hives] won.”
Much like the hallowed definite article bands of which he speaks, Therriault is dedicated to reinstating rock. On his Romancing set, the frontman explains, “It’s all rock and I think [the songs are] also on a real specific theme, even though each song is really different in general. I have a very specific world that the songs fit in, so thematically they’re all pretty similar. The setting is pretty similar, but I like to mess around. Obviously you don’t wanna do the same thing all the time.” His band received rave reviews from their maiden South By Southwest showcases: “We drove 24 hours, we played a bunch of shows. The best show was at Stubb’s, which is a great venue anyway down there, and that was one of the only shows we played at night. We played after midnight so we actually had a crowd that wasn’t hungover, you know what I mean? And it wasn’t daylight and we weren’t outside. So, I mean, it was a great crowd and a great show and the whole thing was great. We got a lotta free stuff too.” Such as? “We got these crazy Sonos speakers that one of the venues gave us that I can’t figure out how to use still, and I wish I could – they’re very expensive. I just wanna hook ‘em up to my laptop so I can hear YouTube and stuff louder, but I think you can only use it within the program. I don’t think you can just use them as separate speakers. I dunno, it’s really complicated and annoying.” When it’s recommended that Therriault should look into selling these on... “I wish! I wish I could sell them. That was my initial plan, but no one has any money in New York anymore. I’ve listed all this stuff on Craigslist and I’ve not heard from anybody.” Now that Therriault’s landed a deal and has resigned from the shipping warehouse, what would be his most expensive purchase to date? “Um, I think my guitar, which is a [Gibson] Firebird that’s in the video for Masochist. It’s a white Firebird. It was my dream guitar. I bought it for like $US1,600, which I would have never been able to save [for] alone. I got it ‘cause of the advance that Frenchkiss gave me, and I bought it and I hate it. I don’t think it’s very functional. It sounds good and looks good, but I just don’t like the way it plays
and it breaks strings. And that’s what messed me up when we went to London for the first time. Our first show – busted a string on the third song. It was a disaster. I was like, ‘Ow.’ We had another guitar with us, but it just messes up everything. Everyone knows, you know, a disaster happened and it sorta blew up the whole vibe. [The guitar]’s just disappointing. I can’t really rely on it. I’m in the process of still trying to save it. We upgraded the strings: I’m playing with elevens on it, which are like – you can’t even bend ‘em. I’m just trying to do all these different things, but, I dunno, it’s just not that practical.” So which rockin’ tracks would Therriault crank from the jukebox? “I would say Iggy Pop, ‘cause he really is my favourite. Raw Power is a classic rock song, you know. The riff, I almost play it every day just to remind myself. I mean, the guitar riff – that is rock right there. It’s just unbelievable. That’s one of my favourites.” Therriault confesses that he hopes to meet Pop one day, “and James Williamson too. I think
he’s the best guitarist. He’s just crazy.” When it’s suggested that Pop looks like someone who would appreciate having his face licked, Therriault chuckles, “Oh, yeah, I might try that. It all depends on the circumstance.” Let’s just hope there’s someone there to record that moment for posterity. After stumbling upon a sensational comment under Therriault’s I Don’t Think I clip on YouTube, it’s time to share: “I hear nothing but the sound of gold and hot bitches raining from the heavens,” posts “catfeces”. Devin takes a moment: “Wow, see that’s swag. There’s a swag to that song that people like and, there you go, that’s the definition.” He then agrees this post contains lyrics that belong in song. “Yeah, I might take that.” WHO: Devin WHAT: Romancing (Pod/Inertia) WHEN & WHERE: Wednesday 23 May, Oxford Art Factory
THE ESSENCE Newly-minted solo artist Simone Felice tells Steve Bell about unravelling the riddle of the heart.
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t’s just one of those quirks of the music game, how everyone who’s been introduced to American singer/songwriter Simone Felice in recent times has been made aware of the life-threatening travails he’s had to overcome over the course of his short life (so far). How he suffered a brain aneurysm and was pronounced dead before he even reached his teens, recovering from brain surgery only to discover, two decades later, that he had a childhood congenital heart disorder that required open-heart surgery, an affliction that again nearly stole him from our midst far too early. But to focus on these misfortunes would be to miss the point of his incredible journey. Not only has Felice not let these unfortunate incidents derail his passion for life, but surviving them has fuelled his love of existence and creation even further, to the point where a synopsis of his experiences reads like some modern day Huckleberry Finn: fronting punk bands as a teen in New York, an acclaimed poetry career whisking him around the globe, forming a folk-infused band with his brothers (The Felice Brothers, natch), who take the Americana world by storm, leaving the familial comfort zone of that band to form an equally lauded outfit with friends (The Duke & The King), publishing his first novel last year to universal acclaim – it’s a fairytale story of rather epic proportions, all things considered. Now Felice has taken this artistic progression to the next logical level and recorded his first solo album, a brilliant extrapolation of all that’s come before, the eponymous effort highlighting not only his indubitable songwriting skills but also his talents as a vocalist, musician and arranger. Yet none of these achievements have gone to his head. In conversation Felice exudes not so much a sense of spirituality but rather an all-pervading calm, his laidback charisma thoroughly charming and totally in tune with the gentle, affirming music that informs his debut long-player. “I put my whole heart into this record, literally,” he tells us. “This album is me beating the dust off my wings and opening the door to my new life as an autonomous poet and songwriter. I’ve been involved in so many magical albums and very special groups, and worked with people that I’ve had such a privilege 46 • THE DRUM MEDIA
to work with over the years – all manner of different folks – and I’m just sort of taking everything that I’ve learned and putting it all into my pot and stirring it up. “It feels very liberating. When I was a kid for five or six years, before we started The Felice Brothers, I was just writing poems – I was a poet – and I’d go to New York City and be a stand-up poet in these coffee houses, so it’s almost like returning to my roots, but with all of this history and experience behind me as a musician. And I’ve learned how to sing. It’s been a long road for me, but I’m finally learning how to carry a tune. It feels beautiful man, it really does.” There were plenty of songs to choose from when it came time to cobble Simone Felice together and the artist reveals that it was a quite intuitive process working out which tunes would eventually make the cut. “I promised myself that I wouldn’t put a song on the album unless it was pure – the delivery, the recording, every lyric, every note, I just wanted it all to be true and pure. I just wanted to tell the truth and I wanted to tell the riddle of my heart. Some of the songs are heart-on-sleeve and you can tell exactly what I’m talking about, but some of it is metaphor and I wanted to weave this riddle together: the riddle of my heart. More than anyone else it was more for my own self to unravel this riddle – it’s like the meaning of life, isn’t it, trying to understand the riddle of your heart.” As cohesive as the album sounds it actually had quite a far-flung geographical genesis, more by circumstance than design. “There were three main places. After my open-heart surgery, I was recuperating at home in the mountains here,” Felice is referring to his home in the picturesque Catskill Mountains, “and I was blessed enough that my aunt is a nurse in the hospital here, and she sprung me out of the hospital two days after my open-heart surgery so that I could recover in the fresh air and the mountains. Thank the gods for that, because the hospital is the last place you want to be when you’re trying to get better. “So I set up a microphone in my barn as soon as I could walk and start to sing – a couple of weeks after the surgery – and I started to record these ideas, because
I was on heavy doses of morphine and I wanted to capture these songs that were coming out. Then our beautiful daughter was born at home with a midwife and that inspired a lot of it as well, so I started recording in my barn, really lonely, and then I realised that some of these songs I wanted to bring to life and flesh out. I knew I wanted a lot of it to be really stripped-down and naked, really empty like some of my favourite records like Nick Drake’s Pink Moon or Nebraska by The Boss – those kind of records where you feel like you’re in a hotel room with the guy or the girl – so I went down and did a few songs with my brothers in an old abandoned high school on the Hudson River, so it was a really haunted, very intense experience there. That yielded some of the great songs on the record – Hey Bobby Ray, Ballad Of Sharon Tate and Stormy-Eyed Sarah. “Then we came back up to my barn and my friend Ben Lovett from Mumford & Sons came up and stayed with me and we recorded the song Gimme All You Got. He said, ‘Man, next time you’re in London let’s do another one’. So I just had this song I wrote at the same time Pearl was born, You And I Belong – which
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is just a song about giving praise and thanks for every morning, every breath really – and I took it to London and Ben took me out to this old church called The Crypt. It’s a studio in Crouch End, where the Traveling Wilburys made their records, and Ben brought the song to life and wrote these beautiful harmonies. I was really just following the whisper, following that divining rod to the water, and it really worked. “It took me a year to make the record and I didn’t want to be in a million dollar studio with the clock ticking, I wanted to make it in a real environment because I wanted it to feel real and pure with life, like the best records feel – they feel like life, they don’t feel like a digital moment.” Amen. WHO: Simone Felice WHAT: Simone Felice (Indochine/Warner) WHEN & WHERE: Friday 6 July, Notes; Sunday 8, The Basement Circular Quay
HOME IS WHERE THE ART IS Silversun Pickups are not necessarily a band you can set your watch to. A free-flying take on touring and recording might frustrate some, but they wouldn’t have it any other way, as bassist Nikki Monninger explains to Cam Findlay.
L
ove them or hate them, Silversun Pickups are a hot ticket right now. Just look at the merch page on their website; The ‘Limited Edition Ultimate Package’ of their upcoming third album, Neck Of The Woods, includes a coloured double-LP set, a 60-page hardcover book of photos taken during the recording session, a ‘one of a kind’ hipstamatic photo personally photographed and hand-signed by the members of the band, and a lyric personally written by Brian Aubert, Silversun Pickups’ guitarist, vocalist and chief songwriter. How’d they go? Well, with a limited edition run it’s always hard to tell, but this scribe was upset to miss out after finding out less than a day earlier of its existence. Such is the formula for a band that has risen from a hipster-cool cult following to mainstream popularity in a matter of a few short years. The Silver Lake, California band have been hard at work since 2009’s Swoon – in a manner of speaking. In a move that probably didn’t surprise past fans, the band went their separate ways before regrouping to work on a story and theme for their next recording. Aubert found inspiration in Europe, using the geographical isolation and homesickness of a long expedition to flesh out the ideas behind what would eventually become Neck Of The Woods. The process is one familiar to the band: Aubert, bassist Nikki Monninger, keyboardist/sound mixer Joe Lester and drummer Christopher Gunlao have always maintained a free-flowing approach to recording and touring that has always lent the group a spirited demeanour.
more dynamic. I think that’s what we’ve always tried to achieve.” And yes, the good news is that, despite a work ethic that really takes everything as it comes, Silversun Pickups are hoping to return to Australia sooner rather than later. “We’re just getting ready to start playing live again. It’s been about a year-and-a-half, so we’re really looking forward to getting out there and playing again. And yeah, of course we can’t wait to get back to Australia - we love it there. As I said, it’s how we’ve always been, and it’s worked so far,” she laughs. WHO: Silversun Pickups WHAT: Neck Of The Woods (Dangerbird/Warner)
“I just think that’s how we’ve always been, and maybe how we always will be,” explains Monninger from LA, in a brief respite between rehearsals before the band’s longhaul tour of the US and Canada later this year. “It’s just what’s always worked for us. I know that it doesn’t for all bands, that the strict regime of touring, recording, touring, recording works for them. But we really prefer to just let things work themselves out in a natural way.” It’s probably a fitting statement for the process which would eventually lead to Neck Of The Woods. Even the name gives a bit of it away; the band decamped to Topeka Canyon, just outside LA, to work at the studio of the world-renowned Jacknife Lee. The man behind the ambient sounds of U2, R.E.M, The Cars and countless others lent his magic to the creation of the Pickups’ latest album. The environment the band found themselves in, as well as Lee’s eclectic production style, gave new breathing space to the oft-frustrating period of recording tracks. “I think it was such a great experience to go there,” Monninger recalls excitedly. “It’s only forty-five minutes from LA, but it seems like a world away. It was kind of like a nice part of nature to visit every day. I felt like that was inspiring. Brian is actually from Topeka Canyon, so for him it was about revisiting his youth and just kind of looking back on his life and having this really retrospective experience.”
There’s more to this story on the iPad Aubert has been unabashedly honest about returning to the town he grew up in, and it has obviously had a profound effect on the way he shaped the lyrical content and the story of the album. “These songs started forming in places that were completely foreign to me, and then ended in the place that I grew up, an environment that could not be more familiar,” Aubert stated in the press material for the new album. “I went through my whole childhood and teenage years in the weeks we were there making the record.” It was that energy – of simultaneously both a positive and negative nature – that influenced Aubert’s writing, and eventually the input of the entire band. “I just felt like, with Neck Of The Woods, we were more open to new ideas, and that’s why we went to Topeka in the first place. We worked with Jacknife because he comes from a more electronic background. I definitely think we still sound like us, but I feel like there are elements that we were able to add because of him. We were ready to just go at it from a different angle, but without changing the core of what we do.” While the combination of Lee and the Pickups makes a lot of sense in terms of musical cohesion, it sets a very different standard to that achieved on Swoon, and even to 2006’s Carnavas (home to the track, Lazy Eye, which began the Pickups’ following). Swoon endeavoured to build out the classic rock-based guitar sound of previous work with a lush treatment of strings, culminating in a 16-piece orchestra for a lot of the album. With Neck Of The Woods, however, it ended up being a case of going back to the roots. “Well actually, going into it originally, I think we were thinking that we were going to add more. You know, do that again and develop a big orchestra sound. But by the time we were really into working on the album, we realised that we can achieve the kind of emotions we wanted out of those really basic parts, like keyboard and guitar sounds. We realised that if we added the orchestra again, it would just be too crowded, and we wanted to keep the spaces in between. So it wasn’t so much a conscious, deliberate thing. Going into it, we really did want to add all those big sounds again, but as we were getting into it we realised that that would have overshadowed what we were trying to do.” What this has ended up creating, then, is an intimate sense of space that pervades the album, from first single, Bloody Mary (Nerve Endings), to the typical Silversun rock-out moments and the quaint melodic workouts. Once again, credit goes to Jacknife Lee and the effect of Topeka Canyon, but with an obvious sense of deliberation entering into it. “I think we’ve always tried to include that sense of space [on our albums],” Monninger argues. “It’s just how we love to write music and listen to things. If you include that space, than it makes the highs higher, which in turn makes it much
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THE DRUM MEDIA • 47
STARING OVER
GHOSTS IN THE MACHINE
Had Gasoline Inc. singer Gabriel O’Brien not decided to take a trip back to the place of his birth, Brazil, as Michael Smith learns, there might never have been any serious thought of a musical career.
“I
’d just finished a degree in psychology and I was playing AFL footy as well and had a few injuries and found myself at a crossroads,” Gasoline Inc. vocalist Gabriel O’Brien explains. “So along with my brother we went back to Brazil, and while I was there I guess the whole vibe and beat of the city of Rio must have done something to me. You hear a lot of people say they go back home and they discover themselves, and I really believe that something like that happened. And I just knew when I came back, I was pretty clear about what I wanted to do and that was to be a musician. The next step was recruiting guys to come along for the journey.” Back home then was Perth and teaming up with an old friend guitarist Matt Sofoulis in 2008, Gasoline Inc. was born. And, while it was almost two years before they released debut EP Fuel The Sol in September 2010, they hit the ground running.
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“Our first show was in July 2009 and by January 2010, our eighth gig I think, we managed to pack [700-capacity venue] the Rosemount [in Perth], which I guess is pretty good. It was just the solid ground we had and network of friends. And the track Superstar really helped us out because by September 2009 that was being used by the AFL, which gave us a good solid base towards the EP launch.” That first EP also got them a spot supporting INXS up the WA coast and it was while they were travelling the vast distances from gig to gig that it became obvious they were going to have to relocate. So last year four of the five members moved to Melbourne. A tougher year than they’d imagined followed, but the result is their second EP, The Wanted One, off which their latest single and video Shock has been released.
48 • THE DRUM MEDIA
Even the man at the core of perhaps the most unique band in the country, Darth Vegas, can’t define just what they are, though lynchpin Michael Lira has a shot at explaining it to Michael Smith.
“When we moved to Melbourne we kind of had a year when we weren’t really doing much, and we’re a band that likes to keep moving. A couple of the guys have families and it’s a big commitment that we made but everyone’s kind of on the same page, but we lost a member and pretty much had to start from scratch again, and along the way we discovered a new sound. “Losing our [second] guitarist meant that for a good chunk of last year we were a four-piece and had to work out ways that we could make the sound fuller without having to rely on that second guitar. So I picked up an acoustic for a bit – which I hadn’t done previously – and on the EP, Blessed and All That Remains utilise that. It’s a whole new world here, so I guess just the situation and trying to learn from it all sort of influenced and inspired our current batch of songs.” Around Christmas time, however, the band found themselves a second guitarist in Albury escapee Mick Haggarty. “Yeah, we got by without it in terms of songwriting and you could do it recording as well, because you can layer and layer. But when it came to playing live we realised that we still need that other guitarist for the sound that we wanted, which is a really big, full sound. We went through quite a rigorous audition process to find guy who would fit in and luckily enough we found Mister Mick Haggarty. He’s only been in Melbourne as long as we have, which is just over eighteen months now. He’s always played guitar but never been in a full committed band, so I think a lot of what’s happening is as new to him as it is for us.” WHO: Gasoline Inc. WHAT: The Wanted One (Independent) WHEN & WHERE: Friday 18 May, Town Hall Hotel
“A
vant-garde jazzy cartoon metal disco” is one attempt you’ll find at defining the music of Sydney seven-piece Darth Vegas, while another suggests you can expect “jazzy steampunk, reverberated through carnival-esque surf pop and looped through multiple distortion pedals”. The band, the brainchild of multi-instrumentalist Michael Lira – who first launched himself into the wider musical consciousness with the band Vicious Hairy Mary and also passed through the ranks of Monsieur Camembert – has just released its second album, Brainwashing For Dirty Minds, nine years after the self-titled debut. “It has been a difficult thing to get everybody together at the same time,” Lira admits. That’s because the various members, including main co-conspirator, guitarist Julian Curwin of The Tango Saloon and new label Romero Records, plus Kiwi blow-in now Katoomban Neill Duncan of The Jews Brothers Band among many, are all busy pursuing various projects. “But we’ve been doing shows sporadically over all these years and we even recorded an EP, which we decided not to release, but a number of those songs have been re-recorded for this album. We did Woodford and we’ve been doing Opera House shows; recently we did the Graphic Festival and last year The Wharf Sessions at the Sydney Theatre Company. So we’ve still been doing these odd shows here and there, but it was time to take it a bit more seriously again,” he finishes with a laugh. One thing Lira has discovered as he’s rallied the troops now and then for these shows is that the current generation of, for want of a better word, progressive folk bands – like The Crooked Fiddle Band, The Barons Of Tang and The Woohoo Revue – have all been citing Vicious Hairy Mary and Darth Vegas as seminal local influences on their own music. Such a statement makes the fact that it’s been a while between releases a little less daunting.
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Not that Lira’s been idle musically himself. Not long after that debut album was released in 2003, Lira found himself becoming involved in the world of film and television, writing the theme music for Balls Of Steel and At The Movies among many, and has been working with Custard’s David McCormack on the music for The Slap, Rake and Wild Boys. “It’s incredible how distracting life can be,” is Lira’s humble opinion. So, immersed in the creation of so much music, what makes a piece a Darth Vegas tune, you might wonder. As it happens, so does Lira. “It has to be entertaining,” he begins. “We all have very short attention spans, so it has to sound like a journey and… It’s tricky actually. I hadn’t really thought about what parameters… I wouldn’t want to say… Gee, I’m really going to have to spend some time working this one out [laughs]. I think generally we know it, as a group but, er… I’m not sure I can answer that. “Some tunes are inspired by… I love old cartoons, anything with sort of haunted themes – any ghouls and goblins and haunted houses – and there was a great series of Warner Brothers cartoons with music composed by Carl Stalling called Silly Symphonies and one of them is The Skeleton Dance. It all takes place in a graveyard; skeletons are dancing around and their bodies form musical instruments and they play each other and that really triggers a lot of inspiration. I think that’s a sort of over-riding inspiration maybe. “Images do affect the songwriting process too I think, sometimes. The work of Mark White and Tom Shaw can immediately evoke sonic ideas. And comic book imagery.” WHO: Darth Vegas WHAT: Brainwashing For Dirty Minds (Romero/Newmarket) WHEN & WHERE: Friday 18 May, Factory Theatre
THE DRUM MEDIA • 49
STEPPING UP Kate Martin is the latest exciting artist to emerge from north queensland’s fertile music community. Ahead of her latest tour, Matt O’Neill speaks to the young singer-songwriter about taking the next step with new album Hand Me My Bow & Arrow.
K
ate Martin’s career has been blossoming of late. The young singer-songwriter’s new album Hand Me My Bow & Arrow was released to considerable critical acclaim just a month ago; singles like Apples and Candle Burnin’, Wax Drippin’ have been similarly well-received; and triple j Unearthed have just selected her to perform at Groovin’ The Moo. “It’s been really humbling and overwhelming,” Martin reflects. “People have just taken to the album really well. It kind of blows my mind that people have responded to it at all – maybe I shouldn’t say that! I guess I just didn’t expect people to connect with it so deeply but they have and I get such a kick out of that.” Far from a happy-go-lucky newcomer, however, Martin has actually been operating as a musician for years. Hand Me My Bow & Arrow is, somewhat surprisingly, her second album. The Townsville-based singersongwriter has been working towards being a musician her entire life and actually released her debut album Synthetic Shoes, Leather Boots in 2010 at age 18. “It’s pretty much always been music. I grew up in a really musical household. Where I’m at right now, I’m actually really appreciative of having that background because both of my parents were very supportive of me pursuing music professionally,” the singer-songwriter says of her upbringing. “I’ve never really thought about my age or youth in relation to my music. “I mean, I do think my first album was very reflective of where I was at as a person when I made it,” she reconsiders briefly. “I don’t want to speak ill of it or anything because I am still quite proud of it but I was only 18 when I made it and I think I’ve grown and changed a lot in the past two years. When I do listen to it, though, I’m still happy with what I did with it at the time.”
DELVING DEEPER Yet to have a morning coffee, Liz Martin fills Michael Smith in on wanting proper singers and transformable songs.
Martin is that kind of artist. There is always more to her work than initially suspected. Hand Me My Bow & Arrow, for example, becomes doubly impressive when one places it in context as a followup album – its lush, densely layered eclecticism a significant artistic development when compared with the largely acoustic work of Martin’s debut. “I really wanted to have a sense of diversity. I wanted it to be a really vast album that really played with dynamics,” Martin says of the record. “I really wanted to go nuts with post-production. I came to my producer with just the skeletons of the songs and we just had a blast reinventing and reprocessing all of these songs.” Indeed, even Martin’s music is deceptively complex. Hand Me My Bow & Arrow may seem like an overwhelmingly personal and intimate record but Martin’s waifish voice and lithe lyrical sensibilities ride atop oceanic soundscapes – the album filled to the brim with diverse instrumentation and unconventional sonic flourishes. “We just delved into the creative process – string arrangements; cool, quirky little things here and there. You can really get lost in it because it’s just a neverending onslaught of variables,” she muses. “It came to the point where my manager and my producer had to sit me down and force me to finish the album. “They had to have an intervention!” the songwriter laughs. “Because I was just exploding with all of these different ideas and approaches!” WHO: Kate Martin WHAT: Hand Me My Bow & Arrow (Shock) WHEN & WHERE:Wednesday 16 May, The Cambridge, Newcastle; Thursday 17, Good God; Friday 18, Young & Owls, Wollongong; Saturday 19, The Phoenix, Canberra
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“It’s actually chicks that I’ve plucked from around the place, so Elana Stone is coming, to play some keys and accordion and sing. I wanted to have some proper singers this time round, so she’s doing it and also Jacqueline Amidy has an amazing voice and is an incredible guitar player, but she’s coming along to play bass and do vocals with us and she’s also the special guest on the tour. And then I’ve got Cat Leahy from Melbourne to play drums.
J
ess Harlen has been busy. The Melbourne-based singer has just released Park Yard Slang, the followup to her 2010 debut solo album Neon Heartache. Once again, she reunited with much-lauded producer Plutonic Lab (of Muph & Plutonic) to put the album together – however, it wasn’t exactly smooth sailing.
I
“It was great to have a new influence and it opened up a whole new world to us. I mean, Ricky’s range of music tastes is just massive, so we got exposed to things we wouldn’t have heard of this early on in our musical education. We might have
“Live, the band changes all the time depending on the gig, but the one true constant, whenever I can get him, is the guitarist Dirk Kruithof, so he’s coming with us. He’s a little bit like Marc Ribot would like to play like,” she laughs.
“I’ve played them with heaps of different combos so I’ve found they’re really easily transformable from one format to another, so this time we’ll have accordion doing lots of the warmer kind of string sounds and things like that, to really lush it out. “We’ve played it with cello and clarinet in a little quartet and with a ten-piece band and now it’ll be a five-piece. You know, it’s got all the elements really, that are still on the album, of pop and folk and a bit of jazz, without that being a dirty word. We’re also doing a bunch of new songs and throwing in a few old songs as well. And I’ve found lots of little other sounds, other people’s songs hidden away in some of them,” she laughs again, “which is always bizarre. “There’s a little bit of Queen in one of the songs; there’s a bit of Bowie, which I always knew was there and there’s a bit of Rocky Horror Picture Show in there as well, which is bizarre. The actual songs, I don’t know how I wrote them. Now when I look at them, there are a few, especially songs like Oh, that are just really gorgeous songs… I know what the words are about and whatnot but I just don’t know how it all came into being and into place. It’s really lovely and it’s got a weird structure that just kind of weaves you around.” WHO: Liz Martin WHEN & WHERE: Friday 18 May, Lass O’Gowrie, Newcastle; Saturday 19, Notes; Thursday 31, Yours & Owls, Wollongong; Friday 1 June, Front Gallery, Canberra
Singer Jess Harlen has released her second album Park Yard slang, and despite some setbacks, it’s truly the little album that could. She speaks to Aleksia Barron.
n 2008, the Sydney Festival included a tribute to the legacy of The Triffids and in Perth, a passionate young fan, 16 and still at school, desperately wanted to see it.
“He was playing guitar – he played drums in one song as well – but the idea was already suggested before we actually met by James Paterson. He heard our EP, really dug it and knew Ricky through working with The Triffids and knew he was getting into production and put it forward, which sounded great to us ‘cause, you know, we’re pretty new to everything and needed some direction and a guy who knows what he’s doing is pretty handy!
Martin worked with bass player David Symes on her album released last year Dance A Little, Live A Little, which proved to be quite a departure from her previous two more introspective yet electronicbased albums, with the songs recorded more organically with various jazz and folk musicians.
PARK YARD POZIBLITIES
It began with a passion for The Triffids and for The Morning Night it’s led to a Ricky Maymi-produced debut album. The band’s Adrian Hoffman tells Michael Smith the story.
And that’s how Hoffman became the youngest singer to sing in a Triffids tribute concert, at the 2009 Perth International Arts Festival. Meanwhile, he’d recorded an EP, Decide What You Want, with his band The Morning Night. It was on that show that he met Brian Jonestown Massacre’s Ricky Maymi, who has since produced the band’s debut album, Otis.
“We’ve been doing lots of gigs around Sydney,” she begins, “but we received a [Contemporary Music Touring] grant to go on tour. It’s pretty exciting; I’ve only done a couple of gigs in Melbourne, Byron and Brisbane I think – that’s been about the extent of any touring.”
“I saw her recently at the Mullumbimby Festival playing with Sal Kimber when we were up there and she’s awesome. So it’s a really chick-heavy band and sounds great.” Having gigged the album, primarily around Sydney, for a year now, Martin has seen the songs evolve as she’s grown into them.
DREAM RUN
“I flew over to Sydney with my parents,” singer, guitarist and songwriter with The Morning Night, Adrian Hoffman remembers. “On the last night we met the band, ‘cause they hung out in the bar and everything, so we started a little bit of a relationship there. I actually emailed one of the guys that played with them, [guitarist] James Paterson, who actually co-wrote some songs with [late Triffids frontman] David McComb and just said, ‘Look, I really loved it’. He was kind of intrigued in me ‘cause I was pretty young and said, ‘Do you play in a band?’ And I sent him some stuff and he loved it and got onto [Triffids pedal steel player] Graham Lee and said, ‘We should get this guy to sing for us in Perth’.”
S
inger/songwriter Liz Martin is sitting at Sydney airport waiting to fly up to the Gold Coast for the start of a tour that will take her all the way down to Tasmania and, even before her first caffeine hit of the day, she’s sounding pretty chirpy.
taken a few to get through everything, but we kind of got a fast-tracking after we met him.” There was a bonus, too, in that Maymi had been recording with Steve Kilbey of the church in their project under the pseudonym David Neil, The Wilderness Years. Kilbey was also a featured singer at that Triffids tribute. “The church are a massive influence,” Hoffman admits. “I was fortunate enough as well to meet Steve at the Triffids thing and we became friends as well and when Ricky and Steve toured the David Neil album, I got to play bass for them and we did a little CD as well. That was another selling point wanting to work with Ricky. Steve Kilbey is like a god to us.” The album is very much a “guitar” album, all churning guitars in a very ‘80s shoegaze-y kind of way. “Ricky Maymi kind of exposed us to that. He really brought that to the album, which was cool and we loved it and wanted to do more and more of it,” Hoffman admits with a laugh. “So that was definitely his influence and we’ve embedded it into our style now.” It’s obvious, however, that the primary influence on The Morning Night is that shimmering guitar pop of the ‘80s created by The Triffids, the church and The Go-Betweens. “I guess it’s the uniqueness of it,” Hoffmann explains the appeal. “Even though it’s old, it sounds so fresh to me. It’s nothing like anything I’ve heard before – it had emotion and rawness and realness to me.” WHO: The Morning Night WHAT: Otis (Walking Horse/MGM) WHEN & WHERE: Sunday 20 May, The Vanguard
The genre-bending Park Yard Slang is a testament to Harlen’s willingness to experiment with musical styles and sounds, and she credits a large part of that development to a change in her songwriting process. “Neon Heartache was a really organic album where I’d written the songs acoustically on guitar, and then took them to a production level,” she says, explaining her songwriting technique for her debut record. “In that process, [Plutonic and I] discovered other ways that we wrote well together, like the track I Go – that was an in-studio collaboration.” Harlen enjoyed the collaborative aspect of this process, and decided to integrate it further when writing tracks for Park Yard Slang. “We decided to do the second album, which we started immediately, in a similar vein, which is why it’s a little bit more beat-based.” It was certainly a departure from the more acoustic writing style Harlen employed on Neon Heartache. “Some days we would just start with a particular tempo – we would listen to another track, get a feel and a tempo and lay down some kind of rhythm, and then we’d work melodically and harmonically on them,” explains Harlen. “It was pretty relaxed. We were never afraid to crack open a couple of beers to help things along.” She still takes credit for every lyric penned on Park Yard Slang though – that’s all her. “That’s all my silly brain spilling things out, trying to catch them on the way out so it doesn’t make too much of a mess,” she laughs. For all that effort, though, there were times when Harlen was all but convinced that Park Yard Slang would never be completed, much less released. Scheduling conflicts between herself and Plutonic Lab meant that what should have only been days of work on the album took far, far longer. “We found it hard completing the
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album,” she admits. “It got to the stage where there were just some finishing touches needed to complete it, but we were never on the same page at the same time, and that just stretched out for months.” Even when the work was completed, there was a final hurdle standing between Park Yard Slang and its release. “It was ready to be mastered but I didn’t have the $1400 to pay for it, so that put another delay on things,” says Harlen. She was about $1000 short. With few options left, she turned to her fan base, and put up a pozible.com project, asking for the money to complete the mastering of the album. “I thought maybe somebody might be willing to help out,” she says, acknowledging that she was at the point of desperation. What amazed Harlen was that everyone came through. “It just went nuts,” she says. “We ended up raising four and a half grand in seven days.” From the outset, it became clear that Harlen’s fans were willing to pull together to get her over the line. “The first donation was $10,” she recalls. “I’d posted the link on Facebook and I really didn’t think we were going to make it, you know what I mean?” However, within a couple of minutes, $10 had been donated – by a stranger. “I went and had a look and I didn’t even know this person. It wasn’t a friend or a housemate or my mum. It was a total random supporter. They believed in this!” From there, the love just kept on flowing. “Within an hour we were up to $700. In that moment, I cried. I’d been feeling pretty down so that totally lifted my spirits. Having that belief in your music is the most affirming thing.” To Harlen, it’s a powerful validation of her music, and an extra source of her pride in Park Yard Slang. WHO: Jess Harlen WHAT: Park Yard Slang (Obese) WHEN & WHERE: Thursday 17 May, Notes
OUT OF CONTROL
TAKING THE MICKEY Six years after his debut album, Mickey Avalon has finally released follow-up album Loaded. As he prepares to tour Australia for the fifth time in as many years, Avalon explains the delay to an attentive Matt O’Neill.
M
ickey Avalon is an idiosyncratic rapper. Heavily commercial in both his musical approach and his lyrical topics, Avalon nevertheless seems to exist apart from the majority of rap and hip hop. Whereas many of his peers would concede that entertainment plays a significant role in their work, Avalon is perhaps one of only a few rappers who would consider themselves an actual entertainer. The rapper’s performances are notoriously flamboyant. His music is riddled with tales of drugs, sex, liquor and related debaucheries. Yet, aged thirty-six with a longterm partner and a child, Avalon’s life doesn’t really correlate. His work is grounded in truth (his younger years include time as a prostitute, thief and drug dealer) but it largely seems geared to entertain, more than anything else. “I think everyone’s stage persona would be different from their day-to-day life,” the MC muses pragmatically. “I mean, if nothing else, you’re performing. It’s not like you’re playing a different character but it’s a different kind of way to present yourself. Besides that, though, when you’re on stage you interact with people very differently to how you interact in everyday life.
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on the iPad
“When you interact with people, it’s a give-and-take relation. When you’re on stage, you’re performing a specific task. You’re working,” Avalon elaborates. “If I didn’t give it all my energy, my show wouldn’t be any fun for people. If I gave that same amount of energy into my real life, I think I’d end up as some schizophrenic freak or something.” It’s Avalon’s attitude to his new album that really reveals his priorities. Arriving six years after his selftitled debut album, Loaded was completed in 2009 but had to wait in the wings while Avalon sorted
DEMOCRACY WASN’T ALWAYS THE NORM FOR GERMAN PROGRESSIVE/POST-METAL TROUPE THE OCEAN, BUT GUITARIST ROBIN STAPS TELLS BRENDAN CRABB HE’S ENJOYING THE COLLABORATIVE SPIRIT AS THEY WADE THROUGH THEIR NEXT ALBUM.
out his relationship with labels and management. His main concern in all that time, however? The lack of new material in his live show.
A
n ambitious band since their 2000 formation, The Ocean took their experimentation to new heights via grandiose companion albums Heliocentric and Anthropocentric in 2010. After enlisting some new members, this marked a significant shift in the German collective’s songwriting. “It’s a very intimate, introverted approach,” founding guitarist Robin Staps explains. “I used to write everything myself, up until Heliocentric included, and only with Anthropocentric the other guys have been involved in the writing, contributing their own songs.
“That was the biggest thing that sucked about it taking so long to get an album out, yeah,” the MC confirms. “I could still go out and play but I couldn’t really put a proper tour together without a new record. Promoters don’t want to book a tour without a new album to support it. So, now that it’s done, I’m just touring everywhere. “A large chunk of it had been done since 2009. It was just politics, really. My last label owned a lot of my music, for example,” he says of the delay. “It’s okay though, I still think those songs sound as great now as they did back then. I’m not saying I’m ahead of my time or timeless or anything like that, but I don’t think my music’s ever been tied to any specific trend. It is what it is.” The record itself, meanwhile, is representative of those priorities. Much like Avalon’s legendary live show, Loaded is fantastical, over-the-top, fun and entertaining. It’s not a showcase of skill or ego or credentials. It’s a showcase of Avalon’s determination to both enjoy his life and allow his followers to enjoy theirs. “I didn’t feel much pressure to follow up my first album. I just want to make something that’s mine that I like,” he says matter-of-factly. “I’ve been playing out different songs in my live shows for the past couple of years, so I got a good ear for what worked with people and what didn’t. I just want to be able to keep doing what I’m doing, really. WHO: Mickey Avalon WHAT: Loaded (Suburban Noize/Shock) WHEN & WHERE: Thursday 17 May, Fanny’s, Newcastle; Friday 18, The Hi-Fi
“[If] Jona [Nido, guitars] writes a song, then that’s his song. He comes up with the complete arrangement, all the guitar parts and works on the drums with Luc [Hess] usually. Then they present the song to the rest of the band. I do the same thing. Then we start rehearsing, changing certain parts or seeing if it works in a live environment. If it doesn’t, we’re changing certain arrangements. But the initial ideas are contributed by one person. We’re not really the kind of band that jams together in the rehearsal room; it’s more of a classical songwriting approach. For the music we’re writing it could only really be this way because it’s usually fairly long and intricate compositions, with string arrangements and everything. That’s just something you don’t do spontaneously in a room.” How was the experience of allowing others to take the creative reins? “At first it was not easy for me letting go, because I was so used to doing everything myself and that’s very comfortable. If you have people contributing their own parts that means some sort of compromise. But it is a big relief because the people I play with nowadays do write music and whatever they write is just really what I was always looking for. I don’t have to tell them, ‘Can you play it like that, or try something else as that doesn’t work?’ It’s usually the case that whatever they contribute is just awesome and better than anything I
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could have conceived of, not being a drummer or bass player myself. They were pushing for it of course… ‘We don’t want to just play your songs for the rest of our life’. And fair enough, of course I understand that.” This joint approach has extended to their next record, which Staps sheds some light on. “It’s going to be out next March/April most likely. It’s a different approach. It’s going to be one continuous piece of music that was written in one piece and designed to be listened to in one piece. So in that way it’s different from the more song-based approach of the previous albums. It’s a pretty heavy album; there’s no piano ballads,” he laughs. “It’s a bit more in the vein of (2007’s) Precambrian, but with the new line-up and a more progressive approach to writing. It’s going to be a concept album again, but it’s not going to be so much of a nerdy, intellectual theme as these last few albums. It’s going to be much more of an emotional, personal approach compared to the more philosophical approach on the past few albums.” The band will take a rare break from the studio and working on a new DVD in 2012 to make their maiden voyage to Australia. Intriguingly, second shows in Sydney and Melbourne will feature performances from side projects Kunz, Coilguns and possibly Staps DJing, followed by an Ocean set containing different material from the first show. “I’m looking forward to the shows,” Staps says. “I don’t really know about what kind of standing we have down there. We’ve had a lot of orders in our web shop from Australians over the WHO: The Ocean WHEN & WHERE: Tuesday 22 May, Green Room, Canberra; Wednesday 23, Annandale Hotel
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HEAPS OF SONGS SOUNDTRACKING LIVES I Gary Calamar, the music supervisor on shows such as True Blood, House, and Six Feet Under, chats to Sam Hobson about his hand in an iconic TV finale and where his love of music began.
British folktronica songstress Imogen Heap reveals to Liz Galinovic just how boundless making music can be.
mogen Heap looks mildly disappointed about the performance she will be giving at Song Summit and Vivid LIVE. Not because she’s turning away from live performance or music or because she just doesn’t like Sydney. The disappointment comes from the fact that she won’t be using her gloves. Since the young Brit began releasing albums in the late ‘90s she’s been an innovator. Her ‘pop’ songs have rarely stuck to pop’s guidelines; her range is broad and alternative, her production more and more artistic as she developed as an artist. And while the list of examples showcasing this tireless exploration of sound is extensive, one of the most recent is a pair of gloves. If you’re not technical, you won’t get it. Even if you watch it on YouTube you still probably won’t understand how it works. Rather than the strumming of a chord, the banging of a drum, or, as in the case of this electronic artist, the pressing of a button, Heap’s gloved hands make the music with a gliding wave, or an opening and closing of the fingers. “I wanted to develop this new performance that I do, [like a] studio set up,” an animated Heap explains.
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ou hear you’re going to be speaking to the guy who chose the music for Six Feet Under and you know you have to ask him about that Sia song. Though the moratorium on spoiling the show’s finale has long ended, for the sake of those who’re missing out on an incredible thing still, I’ll try to just hint around it. The end of Six Feet Under completes itself in the most final, far-reaching way possible. It ties everything up in such a way that, even though the show no longer continues, you still know what its characters are doing. What made it doubly great, was the fact that it was scored by this devastating, unforgettable heartbreak of a track called Breathe Me, by a then relatively unknown artist named Sia Furler. It was a song that would jet-set her popularity into the stratosphere and elevate the finale of Six Feet Under into the upper echelons of television history. Enter Gary Calamar, the man who glued gold and magic to make both things richer for their joining; the architect of this perfect, earned-and-fitting mega-catharsis that put an end to five seasons of phenomenal television. When we finally speak, he’s deep in work on the music for the new season of True Blood, picking songs and negotiating a new soundtrack deal. But, before he found Alan Ball, the show’s creator (and also creator of Six Feet Under), and before he landed the Music Supervisor job, there was simply the music. “I’ve been a real music geek since the time I saw The Beatles on Ed Sullivan, back in 1964,” Calamar recalls fondly. “Really, I just kind’ve ran with it from there. I was a major music fan: I went to concerts, managed bands and eventually I worked in a lot of record stores – just doing whatever I could to get free tickets, free albums and keep my obsession going.” From there, he began volunteer work at the prestigious KCRW radio station in Santa Monica and now has his own show. His first film work was on Slums Of Beverly Hills, his soundtrack for Varsity Blues went gold, and he’s since been nominated for five Grammys. Pressed for the real story on what it’s like to be a Music Supervisor – What about all the politicking with show-runners and record companies? What about The Great Songs That Got Away? – Calamar genuinely struggles to find a complaint. “Sure, there’s a lot of politicking just to get your voice heard within the production,” he admits. “But generally we can clear most songs. Ninety-five per cent that we’re trying to clear are [usually] clearable.” So, as it has been threatening from the outset to do, talk turns to Sia, and to Six Feet Under. “As a matter of fact,” he jokes, obviously asked about it a lot, “we’re working now to have that song play out of my tombstone, after I die, so when people walk by it’ll trigger the switch and the song will start. “It was the perfect situation for a music supervisor, really, as it’s rare to have a song play in a scene [in its entirety] – the stars just aligned. Alan loved it… and it’s easily my favourite [pick].” WHAT: Gary Calamar WHEN & WHERE: Saturday 26 to Monday 28 May, Song Summit (keynote speaker) 52 • THE DRUM MEDIA
“So that instead of pressing the chord, as a basic example, instead of pressing the chord on my looper on stage,” with a bland expression she presses an imaginary button, “which isn’t very exciting on stage, so instead of pressing my looper and looping my voice or the drums or whatever I’m looping, I can just go like this – ” Heap brings her closed fingers to her lips and lightly blows them open. “This gesture is the same as me doing that [pressing the imaginary button] but it’s mapped to a glove. So I can sing something,” She lets out a few da-da-da’s, “and it will be like,” she gracefully waves her hand around in the air, “and the audience will be like, ‘Oh, she just caught that and now it’s repeating.’ “It looks like I’m moving along a piece of audio. I’m not, it’s in the computer, but it looks like it and in my brain it feels like it. I wanted to humanise the tech side of what’s on stage and also to be able to interact when I’m creating music, to be able
to play the drums with my hands in the air and move this sound over there and make it bigger.” Sonically and visually impressive, the gloves involve a lot of backstage set-up. There isn’t anybody backstage doing anything, just a lot of computers and amplifiers and a wireless rack. Which is why she will be performing six of the completed tracks from her upcoming album, Heapsongs, on the piano, accompanied by the film clips she has made to go with them. And while the performance will be sans the sci-fi hand-work, it will be no less an impressive performance because the Heapsongs are just another example of this innovative musician’s immense talent. “Basically at the end of the last record I said to myself, ‘I’m never making another record like that again’ - all in one space, on my own, underground, in my house, not speaking to my family or friends basically for a year, making a record. It’s not how I wanted to continue living my life or my relationship with music. Even though I liked the record at the end of it and I liked the songs I feel like my social life, my family life, my love life all gets put on hold and I don’t progress in those areas of my life. So I wanted to find a way to integrate all the things in my life, getting more creative, doing other projects, not just music.” Her first move for the first track – Lifeline – was to involve her fans. On a particular day throughout specified time-slots, fans were invited to send her sound clips. “Whatever they wanted,” she says, “could be people chatting, scratching your knee, opening a dishwasher door, sampling the London underground tube stations… I got 900 sounds from all over the planet. And then from these I would turn that into the core of the song’s music, like a slinky going down a staircase would become the rhythm, or my brother, who on that day his wife gave birth to Robin, my first niece, and her heartbeat matched perfectly with a slinky going down the staircase. So that for me was the confirmation that it was the correct tempo.” Heapsongs has taken Heap to various places around the world where she has become involved in a variety of projects like reviving an historical garden in her home-village, being a part of an Indian television program, and filming and sampling residents of Hangzhou performing their day to day activities. Every project results in a song, as well as film clips
and making-of documentaries, and these are just a few examples; Heap has a lot to share with her fans and the aspiring artists who will be coming to hear her speak at this year’s APRA Song Summit. “I forgot for a long time that you should have fun. And often when you have fun, other people have fun. And there’s no better way to get other people involved in projects. In the past it was never limited because I always wrote my own stuff and produced my own stuff so I was never waiting around for other people to do things for me; it’s hard enough to finish a record than [when you’re] having to wait around for ten other people. I think the tighter you can keep it in the beginning, as much as you can do yourself in the beginning, to kind of get it going and find your own voice, the better. “And I would say don’t even think about doing it unless you really loved it because it’s bloody hard work. You never get any sleep, you never see your family. If you want to do it because you want to get famous, don’t bother. You will be very unhappy and it’s unlikely you will get famous. But if you’re doing it for the right reasons and you can’t do anything else and you’re completely compelled to do it, then find what it is that other people can’t do and focus on that.” WHO: Imogen Heap WHEN & WHERE: Saturday 26 and Sunday 27 May, Song Summit, Sydney Convention And Exhibition Centre; Tuesday 29, Northern Foyer, Sydney Opera House Concert Hall
THIRD TIME’S A CHARM Song Summit returns for its thrid incarnation bigger and better than ever. Yet, with a question over future funding, where does that leave it? APRA’s Sally Howland outlines past, present and future to Liz Giuffre.
T
he biannual APRA|AMCOS Song Summit has become an essential industry event for local professional and aspiring songwriters. The event provides a place to network, gain invaluable industry advice, guidance and, perhaps most importantly, share and strengthen a sense of community for an otherwise very dispersed and varied industry. However Sound Summit as it currently stands is only being supported under its current financial model for this third and final 2012 incarnation, with organisers left to their own devices after the upcoming event that runs from Saturday 26 to Monday 28 May at the Sydney Convention Centre. “Because this is the last year of funding, we will have to do to a bit of navel gazing [when it’s completed] and we’ll have to assess the success of the event and how much we invest in it. And ultimately that will be a board discussion,” explains Sally Howland, APRA’s Director of Member Services and Executive Producer of Song Summit. “But I think it would be fair to say that ultimately in terms of APRA’s investment in the event they have to – and it’s their responsibility – to decide if they want to continue to do it.” Howland adds, however, that a review process has been typical over the life of the previous Summits too. “After each event we’ve always assessed in terms of how successful it was and whether it needs fine tuning. Look, I think it’s got a long life, but we will definitely need a partner.” While the event has been funded at a State Government level to date, questions of who – and where – such support should be provided are now being raised. Howland is clear that, in the first instance, she would like to see continued support from the NSW public purse; they currently have a three-event deal with Destination NSW, which has allowed Song Summit 2008, 2010 and now 2012 to be presented “under the ‘Vivid’ banner”. However, given the potential cultural and financial rewards for Australians beyond this state, perhaps responsibility should fall to Prime Minister Julia Gillard and her mob. “Can we ask Julia for money?
Well it’s timely in the context of Mr [Simon] Crean [Minister For The Arts] working up the National Cultural Policy. At APRA we’ve got one of our key issues up at the moment, the Australian content issue and I see that the Convergence Review came out recently and they’re retaining content quotas… so pretty good results. But also in other areas we don’t think sufficient attention is paid to creating new Australian repertoire and so that should definitely be a plank in the National Cultural Policy. And an obvious investment for the government would be in Song Summit.” Song Summit as it stands offers three days of services and opportunities including mentoring, workshopping, networking, industrial advice and general community engagement. “One of the really nice things is that [sharing] happens organically. If you stick a bunch of like-minded people in the same space for a few days, there’s a wonderful sense of community and generosity that occurs. And that was really obvious to us in 2010; you can’t really design a program to make that happen. But one of the key elements is the generosity of our speakers. They give up their time and they’re in it for the right reasons, because they want to contribute. And a lot of our speakers have said, ‘If there was an event like this when I was starting out it would have been fantastic,’ so they can see it from their own career path if you like. Because everyone just muddles through, if you like, so we’re trying to provide a bit of context and give people access to all those elements that contribute to making a career in music. And we want to build something that provides access to our members to help them.” This year’s event includes a songwriting workshop by international darling Gotye, fresh from his US #1 Billboard spot with Somebody That I Used To Know, as well as keynote speeches from Neil Finn, Missy Higgins, Imogen Heap and Steve Cropper, plus panels including local broadcasters, commentators and other industry big wigs. It’s also split into sections to target industry branches like “screen summit”, “publisher summit” and “song summit live”, aiming to provide as much guidance as possible. “The question we always ask ourselves when we get approached by marketers or spruikers or other people involved in the music business is, ‘Is it in the best interest of our members?’” says Howland. “We’re very much standalone [from other music education resources like private and uni courses] and we’re very much conscious of our pricing and we didn’t put it up from 2008 to 2010, but we have put the tickets up $10
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or $20 this time around, but we think it’s still accessible and it has to be, otherwise what’s the point of doing it? But the thing we can offer our members is a buy now, pay later scheme, so if you’re a member but you don’t want to pay up front, you can still get a ticket but we’ll take the cost out of your royalty returns and that’s a pretty popular means of payment for our members. And we’re in a pretty unique position to be able to do that, because we manage the royalty stream for them.” While the event is no doubt useful for the local market, if only in terms of creating community and a good opportunity to share notes, contacts and ideas, measuring the success and sustainability of such an event is something Howland and her team are also keen to keep on top of leading up to it. Like the creatives in the industry, the organisations that support them also need to be able to make and maintain enough money to keep them in beer and skittles. “One is financial measurement, so how much are we prepared to invest? And that’s really a comfort factor. But probably the most telling thing is really what sort of reach we’re having with our members. So if we did this event and had 100 members buy tickets, then you’d go, ‘Are we really meeting the market? Why would you do it?’ But when you get 1200 people come along, well, we’re obviously doing something right and we’ve got some traction in the business and with the membership. But at the end of the day we’ve got to make sure that we manage it financially in a responsible way.”
SPEAKING ABOUT SONGS
In the lead up to Song Summit, we grabbed a few of the speakers and those doing songwriting and coaching during the event to share their insights on the unique process that is songwriting.
SARAH MCLEOD
MAHALIA BARNES ADALITA Where do you find inspiration for your songwriting? From my own life. Things I may be going through. Relationships. I find inspiration from people that become a muse to me. Sometimes dreams can provide great images. News stories. After you have written a song, do you go back and alter it much or do you prefer to leave it as it was originally written? I usually leave most of it intact, but I do like to go back over it and try and tighten it up a bit. So I’ll try and only keep the most essential parts of the song and make sure it doesn’t drag on or waffle on too much.
Where do you find inspiration for your songwriting? I really like writing about things I have experienced myself, or things I see around me. I am inspired by my family, friends, and especially my daughter Ruby and husband Ben. After you have written a song, do you go back and alter it much or do you prefer to leave it as it was originally written? It really depends, if the song is great as it is, no need to change it... However I like to play my new songs on gigs and they always evolve slightly! I try not to be too precious about it.
Does inspiration come easy for you when writing a song, or do you really have to work at crafting it? Mostly I feel inspired and occasionally a song will write itself. But on the whole I usually have to put in long hours to get songs down and keep shaping them through trial and error.
Does inspiration come easy for you when writing a song, or do you really have to work at crafting it? It depends on the day for me! I’m not the best at sitting down and writing just because I have to. I personally feel it is better to walk away and come back to it if it’s not happening naturally, but I have a lot of respect for writers who can just always write on call. When I do start writing though, I tend to get on a roll and get lots of songs done really quickly!
Did you have the chance to attend any conferences such as Song Summit when you were an up and coming artist? If so, what did you gain from such an experience? Well no. This is my first Song Summit. But my support, when I was starting out, came from my friends and the local music scene. Luckily I had access to an extremely flourishing music scene in my hometown of Geelong in the late ‘80s and most of the ‘90s so it was incredibly exciting time to be a young musician. Lots of opportunities and acceptance.
Did you have the chance to attend any conferences such as Song Summit when you were an up and coming artist? If so, what did you gain from such an experience? I still see myself as an up and coming artist in many ways, so I’m pretty excited to be part of this song summit. I haven’t actually attended one before. I can imagine it would be a great opportunity to connect with other writers and hear all the different opinions. I don’t see how you could not walk away from something like that with something positive!
Where do you find inspiration for your songwriting? Different melodies and rhythms kinda just pop into my head at all sorts of inappropriate moments, it’s usually triggered by a record I would’ve heard somewhere along the way and its manifested itself into something else and then snuck back in my brain in order to keep me awake at night. After you have written a song, do you go back and alter it much or do you prefer to leave it as it was originally written? I’m the worst at this... I niggle at it for ages... Sometimes I over-niggle and then when I go back I realize it was better before. Six out of ten times it was better before but there’s that 40 percent chance that the extra attention delivers magic. So, as I’m a slave to my craft, I keep going just in case. Does inspiration come easy for you when writing a song, or do you really have to work at crafting it? Some songs come easily and some don’t. Obviously I love the ones that come easily, I can’t hear the labour in it when I listen back and that’s a joy. Others however you have to work very hard for. Did you have the chance to attend any conferences such as Song Summit when you were an up and coming artist? If so, what did you gain from such an experience? I’ve never been to one no, but I’ll never forget seeing a workshop that Billy Joel did at a university somewhere in the States. I stumbled upon it on TV one day. He sat at his piano and broke his songs down into different parts and explained the stories behind them. It made me wanna be a better songwriter. It was the most inspiring thing I’d ever seen.
FRIDAY 25 MAY
SATURDAY 26 MAY Song Summit 2012
Imogen Heap appears at Song Summit courtesy of PRS
SUNDAY 27 MAY Song Summit 2012 ‘In Conversation’ 9.30–10.30am Arnthor Birgisson (with Richard Wilkins) Arnthor Birgisson is a Swedish songwriter and producer who has written hits for stars such as Ronan Keating, Jennifer Lopez, Jessica Simpson, Janet Jackson, Samantha Mumba, Celine Dion, Enrique Iglesias, Shayne Ward and Westlife. ‘In Conversation’ 11.00am Kev Carmody (with Brendan Fletcher) National songwriting treasure Kev Carmody will appear ‘In Conversation’ at Song Summit. Kev is highly respected as an advocate of Aboriginal and Torres Strait Islander Australia’s oral tradition of teaching and learning through storytelling. Considering himself a “conduit of stories”, Kev has collaborated with many Australian music icons, including Paul Kelly, with whom he wrote From Little Things, Big Things Grow, a song about the 1966 Gurindji strike.
After you have written a song, do you go back and alter it much or do you prefer to leave it as it was originally written? That really depends on whether I’m happy with it or not. If it comes out fully formed, like some songs do, then I just leave them alone. But some songs take weeks, months, even years to reveal themselves. Damn them. Does inspiration come easy for you when writing a song, or do you really have to work at crafting it? The initial inspiration is usually the easy part - a lyric, a musical phrase - and that can strike anywhere. In the supermarket, on a plane. Getting a fully formed song out of that is where the work comes in. Did you have the chance to attend any conferences such as Song Summit when you were an up and coming artist? If so, what did you gain from such an experience? Absolutely, I went to lots of music conferences and the like. I was hungry for information first off, but I also really enjoyed meeting other artists in my position. It made me feel less bonkers for pursuing such a difficult career.
A Case Study 1.30–2.30pm The road to success: A Case Study. Featuring: The Jezabels Adam Lewis; Millie Millgate (Moderator); Dave Batty For some artists, international success builds before their local presence. This panel will look at the rise of The Jezabels, from band competition to involvement in International music markets and the people who supported and promoted the band globally to this point.
‘In Conversation’ Sydney Convention & Exhibition Centre 10.00am–11.00am Imogen Heap (with Richard Glover) Imogen Heap is an eclectic, eccentric and innovative British musician considered by many as the epitome of a digital diva. She blurs the boundaries between pure artforms and creative entrepreneurship and uses her knowledge of the web and social networking to communicate and collaborate with her loyal following in pioneering ways.
Song Summit Live Featuring live performances by Megan Washington, Catherine Britt and Owl Eyes.
Where do you find inspiration for your songwriting? From my life. Characters I meet, stories I hear, lousy boyfriends who break my heart.
‘In Conversation’ 11.45am Joel Madden Currently appearing on The Voice as a coach, Good Charlotte frontman and accomplished songwriter Joel wants to share his experiences as a songwriter with an audience of his peers at Song Summit. Part of Good Charlotte, they have sold more than 10 million albums worldwide and are best known for the singles Lifestyles of the Rich and Famous and I Don’t Wanna Be In Love (Dance Floor Anthem), which catapulted the band to global recognition in 2003.
Backstage Pass 9.30–4.30pm at AIM Music and music industry workshops for primary and secondary school students led by Josh Pyke, Jake Stone, Tim Levinson, Erana Clarke, Peter Northcote and MORE!
‘In Conversation’ 4.15pm–5.15pm Gary Calamar (with Marc Fennell) Gary Calamar is the leading music supervisor of our generation and the process of selecting the musical excerpts to fit each moment is as intricate as it is astounding. Essentially, Gary’s unique talent is what one might call “shapeshifting”. Gary is considered both a genuine chameleon of the music placement and, at the same time, one of its wise veterans.
TAASHA COATES (THE AUDREYS)
APRA | AMCOS’s Song Summit is a threeday creative, business-development and networking expo designed to provide local songwriters with educational support as well as networking and business opportunities to help further their musical careers. Song Summit includes live performances by international and local talent as well as workshops, conferences, performance and networking opportunities. The event features workshops which will be led by the likes of Wally De Backer, Adalita, Mahalia Barnes, Megan Washington, Kevin Mitchell, Kav Temperley, P Money, Catherine Britt and many, many MORE.
2012 Song Summit Tickets One Day
Three Day
Non-Member
$250
$440
Member
$190
$340
$120
$210
Student U18 Student
$140
For the complete Song Summit program go to:
www.songsummit.com.au/program themusic.com.au
‘In Conversation’ 4.15–5.15pm Steve ‘The Colonel’ Cropper (with Guy Sebastian) Steve Cropper is a genuine musical living legend and songwriting genius. An original member of the Blues Brothers Band, Steve has co-written smash hits such as Green Onions, Knock On Wood, In The Midnight Hour, 6345789 and the legendary (Sittin’ On) The Dock Of The Bay with friend Otis Redding. As a producer he has also worked with renowned artists as Wilson Picket, Eddie Floyd, Tower of Power, Poco, John Prine and Otis Redding. Steve Cropper appears at Song Summit courtesy of BMI
Song Summit Live Featuring live performances by: Imogen Heap, San Cisco and Egos Lemos
MONDAY 28 MAY ‘In Conversation’ 11.00am Missy Higgins (with Lindsay McDougall) One of Australia’s most accomplished singer/songwriters will join Song Summit to discuss her extraordinary career to date. After selling over a million albums and touring the world performing much loved songs like Scar, Steer and The Special Two, Missy privately decided to turn her back on music. This extraordinary decision wasn’t made on a whim. In 2007 she’d released her second album On A Clear Night in Australia to critical raves and more ARIA Awards. After a hiatus Missy Higgins returns with a hugely anticipated third album The Ol’ Razzle Dazzle released in June. ‘In Conversation’ 2.30pm Neil Finn (with Bernard Zuel) Neil Finn exclusively joins us to present The Sun Came Out, an intimate documentary film that provides insight into what he describes as, “the most extraordinary musical experience,” of his life.
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SINGLES/EPS WITH ROSS CLELLAND
BLACKCHORDS
ON THE RECORD
Dance Dance Dance Independent The drum pattern has the insistence of something programmed in Manchester around 1982. The voices and echoes float above it, weighty with doubts and second thoughts. It runs full speed for the corner before bouncing back across to the opposite wall. But the chorus is hook-laden and pop of high (new?) order. The dance is spastic and troubled, but the howl at the moon is sincere. An Augie March disco mix? It’s quite wondrous, even if the film-theme B-side sounds a little too Radiohead for anyone’s good. Particularly theirs.
VARIOUS/ALISON WONDERLAND
COLD SPECKS
ERIC PRYDZ
Welcome To Wonderland
Mute/EMI
Virgin/EMI
Time Spent In Los Angeles
EMI
Indochine/Warner
Alison Wonderland was the crowd favourite when she stepped up to the decks at the final of EMI’s She Can DJ talent scouting program in 2011, so few were surprised when she was offered a contract despite not taking out the major prize. The Sydney DJ’s flair for leaping across genres points to a production career which will be well worth following, but first up is the Welcome To Wonderland mix – a showcase for her genre-hopping talents, but which never quite gets your jaw dropping like you know it could.
The mysterious Cold Specks (aka Al Spx) has emerged from a fuzzy background of self-taught music in Toronto to deliver her mesmerising debut, I Predict A Graceful Expulsion. The 11-track album was conceived under a variety of other pseudonyms, including The Hotel Ghost and Basket Of Figs, but her current embodiment as Cold Specks seems to be working, with this release being visibly nurtured and arranged to bring out her raw talent and spectacular lyricism, self described as “doom soul”.
For a while there, Eric Prydz could barely look in the general direction of a recording studio without turning out a dancefloor smasher under his Pryda moniker: gargantuan 15-minuter Aftermath was the bomb du jour of late 2005, Frankfurt presented more of the same in 2006, and by the time Pjanoo brought the pianos in 2008 the Pryda name was so bankable most were willing to forgive both the cheese-tastic Steve Winwood-sampling Call On Me and his fear of jumping on a plane to Australia to flaunt his wares.
DAWES With you consumers messing with the way record companies have to deal with music, they’ve got to take any opportunity. Dawes – ‘an American rock’n’roll band’, as they have it – garnered good notices on their recent Bluesfest visit (support spots to My Morning Jacket not hurting either). To further your enthusiasm, you can now get both their albums in the one shot. This is a good example of their style – a melancholy drive either around a cloverleaf or out towards the plains, with notably empty passenger seat.
I Predict A Graceful Expulsion
Eric Prydz Presents Pryda
Kris Swales
While the album is undoubtedly gloomy, Spx’s vocal restraint and subtlety keep her often-macabre lyrics stunningly beautiful. Opener, The Mark is a skeletal arrangement of acoustic guitar and sorrowful strings as Spx croons to us “Take my body home”. This nuanced minimalism is followed in Winter Solstice, before opening out into a rousing, chaingang rhythm, beautifully harmonised by sonorous backing vocals and steady, thumping drums. Her vocals progress from sweet intimacy - “I saw your grandfather’s death on the news” - to smoky, defiant and persuasive; “Sons and daughters/I put my hand over my chest”. Elephant Head, where the title of the album originates, shows us Spx’s vocal power as she effortlessly moves between sparse verses and sweeping orchestral choruses, always remaining centred within the sound and expressing her conviction and quiet confidence. While Elephant Head is a high point of the album, you remain entranced until the very end, with the finale, Lay Me Down, confirming Spx’s death obsession, but reminding us that while the album may be morose, it refreshingly avoids self-indulgence or transparency. Instead, I Predict A Graceful Expulsion is an honest, inspiring and surprisingly spiritual album, laden with spellbinding arrangements that harness her potency and haunting talent.
Oh, it’s more retro soul you want? All beehives, bangs, bee-sting lips and girl group calland-response – this is the business. When doing something so obviously owing its debt to somewhere around 1962, the danger is coming across merely like a cabaret novelty act. But when the band kicks in – particularly that just damn perfect honking sax line – and Ms Browne’s own sweatin’ and bleedin’ and breakin’ heart’s in that groove you don’t really care, and certainly wouldn’t mind finding that correspondence in your mailbox.
TENACIOUS D
BEST COAST
GOSSIP
RAPIDS
Sony
Popfrenzy
Sony
Just like the band, the title and opening track to Tenacious D’s third album, Rize Of The Fenix, starts from humble beginnings. The time line of this song is truly epic, from the lone acoustic guitar intro to the non-formulaic tempo changes. ‘The D’ put session drummer and ol’ time pal Dave Grohl to good use with some fast-paced drum fills, and what drives the song is the relentless upbeat tempo and subtle changes between its various sections – it puts every rock opera Meatloaf could come up with to shame.
While we admired Bethany Cosentino and Bobb Bruno’s 2010 record, Crazy For You, for its tight mix of garage/surf indie rock tunes, The Only Place sees the duo develop and mature, while keeping their iconic sound. They’ve significantly eased back on the distortion, allowing Cosentino’s emotionally drenched lyrics to shine across all 11 tracks, emphasised by her pitch-perfect vocals.
It’s good to see Gossip back together producing another solid studio album. Following a short solo jaunt by singer Beth Ditto in 2011, rumours began about the band’s future, but thankfully they are now back with their fifth album, A Joyful Noise. And how do you follow up such a standout success as Music For Men? With more brash, soulful and clever pop music, of course.
JANELLE MONAE Cold War Atlantic/Warner Meantime, playing catch-ups but attempting to be ahead of the game – or at least ahead of her upcoming Vivid-related tour – another track from Ms Monae’s quite stunning sci-fi but somehow retro soul ArchAndroid album is given a push near two years on. Oddly, this is one of the album’s most orthodox workouts. Good, certainly, but not truly revealing of the inventiveness she’s capable of. Let alone highlighting the amphetamine dancing style where she comes on like an androgynous James Brown. But do notice anyway.
CLAIRY BROWNE & THE BANGIN’ RACKETTES
Across 19 tracks, Wonderland deftly leaps all over the shop just as she would in the club, with moves from halftime rave-step to reggae-tinged drum’n’bass through hip hop and big beat, all undertaken in the blink of an eye – and that’s just on an opening salvo, taking in cuts from Alex Metric, Major Lazer, 360 & Gossling (as remixed by Wonderland herself) and classics from Arrested Development (People Everyday) and The Chemical Brothers (Galvanize). From here she settles into a more conventional 4/4 groove, tipping her hat to the strength of the local scene with the Frames remix of Lancelot’s We Can Dance, Flight Facilities’ Foreign Language and Beni’s faux piano bomb Opulence before veering back towards bass music territory on the run home. All the ingredients are there but at times the programming is a little haphazard, Wonderland also erring on the side of caution by letting tracks play out when a little more mixing creativity may just have kicked things up the required notch. Welcome To Wonderland confirms suspicions that a star has been born, but you suspect it’ll be on forthcoming releases that Alison Wonderland will truly shine.
Fiona Dunne
Eric Prydz Presents Pryda serves not just as an introduction to the more progressive house-inclined sounds of the Swedish chart slayer but a reminder that the man still crafts a weekend weapon like few others. His modus operandi for the most part remain simple: drop a one- or two-note bass line over a simple house beat, layer with interlocking arpeggiated synths that build and build and build, remove kick drum for 32 bars, fade in swoosh build-up, BOOM! Just add lasers. Disc one of this three-disc set is for the fanboys craving new material from the master, with Shadows already familiar from his live sets, Javlar and Hardrock Lausanne packing plenty of plutonium – and then there are the relentless chants of Allein (sampling obscure German pop act Polarkreis 18), as big and dumb and loved up as ‘main room’ gets without insulting your intelligence. The remaining two discs are DJ-mixed retrospectives, the aforementioned classics (sans Call On Me) rubbing shoulders with the Pryda remix of Paolo Mojo’s 1983 among many more showing why so many clubbers hope Prydz eventually conquers his aerophobia to bring his EPIC live extravaganza down under. Kris Swales
Love Letter Independent
Holland Air Ratbag Music ‘Working for the man is the curse of mankind.’ Roight. First up against the wall when the revolution comes is beginning to require a bigger wall. Punk’s not dead, it would appear. They call what they do ‘post-indie’, but it actually owes more to good old new wave, with its skittering drum patterns and cascades of guitars making for an almost Talking Head view of funk, with Liam Judson (Belles Will Ring, etc) doing production meaning we have to add the obligatory ‘psychedelic’ to the descriptors as well. Whatever, is good.
ONLY THE SEA SLUGS The Stolen Name Independent Their mini-album of last year was called Street Music. It isn’t. With its warbled vocals, staccato waves of guitars and whistling winds through the forests – not to mention the hysterical madman’s laughter solo midway through – this is more like prog music, updated to somewhere around now. It has a few frayed edges showing just to let you know they’re a bit harder than merely being that most hateful of novelties - ‘quirky’. The circus has comes to town. Probably the one from The League Of Gentlemen, Dave.
Rize Of The Fenix
The album is interspersed, as usual, with odd discussions between collaborators Jack Black and Kyle Gass, which in this instance don’t particularly hit the lofty heights of previous skits such as Cock Pushups, but bring a wry smile nonetheless. Whilst Deth Starr is a slightly bizarre song, Roadie hits the mark for both lyrical and musical substance if you are in touch with your puerile side. The Ballad Of Hollywood Jack And Rage Kage has a spaghetti Western feel and follows a brilliant narrative; Rock Is Dead is blues-by-numbers, whilst To Be The Best is heavily influenced by ‘80s rock hero Billy Idol, and the album’s closer, 39, similarly wears its influences on its sleeve with Bob Dylan and Bruce Springsteen being parodied; both you’d imagine would strongly object to the track’s questionable lyrical content. Tenacious D are a comedic act, of that there is no doubt, but the songs on Rize Of The Fenix are intricately written and recorded and, while the tracks are slightly kitschy and overly dramatic, they have substance and are genuinely great, trashy songs. James Dawson
54 • THE DRUM MEDIA
The Only Place
Her honesty and simplicity can be endearing in their bluntness, but the subject of each song – primarily how Cosentino feels, and why she feels that way – can be bland, repetitive and in the end, boring. It’s a common moment when she’s singing about her mental state, the person who captivates her affection, or any subject of her woes, and most of the time it’s a combination of the three. Thankfully, the vocals are well executed, lifting the subject matter; Bruno’s guitar work, which can be energetic, swift and unrelenting, as demonstrated in the title track, is also a highlight. The homage to their native state of California is perhaps the most light-hearted song on the album. It contains classic surf rhythms, also found in Why I Cry and Let’s Go Home, making you believe there are several more members of the band. Of particular interest is the integration of flourishing violin and piano, as well as the layered percussion and guitar, which highlight Bobb Bruno’s talents and the duo’s chemistry. Overall, what Best Coast has crafted is an effective, charming record filled with paradoxes and executed in their concise, playful style. Fiona Dunne
themusic.com.au
A Joyful Noise
Production by pop genius Brian Higgins (Kylie Minogue, Pet Shop Boys, Girls Aloud), combined with Ditto’s year off radio listening solely to ABBA albums, has resulted in another great pop-driven album with a satisfying sprinkling of dance beats. Opener Melody Emergency is typical Gossip territory, with a dirty riff and catchy melody that you can imagine will be played repeatedly on radio stations. First single off the album, Perfect World, is set for more chart-topping greatness and its Cyndi Lauper-inspired vocals will be a guaranteed club hit. There’s an acutely more noticeable dance thread throughout this album, with a solid prog-rock bass line and razor sharp lyrics on Get A Job, an epic trance breakdown on Love In A Foreign Place, and a delightfully retro ‘90s dance feel on Get Lost. Casualties Of War brings things down a notch as a more delicate pop number, allowing the simple bass and plucking guitar to shine through. Ditto’s vocals here hark back to early Madonna and pull on the heartstrings: “When you fall down, do you hear the sound/Of broken dreams, hitting the ground/Baby please, we’re casualties of war.” A Joyful Noise is a solid collection of Gossip greatness that is highly addictive and a sure-fire hit. Helen Lear
what the guitarist’s role is in a band, which is to compliment the singer and the melody of the song, and it is that which appeals to the non guitar nerd; the songs are just darn good rocking tunes. Highlights include the riff heavy Halo, the anthemic No More Heroes, the vocally-rich We Will Roam and the epic Not For Me. Whilst Apocalyptic Love doesn’t have the entourage of famous singers, this album proves they aren’t needed, Slash’s intricate guitar riffs combine mercilessly with Kennedy’s melodic vocal style and, simply put, the end result is a brilliant rock’n’roll record.
SIMIAN MOBILE DISCO
THE TEMPTER TRAP The Temper Trap
James Dawson
Liberator
Liberation
The boys are back in town. Jas Shaw and James Ford, better known as Brit minimalists Simian Mobile Disco (SMD), return with their third outing to showcase another expedition of their ‘less is more’ approach to music making. SMD has spearheaded an almost academic semblance to electronic music production whereby arrangements are painstakingly precise to the point of neurosis.
All the success of their 2009 debut, Conditions, makes The Temper Trap’s self-titled second album highly anticipated, not just here at home but also in the UK and US. Having upgraded keyboardist Joseph Greer to a permanent member and enlisting the talents of Beck collaborator Tony Hoffer as producer, this is an offering that moves away from guitar-led rock and into a world driven by synths and littered with grand, sweeping moments.
FACT FILE
Unpatterns is also a bloody good electronic record; it pulses in all the right places. Their distinctive, methodical and minimalist approach reigns supreme, and tracks flow with so much ease that it’s easy to forget you’re listening to an album and not just one long track. The bass is as deep and sublime as anything you are likely to hear, and the vocals are effortless. It’s all too easy for the listener to sit back and enjoy. Still, there is a caveat: Unpatterns is, unmistakeably, a techno album. Think early Detroit and the Derrick May and you will be close to picking up what Unpatterns is about. Stuart Evans
Perhaps the strongest indication of things to come is Trembling Hands. Brooding and atmospheric, its grandness is reminiscent of recent Coldplay work, perhaps the arena-sized space these boys are headed for.
Apocalyptic Love Sony
When comparing Slash’s self-titled debut solo album to Apocalyptic Love, it would easily be considered Slash’s pop record of sorts. Apocalyptic Love leaves the pop behind and propels head first into leather clad rock’n’roll. Myles Kennedy (Alter Bridge), a featured vocalist on Slash, was drafted to handle frontman duties for his live gigs, Kennedy impressed ‘the man in the top hat’ enough to be the only vocalist on this album, and it works. Slash chooses to leave the session musicians behind and instead utilises his live band on this album, the end result being a straightforward rock album that features trademark tasty guitar hooks and soaring vocal melodies. Opening with the album’s title track, which launches straight into a detailed guitar riff (sounding more like a solo), the track briskly winds its way to a melodic bridge before launching into our first guitar solo of the album. Part of Slash’s success lies in his ability to appeal to guitar nerds through blistering solos and guitar technique. However, he understands
Born in London and moving LA when he was five, Slash (real name Saul Hudson) is a Grammy Award-winning rock guitarist, was inducted into the Rock and Roll HallDOf Fame in April this year and V has received countless accolades and awards.
D
Focusing on the magic of Doug Mandagi’s trademark falsetto and accompanied by sweet acoustic hooks, Rabbit Hole is the single which best bridges the music from their past work to now. Which probably explains why it was ‘unofficially released’ first to radio. The recent single, Need Your Love, and mid-album track, Never Again, are thick with fuzzy synths and driving drums that sound as though they were built to fill stadiums, and there are plenty of these moments throughout. To counterbalance this grandeur, flashes of quiet are found in Dreams and Miracle with sparse, dreamlike electronic soundscapes, the latter warming with harmonies at the chorus. Straying into social commentary for London’s Burning, their most creative track was born out of first-hand experience, the boys finding themselves caught up in the epicentre of last year’s London riots. Samples from news broadcasts, pulsing synths and chanting choruses lead the song to a panicked crescendo – an intelligent interpretation of the event.
DID YOU KNOW?
The 46 year old artist’s self-titled first solo album debuted at #3 on the ARIA Album Chats and achieved platinum sales in Australia.
D
Still, if the lack of vocals on Delicacies was as plain as the nose on your face, their last EP, Temporary Pleasure, featured more vocalists than a choir. The boys’ obsessivecompulsive and fastidious interest with electronica takes another twist on Unpatterns as they’ve shifted tact from trying to blend basic pop elements with the big, bam bosh components of minimal and techno. Clearly, SMD has taken Apple’s approach, whereby design and how a person interacts with a product – or in this a sound – trumps all. SMD is as much about the design of music as the output. Notwithstanding, Unpatterns is a beautiful piece of artistry that balances texture with a rhythmic beat.
SLASH FEAT. MYLES KENNEDY & THE CONSPIRATORS
LIVE Length: 13 tracks, 54 minutes Mood: Heavy, anthemic, rich.
VD
Unpatterns
All the songs on Apocalyptic Love were written together by Slash and Myles Kennedy, as Slash explains: “Myles and I basically collaborated on the new material. The main thing is we wrote these songs together, which is a big difference from the last album, where I wrote each song with all of the different collaborators. The whole creative nucleus is between Myles and me. ” Slash runs his own record label called Dik Hayd International, which this album has been released through. As an original member of the iconic rock band Guns N’ Roses, he helped the band create some of the most signature sounds in the history of rock’n’roll.
Katie Benson
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THE DRUM MEDIA • 55
MAYHEM ON THE HIGH SEAS The United States’ largest touring heavy metal festival, Mayhem, will this year hold the first annual Mayhem Festival Cruise – a heavy metal festival held on a cruise ship, as the ship travels between Miami and the Bahamas. The ship leaves the Port of Miami on Friday 7 December and returns on Monday10. During the three days, an unbelievable line-up of heavy metal acts have been assembled to play. Lamb of God, Machine Head, Anthrax, Suicide Silence and Kingdom of Sorrow, as well as showcase sets from various record labels, including performances from Gojira, Periphery, Born of Osiris, Battlecross, Girl on Fire, Anti Mortem and Gypsy Hawk. Even better, Jonathan Davis of Korn, and Sid of Slipknot will be giving DJ sets each night. Clown of Slipknot will also be curating his own art show aboard, and a horror film festival, courtesy of Fangora, will be screened. With the most basic cabin price at $699 USD plus taxes, the festival doesn’t come cheap – Mayhem has even arranged payment plans to cover those who are saving up.
GOT YOU IN A CHOKEHOLD Australian extreme noise metal collective, The Amenta, have just released their brand new digital EP, entitled Chokehold, and features two brand new tracks including the title single and a cover of the Godflesh’s track, Christbait Rising. The EP will also feature two tracks recorded live during the band’s 2011 tour of Australia, and a remix of their previous single, VO1D. Along with the EP release, the band will also release a film clip for the track VO1D, made up of footage from their 2011 tour. The EP was released last week, so get your hands on a copy.
THE DARKER SIDE Australian heavy metal group, Darker Half, have just released a video clip to accompany their digital single, End Of The Line. The clip was filmed and directed by Lord Tim and James Lopez, of Dusk Video Productions, and has been the first clip to be made for Darker Half’s latest album, Desensitised. The album has been receiving positive reviews from all over the shop, including STACK Magazine, who wrote: “The songs jump out of the gate at a brisk pace, displaying a tonne of energy.”
ANOTHER MILLENNIA
This year marks the twentieth birthday of Swedish punk outfit Millencolin, and to celebrate, the band are preparing to drop an album and a 90-minute film which heads behind the making of their break-out album, Pennybridge Pioneers, with live footage from all over the world (including their trip to Australia’s Soundwave last year). The album, entitled The Melancholy Connection, will be a collection of brand new tracks, as well as never-released material that has been around since the band’s inception. The DVD-CD bundle will be released on Friday 1 June in Australia.
GET YOUR GOALS
Brooklyn’s Bay Area has produced yet another fine musical act – this time, noisy punk act Set Your Goals. The band has just released two brand new singles – Only Right Now and I’ll Walk It Off. The tracks were produced by New Found Glory guitarist Chad Gilbert, who said that he had “always wanted to work with Set Your Goals.” The new tracks harness Set Your Goals’ energy, with head bobbing rhythms and gang vocals, whilst also bringing a new quality to the track that will hopefully entice new fans. The two new tracks are available from iTunes.
STRUCK GOLD
US-based band Strike Anywhere have announced that they will be releasing a new live and acoustic album, to be titled In Defiance Of Empty Times, and is due to drop mid-August this year. The two sets to feature on the album were recorded last year in Rochester and Richmond in Virginia, the former including six songs captured from Strike Anywhere’s acoustic performance alongside labelmates Polar Bear Club, whilst the latter was recorded during a benefit show. Vocalist Thomas Barnett notes: “Rochester is almost like a Peel session to me, an old BBC Radio one recording, or a very heartfelt but musical journey into the melodies and textures inside the songs. Side B, recorded on the eve of the Occupy Movement, shows a rowdy, loud yet intimate snapshot of our hometown at its passion best. This is the riot folk for rioting folks.”
TO BE BETTER
It has been confirmed that Rise Records will be releasing the debut record from Misser, a new project from Transit’s Tim Landers and This Time Next Year’s Brad Wiseman, to be released digitally this month, with the physical release scheduled for a release later this year. The record is titled, Every Day I Tell Myself I’m Going To Be A Better Person, and will be available online today (Tuesday 15 May). 56 • THE DRUM MEDIA
THE HEAVY SHIT
METAL AND HARD ROCK WITH CHRIS MARIC
Music retailers are a rare breed these days, especially independent ones. So I was very happy to hear that last week Pacific Records re-opened after four years in the ether. They used to be in Dee Why but have now got their gear over at Mona Vale. If you find yourself cruising the Northern Beaches, drop in and see Sven. I know he has a stack of metal and hardcore sitting there waiting for you to flip through and check out like a happy high school kid from 1992 with a copy of Hot Metal in his bag and a poster of Cliff Burton on his wall.
The Patch that is my other favourite four letter word, free! Making it a full rock chick night, are local ‘Gong girls Baby Machine and Nicole Brophy from Kate Miller-Heidke’s band.
FRIDAY The ‘women who rock’ theme continues up at Newcastle’s Club Led this evening with six bands who all feature the stronger sex either up front or within the band somewhere. Proceedings kick off with Rise Of Avernus at 8pm, followed by Drag Bear, which is Drop Bear playing in drag. From Love To Violence are up and then Melbourne represents with The Creptter Children, and Heaven The Axe will control the stage from midnight. If you aren’t satisfied after all that, then Empirical will be on at 1am until they feel like it, ‘cause the venue has a 24-hour license.
A little while ago I mentioned that The Audio Army have branched into making customised iPhone cases as part of their band merch range. You can now add beanies and snapbacks to the list! Hit Isaac up on FB for more info. There are quite a few albums heading your way in the coming month or so. The newie from Paradise Lost, Tragic Idol is another slab of awesomeness from the Northern gloom meisters, while Kreator’s newie, Phantom Antichrist, which is out in June, is a riff fest from hell. Mille has bettered each of the last three albums and there is a stack of downpick fury going on here. Fear Factory’s The Industrialist sounds like it could’ve been slotted between Demanufacture and Obsolete. It’s angry, it’s precise and it sounds massive, a definite return to form. Nile are back with At The Gate Of Sethu, although not till the end of June. It’s a bit more organic sounding than recent efforts – still as fast as a pyramid robber after tripping a boobytrap but doesn’t sound like it’s on autopilot. One of my favourite hard rock bands of all time, Switzerland’s Gotthard are back with their first album since the tragic death of their ridiculously brilliant vocalist, Steve Lee. Nic Maeder is the band’s new voice and you may remember a rock band from Melbourne that sported his last name. Nic’s done an awesome job on the album and it’s just too bad that you’ll never hear it on commercial radio in this country. This was supposed to be the week that French ambient metallers Hypno5e were to come through town. However, due to illness they have had to cancel at the last minute. I was going to mention the whole Devildriver cancellation last week but ran out of space. Poor Dez came down with something chronic, which
PARADIGM led to his first and only tour cancellation ever so you know the decision wasn’t an easy one. It has however more or less given us the first band for Soundwave ‘13 with Six Feet Under all but confirmed. We are off to a good start then!
WEDNESDAY
If you haven’t yet, make the effort to get down to The Sando and catch the Amazonian Goddess Michele Madden make your heart wrench and your soul soar with just her voice and her acoustic guitars Old Mate and Rosie. She personally dresses the stage each week and I gotta say, it definitely enhances the mood. Candles, silk draping from the roof and some exotic wall hangings make it feel like you’re sitting in her bedroom and she is playing just for you. Ah if only ;-). Joining Michele this week will be David Swan, Melissa Jayne Wylie, Mo Fkn Mayhem and Adam Camm. It starts at 8pm, costs a tenner and it would be nice if you could bring a can or two for the food drive.
THURSDAY
Speaking of women who rock, Heaven The Axe, fronted by the hypnotic Phoebe Pinnock, are up from Melbourne and ready to tear Wollongong a new one via a show at
WAKE THE DEAD
In another interesting turn of events, Against Me! vocalist Tom Gabel has taken the incredibly brave step of announcing in a recent interview in the US version of Rolling Stone that he has plans to begin living as a woman. The story details how the singer has dealt privately with gender dysphoria for years, and will soon begin the process of transition by taking hormones and undergoing electrolysis treatment. It is understood that Gabel will take the name Laura Jane Grace and remain married to his wife Heather. Rolling Stone also reported that this is the first time that a major rock star has come out as a transgender (Everyone forgets Throbbing Gristle’s Genesis P. Orridge - Ed). The issue hit the stands in the US last Friday, so if you can get your hands on a copy to read the entire story you can also find out what becoming Laura Jane Grace will mean for the future of Against Me! It’s a big month of announcements for the newly revamped Melbourne post-hardcore act House Vs Hurricane. Last week on Short.Fast.Loud Stu Harvey played the first single, Blood Knuckles, from their
SATURDAY
Melodic death metallers, Elysian, are launching their debut album, Wires Of Creation, at The Basement in Belconnen along with an all class lineup featuring Anno Domini, Psynonemous and The Seer. The guys just supported Arch Enemy in Melbourne too! Wrapping up the ‘women in rock’ week – well, there is no such official thing but it sure looks like it reading my notes back and I never really understood making a big deal of it since you either rock or you don’t and gender doesn’t factor at all – the Lucky Australian Tavern out in St Marys is hosting ten bands all fronted by hard-rocking chicks – Man I hate that word. The first band is on at 2.30pm and under 18s are welcome all day up until 10pm. Sux for them as they’ll miss Heaven The Axe, who have headline honours at 10.30pm. Children under 12 get in for free also. The full list of bands is as follows - Chainsaw Mascara, Smokin Mirrors, Vanity Riots, Temris, Hard As Nails, Jaded Empire & Foundry Road (playing in drag - yeah why not), The Creptter Children, Empirical and Heaven The Axe. heavy@drummedia.com.au
PUNK AND HARDCORE WITH SARAH PETCHELL SHINTO KATANA be the band’s third full-length release and follows 2010’s We Can’t Be Saved. Like the new HVH track, the first track from this album made its debut on SFL last week, so you can catch it on the show’s stream. The track is called Solitary and features Frankie Palmeri of Emmure doing some guest vocals. More information (like a release date) should be announced shortly, so stay tuned.
This week has definitely been a little bit of a bizarre week for punk and hardcore news, but in amongst it all there have been some good tour announcements and details for some excellent albums have been released as well. Perhaps the most entertaining news, although at first it was questionable whether or not it was believable or a massive troll, was the saga of Michael Crafter and Confession. I myself woke up to the Facebook status on the Confession page saying, “It’s Crafter here. I would like to announce that the members who used to play in this band have tried to doublecross me. I have now kicked out all members of the band and will be looking for legit friends to play within the band. SO HEY GET FUCKED..” Apparently this stems from an earlier announcement by the other members that they had in fact been the ones to kick the ex-IKTPQ member from the group, with the vocalist position on the band’s Facebook page currently listed as “coming soon”. Stay tuned for more drama as it unfolds.
The Stag is hosting one of Sydney’s best progressive bands tonight. Paradigm will be launching their second album, Mind Is Key. I’m yet to hear it but their debut was excellent; long complex arrangements that snapped you back to reality every now and then with a riff to the face. Kick off is at 8pm with Sanctium and some others too.
forthcoming album, Crooked Teeth. The band has finished up recording with master producer Machine and have headed back home. The album is due for release July 13 through UNFD, and you can catch the band when they hit the road on their Crooked Teeth Album Tour. Joining them will be While The City Sleeps (UK), Sydney’s own Northlane and Heights (also UK). You can catch the tour on Saturday 28 July at The Hi-Fi in Sydney for a licensed ALL-AGES show and at Oasis Youth Centre in Wyong for an all ages show on Sunday 29 July. American troubadour punk-rocker and former Avail alumnus Tim Barry has just released a stellar new album 40 Miler, out now through Resist Records, and to cap things off, Resist have just announced that the humble Virginian will be heading back to Australia this August for another run of shows. Like fellow Revival Tour alumnus Frank Turner, this seems like the third time in as many years that Barry has been back. What’s different this time around however is that his longtime friend and bandmate Josh Small will be coming along for the tour. You can catch Tim Barry and Josh Small in Sydney on Saturday 4 August at the Sandringham Hotel or in Newcastle in the Side Bar of the Cambridge Hotel on Sunday 5 August. Tickets go on sale Wednesday 16 May. Sydney metalcore act Shinto Katana are gearing up for the release of their newest record, Redemption, later this year, but this time around they’ve opted to release through Skull & Bones/Shock. This will
themusic.com.au
In a quick announcement last week, Rhode Island melodic hardcore act Verse alerted us to the fact that their first release since their reformation will be out July 17 via Bridge 9 Records. As previously reported, the 13-track album will be titled Bitter Clarity, Uncommon Grace, and will be their first release since 2008’s Aggression. Anti-Flag have posted a quick greeting video in the lead-up to their upcoming Australian tour with Strike Anywhere and The Flatliners, which begins May 24 in Perth. You can check it out on the Facebook event page for the tour. There is also a pretty interesting interview with the always erudite Thomas Barnett of Strike Anywhere floating around on Bombshellzine, so check that out too. The sold-out signs are not far off appearing at a few of the shows and with just two weeks to go, you’d best get in before the final rush. Just a reminder that the Sydney show will take place on Friday 1 June at the Manning Bar. Get in quick before tickets sell out! Last up for this week, one of my favourite band’s to debut last year are gearing up to hit the studio for album number two. I’m talking, of course, about Melbourne’s The Smith Street Band. Once they pack up from their support slot on the Frank Turner & The Sleeping Souls tour, the band head into Three Phase Studios to record the follow-up to the brilliant No One Gets Lost Anymore. The album is set for release later this year, again through Poison City Records, and if you missed the news, the band also have a place on the Fest 11 lineup in Gainesville, Florida this October. I seriously cannot wait to hear new material from these guys! wakethedead@drummedia.com.au
BEBOP & ROCKSTEADY Bjork’s rather excellent Biophillia is in the midst of getting the remix treatment right now after the initial Crystalline reworks that came out ahead of the album. The most exciting is this month’s takes on arguably the best album track, Virus, by Hudson Mohawke, who goes for a rather faithful and emotive interpretation, harking back to some of his earlier work rather than his more recent tear-out material. Speaking of one of our favourite Glaswegians, he’s been cheering about mastering sessions with Diplo and lamenting recent photo shoots, which would indicate a new album is about ready to go. One can only hope! It sometimes takes a while but when Still Music put out a record, it’s always worth the wait. Coming in June is 122 BPM: The Birth Of House Music, a triple CD, two LP and 12” affair compiled by Jerome Derradji, label head honcho and mastermind behind the BBE released compile, The American Boogie Down, who has painstakingly put together one of the best documents of the Chicago house music scene, which is no easy task considering Chicago is the birthplace of the genre. Finding the moment where boogie had dubbed itself out of control and synthesisers and drum machines were being explored for their dancefloor possibilities, it really was laying the blueprints down for the next 30 years of clubbing culture. Where neighbouring city Detroit favoured a deeper, darker, loopier sound, Chicago’s dance music called on so many different influences, and the vocals on this compilation are really what set it apart, whether it’s deadpan rapping, chopped chirps or soulful, almost gospel choruses. Unlike Gene Hunt’s Chicago Dance Tracks compilation for Rush Hour, there’s a lot more melody going on here and an overall snapshot of how disco became house, rather than just house music at its most jackinest. Staying in America, there’s another fantastic Joey Negro compilation out on the streets, this time spotlighting Washington DC’s gogo music scene. Gogo Get Down is a two CD compilation featuring a fair whack of previously released gear albeit meticulously put together, but perhaps more
LEFTFIELD ELECTRONICA AND FUTURE SOUL WITH HUWSTON
JEROME DERRADJI exciting are the tasty extended edits that come on the 12” version. On a sour note, this is the same scene that spawned Trouble Funk (who are featured on the comp), whose label are suing the Beastie Boys over uncleared samples. Their timing could not be worse. By the time you read this you’ll have no doubt already read countless Adam ‘MCA’ Yauch tributes so I’ll keep this as brief as possible. I got into the Beastie Boys through their album, Ill Communication, in what I like to call the ’94 era (which basically spans ‘93-‘95), a time where I feel music was at a peak because so many classic records were released, and creativity and artist vision seemed to be limitless. A big part of that record is the band’s sampling of themselves, with bass line’s like Yauch’s on Alright Hear This being somewhat abominable, as well as his solo raps dedicated to the Tibetan Freedom cause on the conscious Bodhisattva Vow. How they managed to weave punk rock into the mix and keep their fanbases in check still surprises me. Sure, they went on to make some pretty forgettable albums this side of the year 2000 but they will never be forgotten thanks to their imagination, sense of humour and determination to redeem themselves from the beer-swilling party animals of the ‘80s to one of the only multi-genre and politically outspoken acts still signed to a major label during the collapse of the recorded music industry. bebop@drummedia.com.au
LONDON FIELDS While seemingly all attention was focused on local and mayoral elections, changes recently took place that will significantly affect the lives of Britons for many years to come. Over the course of two nights in April, the analogue broadcast signal for London TV services ceased transmission and with it an era that’s spanned nearly 50 years ended. It was only 15 years ago that the last analogue terrestrial station, Channel Five, was launched. It hit major problems from the very beginning as the UHF channel it was granted was the same one that many TVs used for their VCRs. This issue was resolved when the new network employed thousands of “retuners” whose job it was to go from door to door reprogramming the videos and TVs of Britain. If Five has failed to find its personality in its 15 years of existence, it will face a much harder battle for viewers in the new digital domain. It didn’t play well with others – for instance it was and remained the only UK terrestrial station to broadcast with a station watermark (referred to as DOGs – digital on-screen graphics – in the UK), something that endeared them to no one. Maybe this will prove to be more important now: before it was trying to be recognisable against four other channels, now it will be trying to stand out among over 40 free-to-air channels. By removing the barrier between the old established channels and newer ones from a digital-only domain, these April events have permanently altered the broadcasting playing field. Even though the switchover first started back in 2007 and has continued apace since 2009, the 2012 target always seemed a rather ambitious one. When this was first discussed, it was mooted to be done and dusted by 2010, but then no definite project dates were given until 2005, when this year was proposed as the final completion date. In 2009 there were still nearly three million homes still exclusively watching TV via the analogue signal, and even a week before the London change it was estimated that around a million households still used TV sets that were about to be rendered useless. By 24 October this year, the nationwide project will be complete and analogue TV will be gone from all parts of the UK. No longer will you able to pick up a portable for £20 from the Salvos and just plug it in to watch (unless the set was made in the past few years) without a set-top box. The new signal needs a better antenna, so it’s also goodbye
THE VIEW FROM EC4 WITH JAMES MCGALLIARD
to indoor “rabbit ears”. If an outside aerial isn’t possible (or affordable), then you’re looking at investing in a satellite dish and either an expensive equipment purchase or an ongoing subscription. Meanwhile if you opt for cable it stops when you stop paying. So in summary: the digital switchover has been great for the manufacturers of TVs and set-top boxes, installers of antennae and providers of satellite and cable services. For the punter, it’s all been an added expense. Of course on top of all this there’s an annual cost of £146.50 for a compulsory TV licence. However if you don’t watch programmes live (or record them off air), you don’t actually need one. With unlimited high-speed internet now widely and cheaply available, you can see almost anything broadcast via catch-up services like the BBC’s iPlayer or Channel 4’s 4OD, so why watch TV via an aerial at all? In the current economic climate, more and more people seem to be seeing this as a money-saving alternative. And of course (illegal) home torrenting can create the ultimate “fast tracking” of shows screened in other parts of the world first, saving the need for expensive satellite or cable subscriptions to premium channels. With timeshifted viewing being the other major change in UK viewing habits, the push to digital may end up causing far greater harm to the future development of the BBC than the price freeze currently imposed on the TV licence, as the resulting loss of vital revenue could greatly harm the financial backbone of the nation’s (currently commercialfree) major national broadcaster. There won’t be much point in a technically excellent TV-on-demand system if there’s no money available to make programmes that are worth watching at any time. londonfieldscolumn.blogspot.com/
Rednecks & Gentlemen RED VS BLACK
FINAL SYDNEY ROLLER DERBY LEAGUE & DRUM MEDIA PRESENT... //////////////////////////////////////////
BOUT #2
SCORE:
RED
188
BLACK
VS
140
HIGHEST SCORING JAM: MISS SIN DOLL - RED (30pts)
BIGGEST HIT OF THE NIGHT: DIZZY BORDEN vs PADDY WHACK
WRAP-UP
////////////////////////////////////////// //////////////////
12 MAY 2012 012
AT SYDNEY OLYMPIC MPIC PARK SPORTS CENTRE
ASSASSINS VS ERRaDicators PHOTO CREDIT: STEP BACK PHOTOGRAPHY
NEXT BOUT: 23 JUNE 2012 VENUE: SYDNEY OLYMPIC PARK TICKETS: www.ticketdirect.com.au
www.sydneyrollerderby.com themusic.com.au
FINAL SCORE:
ASSASSINS
164
VS
ERRD
106
HIGHEST SCORING JAM:
BACARDI BRUISER - ASSASSINS (22pts)
BIGGEST HIT OF THE NIGHT: GODJILLA vs CAPTAIN RATZ
THE DRUM MEDIA • 57
GET IT TOGETHER
HIP HOP WITH VIKTOR KRUM
MCA’s dead. You already knew that. We were going to have this whole thing where we would be edgy. We had this idea where, as the world mourned, we were going to be like, “Whatever, man. He was the worst Beastie Boy anyway. And the Beastie Boys haven’t made any decent music since 1998. Have you heard the new new Azealia Banks?” Inappropriate, inaccurate and partially untrue; it would not have been a response we could be proud of in the long term. And, in any case, anyone with even a passing knowledge of the Beastie Boys’ back catalogue would find the title of this column familiar. The Beastie Boys were a fundamental, formative part of the listening experience of a generation of music writers and music fans. Together, we’ve yelled lyrics at teenage parties, angsted over concert tickets, fretted about Tibet and admired the longevity. All this adoration two decades ago meant, inevitably, that the trio have been cut a significant amount of critical slack since their last excellent album, Hello Nasty. The only reason 2004’s To The 5 Boroughs was not universally panned is that music critics, who’d formed their tastes in the mid 1990s, were hesitant about ripping apart a release from their three heroes. But the facts remain. And how stark they are. A trio of men who played a fundamental, intimate, wonderful, exciting, silly part of the lives of so many is no more. One of the architects of your taste in music is dead. That’s why we’re sad. That’s why you should be. Whatever joy you take from the music you listen to today is due, in small part, to MCA. It’s worth thinking about. It’s worth being thankful for. Vale. Tone change! Now it’s time to talk about rappers from Adelaide. Our favourite remains Purpose. The body of Tiny Tim carrying the voice of Barry White, Purps is a menace on the microphone. He has so much charisma, he has so much time to deliver his lines, he has so so much to love. Drop The Bomb is a new track out from his debut, Where It Starts. He produced it. He raps on it. It sounds super great. Who knows? It may be that the next generation of music writers and music fans are having their tastes formed right now. If Purpose plays a part in that, all the better. Plus you can catch ya boy on Saturday 9 June at the Come Together festival. On 16 June Itchy Beats is happening upstairs at the Brighton Hotel in Darlinghurst. Joyride is headlining. And why wouldn’t he be? Arguably the funnest man in
The comparison is justified: as Max Crumbs, Kohane has released a new album, Maidenhair (Sensory Projects), which draws its heavy rhythm from the so-called “LA beat scene” that gave us The Gaslamp Killer and his cohort and champion, Flying Lotus. Apropos Bensussen’s public image, those producers came up as the new voices of the LA streets; there was something urban and sinister and wild to their sounds. Kohane, on the other hand, starts off from the opposing corner. Maidenhair’s cover is adorned by a rocky mountain collage and its first track is the breezy Sunbath, which takes in the light and washy productions of the more recent ‘post-glitch’ set. But that earthy, unpretentious setting is indeed only a starting point. Over 15 tracks (five of which hit the threeminute mark) Maidenhair reveals itself as an album of layers and levels. Beats with a translucent quality slyly become synthetic, crazed things and samples scramble as songs cut out suddenly and new tracks begin. Listening to the album through headphones is like being trapped in a multilevel fantasy game. By the end, the naturalistic and non-threatening aesthetics and sounds that welcomed you in have dissolved, and something ‘other’ exists. It isn’t the streets of LA, but it’s just as provocative and unpredictable. Former Snowman frontman Joe McKee presents a reverse sonic narrative with his solo debut, Burning Boy, out through Dot Dash on 25 May. The album comes surprisingly soon after Snowman’s final release, Absence, in June last year, though that was also around the time McKee’s solo demos started popping up online, 58 • THE DRUM MEDIA
ALL AGES WITH DAVE DRAYTON
Today’s approach is two-fold. That is, you get events, then you get opps. Enjoy. Friday will be an evening of mixed emotion, for while there is an incredible all ages gig (Intentions) at an incredible venue (The Pitz, Marrickville), it is occurring because Intentions have announced their intention to break up after this show. Bummer. Go along and see them off in style; it’ll only set you back $5, things kick off at 8pm and will be awesome, but sad. A little while back, during Youth Week, I made mention of a rather awesome battle of the wordsmiths, The Rumble, a slam poetry competition aimed at youngsters. It all comes to a head this Saturday at the Riverside Theatres, Parramatta, where the final slam will go down as part of Sydney Writers Festival. From 1pm the top slammers from Blacktown, Liverpool and Parramatta will go head to head to be named Sydney’s best.
PURPOSE the country, Dr JR has got the medicine for what ails you. He also owns heaps of great records and he’s going to play them. The mega-talented DJ Morgs of Thundamentals fame will be spinning tunes as well. Plus – most interesting for us – Zarkov will be playing. Zarkov has been there or thereabouts for a while now. He makes genuinely exciting, and genuinely different, music. He’s one of those artists you can hear and think, “The future might sound like this. I might be listening to the future right here, right now in the present. Good deal!” He’s well worth your time. Plus he’s best friends with all your favourite rappers, so – you know – judge a man on the company he keeps and all that. DJ Ntaprize rounds out the bill. Get on it, team. No lie. We will take any excuse we can get to talk about Kanye West’s perfect 2010 album, My Beautiful Dark Twisted Fantasy. It was such an amazing album! Can you even believe all those songs came together at the same time, on the same release? Incredible! Anyway, there’s a clip out for Lost In the World. You might not like it. It’s very arty. But – you know – good excuse to listen to the album again. getittogether@drummedia.com.au
BREAKDOWN If the hour was small enough and the eyes a little blurry, Max Kohane could pass himself off as The Gaslamp Killer. The Melbourne beat-maker and the famed Los Angeles party man share a partiality for facial hair and obscure skate-designer T-shirts that have a hint of the lived-in look about them. But where The Gaslamp Killer’s William Bensussen appears wild-eyed in his promo photos, as if he’s just smoked the whole of a blunt no one knew the contents of, photos of Kohane pitch him as the at-ease, or even shy, everyman. It helps that the pics of Kohane are happy snaps that were, it’s easy to imagine, never intended for public release: Kohane on a couch in a living room, or outside, slouched against a foreign backdrop, perhaps while on tour with one of the bands he drums for, Agents Of Abhorrence or Pivixki.
YOUNG & RESTLESS
POP CULTURE THERAPY WITH ADAM CURLEY
triple j’s Unearthed High Competition is back. This nationwide high school band comp has brought the likes of Snakadaktal, Stonefield and Hunting Grounds to the fore of the music scene, and is a great opportunity for MCs/producers and garage shredders alike. The winning act will be flown to triple j’s studio to have their song professionally recorded and played on triple j. And they’ll get to play a gig at their high school alongside acts Bliss n Eso. To enter, upload an original song to triplejunearthed. com. Entries close on Monday 23 July. Song Summit is coming to the Australian Institute of Music in Surry Hills next weekend and as part of the conference there is a Backstage Pass program on Friday 25 May targeted at primary and secondary school students. There are big name mentors like Josh Pyke, Amanda Brown, Bluejuice’s Jake Stone, Rai Thistlethwayte and more, and just $30 will get you in to the course to get some top-notch advice. Read below an interview with the hip-hop mentor Tim Levinson aka Urthboy, and register your interest at www.songsummit.com.au/backstage-pass. Why did you want to be involved with Backstage Pass? I’m always happy to share little shards of my experience
with people who are equally interested in digging into the mythology and mystery of music. It’s a bit mentor and a bit mental. What will you be covering in your workshop? My main area of interest is in lyric writing. What’s the best piece of musical advice you got when you were in school? I can’t recall ever getting any musical advice in school. My only memory of constructive criticism was in primary school when the choir teacher tapped me on the shoulders informing me my services were no longer required. Must’ve been year six or so. I think I went down to the oval and kicked a ball around. It was a really tough day. Along with Backstage Pass previously, as with your work with the GetUp Mob and Jump Mentoring, you have used music as a means to support youth in varying ways. Is it important to you that your music has a message or aids a cause? Yes I think so, although the self-importance of having a message can bring you down as much as being a limp hype band. The best songs come from a place of conviction. I’ve been writing for long enough to feel like I have control over my craft to some extent, but I get the feeling that I’m a puppet on a string to my subconscious and it often railroads my ideas and dictates their course somewhat. Have you got a final message to the kids who are thinking about taking part in Backstage Pass? Being inspired is better than being ‘someone’. allages@drummedia.com.au
OG FLAVAS
URBAN AND R&B NEWS BY CYCLONE
There’s potential for Odd Future. One day they may ditch the bratty behaviour, misogynism and homophobia. Look at how the Beastie Boys grew up. Many are experiencing a little Beasties nostalgia following the passing of the once wild MCA (AKA Adam Yauch), who had battled cancer since 2009. Melbourne DJ/producer Shehab “PasoBionic” Tariq (Curse Ov Dialect, TZU, Audego) tells OG Flavas that he’s been playing them on repeat. OG interviewed Yauch back in 2005 ahead of an Australian tour. He was quiet and disconcertingly succinct, but droll, rather than surly, laughing often.
JOE MCKEE suggesting this is no reactionary project. It certainly doesn’t come across as one: recorded with Perth’s Dave Parkin, who also worked with Snowman on their first two albums, it’s not a collection of songs strummed out by a man without a band, but an album that pulls imagery and artistry over its human form. David Bowie is lurking in the shadows here, but those shadows are heavy and hide many things, including most of McKee’s face on the painted cover image. If Kohane’s photos are part of his enticement via the everyday, then McKee’s album artwork tells us we’ve landed somewhere strange from the outset. In keeping with that approach, Burning Boy’s opening track, Lunar Sea, finds McKee starting in his breathy, lilting voice, “Am I losing time with reality/Or am I waking up from some lucid dream?” The moment is akin, both musically and metaphorically, to Gene Wilder’s Willy Wonka rowing into the dark tunnels of the Chocolate Factory, eerily singing his lullaby – there’s an expectation that things are going to get a little bit fucked up. What McKee does from there, however, is create an album that is entirely human and incredibly touching, both despite and because of its theatricality. It’s a beautiful character McKee portrays in these tales of a lonely boy wandering into manhood. It might seem a stretch, but there’s even a point just two songs in that Burning Boy’s trajectory sounds to cross that of Maidenhair, travelling in the opposite direction. The title track’s slowly rising and falling guitar notes mirror the flute-like scale runs of Maidenhair’s second track, Return To The Fruity Village. It’s a meeting point above the ground, the earth coming or going; the fleeting moment before the mystical adventure or the heavy embrace of reality. breakdown@drummedia.com.au
Sunday you can make your way to Blackwire Records where Nakagi, half of the awesome guitaring entity known as Galluci, Mere Women and newcomers Six Pieces will be playing for your entertainment from 4pm. It’ll set you back $10 and give you a groovy Sunday arvo.
URTHBOY
Few of the Yauch obituaries have acknowledged the Beasties’ profound influence on hip hop and rock. If in 2012 the divide between electronica, urban and rock has blurred, then that’s partly down to the inventive New York musos-cum-MCs – Yauch, Mike D (Michael Diamond) and Ad-Rock (Adam Horovitz). Last month the Beasties were the third hip hop outfit to be inducted into the Rock And Roll Hall Of Fame after Grandmaster Flash And The Furious Five and Run-DMC. The Beasties broke down racial divides. Eminem freely admits that they allowed him to have a career – although Yauch saw no comparison, telling OG, “He’s white and he raps, so that would be about it.” Other tributes to Yauch have come from Nas, will.i.am, Cee-Lo Green and Diplo. Importantly, too, the Beasties showed that hip hoppers can evolve with audiences while retaining their relevance and street cred. The Beasties originated as a hardcore punk band, formed in 1979 by Yauch, a bassist, and Diamond. Horovitz joined them in a new lineup. All three had relatively well-to-do Jewish backgrounds. As Blondie’s 1981 Rapture referenced NY’s surging hip hop movement, the Beasties cut 1983’s parodic rap Cooky Puss. They’d morph into a hip hop group, but without ever abandoning their punk roots. The Beasties hooked up with entrepreneurial student Rick Rubin, who produced their AC/DC-sampling Rock Hard, releasing it on Def Jam Recordings, which he’d launched with Russell Simmons. In 1985 the Beasties opened for Madonna, igniting controversy with their obnoxious behaviour. “I’d throw the word ‘obnoxious’ in there, yeah,” MCA laughed to OG. The Beasties’ big breakthrough happened the following year. Their debut, Licensed To Ill, home to (You Gotta) Fight For Your Right (To Party!), was the first hip hop album to reach #1 Stateside. The Beasties subsequently fell out with Def Jam, signing to Capitol for the sample-heavy curveball, Paul’s Boutique, which The Dust Brothers helmed.
themusic.com.au
BEASTIE BOYS They followed with Check Your Head, issued through their own Grand Royal Records, Ill Communication, Hello Nasty, for which they won their first Grammies in the rap and alternative categories, the self-produced To The 5 Boroughs, and the instrumental The Mix-Up. Today nearly every successful hip hopper starts a label, but the Beasties pioneered the concept with Grand Royal. They worked with credible DJs – Hurricane, then Mix Master Mike. Along the way, the Beasties became more socially conscious as MCs. They apologised for their past sexism. Yauch, a Buddhist convert, did much to raise awareness of China’s occupation of Tibet. The Beasties opposed the Iraq War. Yauch told OG that he felt “depressed” about Bush’s re-election. Yauch directed many of the Beasties’ videos and their live concert film, Awesome; I Fuckin’ Shot That!, plus a basketball doco, Gunnin’ For That #1 Spot. He founded Oscilloscope Laboratories, comprised of a recording studio as well as respected film production and distribution companies. He even made time to produce hardcore punk heroes Bad Brains. The Beasties reunited for last year’s Hot Sauce Committee Part Two, the Afro-punk Santigold a guest. The group’s future is unclear but, again in 2005, Yauch described an unbreakable bond: “Lock yourself in a room with your two best friends for 20 years and then kinda go by that – every day is different. Everything that we’ve been through has made us stronger as friends, basically. We decided a long time ago that our friendship comes before any business stuff or anything else, so we all have to agree on everything – or else it won’t happen.” ogflavas@drummedia.com.au
ROOTS DOWN
TRIO OF BLUES BLUES AND ROOTS WITH DAN CONDON
guitarists I took a lot of influence from guitarists such as Jimi Hendrix and Alvin Lee and a lot of British guitarists as well such as Led Zeppelin and others. It’s a mixture of styles that I have created.”
I love Folila, the new record from Amadou & Mariam. Possibly even more so than I loved their previous record Welcome To Mali, which is really saying something. Amadou Bagayoko is one of the greatest guitarists around right now in my opinion and it was an absolute honour to speak with him, via a translator, upon its release. Folila is a really joyous record and, even though the majority of the record is sung in French, the music transcends any language barrier you may anticipate would be inherent with such a record. “The universal message behind this album is that everyone can come together and do music,” Bagayoko says down the line from Paris, where he and his wife Mariam Doumbia now live. “The album was recorded in New York, Paris and Bamako to bring together those three continents and those three influences. My main message that I’d like to put forward is that music is the universal language for everyone.” Musically it’s diverse; you don’t have to be an avid fan of African music to get swept up in its intoxicating rhythms and melodies, both of which are complex and deftly executed. “It represents an interesting mix between traditional and modern instruments as well as keeping the original roots of blues that we’ve always had,” Bagayoko says of the arrangements. When asked if he ever worries that they’ll stray too far from their roots, he says he can’t see it happening.
BLOW
AMADOU & MARIAM “I’m not too worried about losing my roots because we’re the ones who always compose the music to begin with, so it may drift away a little bit from our musical roots but we’ll never lose them.” Along with acts like Tinariwen, Bombino, Vieux Farka Toure, Amadou & Mariam are ensuring the rich Malian musical tradition lives on, and now it seems as if it’s more popular than ever. “Of course it’s a great pleasure,” Bagayoko remarks about Malian music’s prominence in western countries at present. “Beforehand Mailian music was not well known; there wasn’t even really any recording studios there. So it’s very satisfying to see this music now being distributed around the world.” Bagayoko is one of the world’s great guitarists; he speaks a little of those who influenced him. “Originally I was inspired by the ngoni which is the traditional instrument in Mali,” he begins. “But in terms of
Fusing jazz with classical influences, Amphibious are cellist Ollie Miller, sax and clarinettist Richard Maegraith, guitarist Aaron Flower and drummer Jamie Cameron, and together they’ll showcase their new album, Splendid Virgins, at Live At The Village in Springwood Friday night, with keyboards player Gary Daley, bass player Brett Hirst and guitarist Llew Kiek opening the evening. And a hearty congratulations to this year’s Australian Jazz Bell Awards: Sydney singer Kristin Berardi and the Jazzgroove Mothership Orchestra won Best Australian Jazz Vocal Album Award for Kristin Berardi Meets The Jazzgroove Mothership Orchestra; Peter Knight the Most Original Jazz Album for Fish Boast Of Fishing; the Nick Haywood Quartet the Best Australian Contemporary Jazz Album for 1234; Luke Howard and Janos Bruneel Best Australian Jazz Song of the Year for Spir, from the album, Open Road; Allan Browne Best Australian Traditional Jazz Album for Collected Works Volume II: Fifty Years Of
The Heathcote Hotel in Sutherland is not only a popular music venue but has become the hub for community festivals in the Shire, each year hosting the Vintage Wine & Beer Makers Fair, as it does once more this Sunday from 11am, showcasing a mix of fine wine, premium beers and gourmet food and live entertainment from the rambunctious and always entertaining Psycho Zydeco. BARBS – What does it stand for? Try BluesAngels Acoustic Roots’n’Blues Sessions, and that’s what you’ll find this coming Sunday at the Forest Café in Kantara House at scenic Green Point from 1pm, with an open mic followed by BluesAngels, Johnny Devilseed & The Birdman, Nasty Cloud Delta Blues, Slightly Off, Kate Landsberry and many more. Since his prestigious second placing in the International Memphis Blues Challenge with longstanding drumming compadre Ron Grosser, pianist and singer Don Hopkins has been basking in some long overdue recognition as one of this country’s most creative blues and R’n’B artists. He is getting together with 2MBS-FM to stage a special showcase gig at the Marrickville Bowlo on Saturday 26 May that will include some rare blues footage on the big screen. The Eastern hail from New Zealand and have just released a new album, Hope & Wire, which they will be promoting
Sound good? You won’t have to wait long before you get to see it for yourself. “Absolutely yes. Certainly we want to come back to Australia and it’s actually projected and we’re planning to come back to Australia. The dates aren’t fixed but we are going to come back on the back of this record and also to do the concert in the dark, the Eclipse Concert.” Folili is out now through Because/Warner right now
You’ll be jumping aboard The Blues Caravan here in Australia for a run of shows – what are you expecting? Hoping just to connect with different types of blues players. Both Eugene and Matt are unique in their styles, we’re all very different.. Bringing the three styles together can only benefit us all as musicians, and I reckon it’ll be an amazing show for the punters. Those two cats Eugene and Matt are extraordinary! Have you come across your soon to be tour mates before? If not, what have you heard about them? I saw Matt play with a symphony orchestra in Moncton, it was the first time I’d seen him. The man is a rare true talent. The finale of the show will feature everyone on stage together – what’s your preference for the all in jam and why? We figured it was a great way to finish off the show – a blues duel on stage if you like. I reckon we’ll each see it as a real challenge – which can only be a good thing for the audience and gives that air of danger! Who knows where it will go?
roots@drummedia.com.au
JAZZ/WORLD WITH MICHAEL SMITH
Michael Griffin Quintet – Norton’s On Norton Marsala – Camelot Lounge Scott, Tim, Rick and Alex from Directions in Groove – Blue Beat
SATURDAY BARNEY MCALL New Orleans Jazz, and Alex Boneham Young Australian Jazz Artist of the Year, with Brian Brown inducted into the Graeme Bell Hall of Fame.
TUESDAY
Barney McAll Trio – 505 The Rhythm Hunters – Camelot Lounge Six Degrees – Mosman Rowers’ Club Yuki Kumagai & John Mackie – Well Connected Café Leichhardt Dereb The Ambassador – Sound Lounge The Idea Of North – Lizotte’s Newcastle
SUNDAY
ACRONYM Orchestra + Showa 44 – 505 James Valentine Quartet – Golden Sheaf Gadjo Guitars – Camelot Lounge
The Swinging Blades – Marrickville Golf Club Sydney Fusion Jazz Jam – 3pm Beauchamp Hotel Darlinghurst SamBossa – Woollahra Hotel
WEDNESDAY
MONDAY
Paul Sun Trio – Jazushi Surry Hills Chosani Afrique – The Mac Surry Hills
THURSDAY Jason Bruer Quartet – Dome Bar, Crown Hotel John Harkins Trio – Colbourne Ave Glebe The Inner Urban Jazz Trio – The Supper Club Darlinghurst The Idea Of North – Lizotte’s Kincumber
Bernie McGann Trio with John Harkins – 505 Sonic Mayhem Orchestra + Trish Delaney-Brown – Blue Beat
TUESDAY
FRIDAY
Abstract Brotherhood + Midnight Tea Party – 505 James Valentine Quartet + Robert Susz – Golden Sheaf Gadjo Guitars – Camelot Lounge
Todd Hardy Swing Orchestra with Monica Trapaga – 505
blow@drummedia.com.au
THE SWAMP SHACK
There’s a great night of folk and rootsy sounds at The Empire Hotel this Saturday with the Peter Miller-Robinson Band, Sophie Raymond & The Reddy Set and Lowdown Dirty Shame. This is singer/songwriter and guitarist Robinson’s last show before heading overseas.
“It actually has had quite a large impact; everyone seems to be very pleased with what they experience,” Bagayoko says of the response to the shows. “It’s an original idea and the fact that they are in the dark means that they have a different perception of the music in itself. Not only that but everything that goes with it; the sound design, the smells and this whole cinematic effect, the story that goes with it, it’s very immersive for them. On the whole everyone seems to have been very, very happy with it.”
You’ve been doing a lot of songwriting – is this for a new record? Yes, I’ve been writing heaps. I’m hoping to have a new album out early next year, it’s in the bag, just putting a few finishing touches on the writing process and then we’ll head into the studio.
ANTONIO SANCHEZ
She’s performed with most of the greats, from Ellington to Lionel Hampton, performed internationally and nationally since she began singing professionally in 1955, and Wednesday night, our very own Sandie White performs at 505. Saxophonist and composer Tim Clarkson took himself off to New York City last year and recorded his second album, Evolution Of Beauty (Dangerous Music), there with expat pianist and composer Barney McAll. Friday night, McAll is back in Sydney to join Clarkson in the Sound Lounge to launch that album with rhythm section Karl Dunnecliff on bass and Tim Firth on drums.
One thing about Amadou & Mariam that should be noted for those who aren’t familiar is the fact that they are both blind. In fact, they met at Mali’s Institute for the Young Blind. Inspired by this, they have started to put on shows by the name Eclipse, which are staged in complete darkness, so that audience members can experience the music just like the leading duo do.
Three of today’s leading blues players – Eugene ‘Hideaway’ Bridge (USA), Ray Beadle (Australia) and Matt Andersen (Canada) – take to the road next month as part of The Blues Caravan. They’ll be visiting The Brass Monkey in Cronulla on Wednesday 16 May, The Vault in Windsor on Saturday 19 and The Basement in Sydney on Saturday 20. Beadle chats to Drum about the tour.
on their coming Australian tour with a Sydney show at the Camelot Lounge this Thursday. The band are renowned for their rolling, rambling, shambling, family hoedown-style performances and an impressive resume includes shows with the likes of Steve Earle, the Old Crow Medicine Show and Lil’ Band O’ Gold.
TUESDAY
Alison Penney and George Rigatos combine at the Dee Why RSL Club, while Adam Pringle and friends jam the blues at the Sandringham Hotel.
WEDNESDAY
Tom Richardson and Jono Zilber get rootsy at the Beaches Hotel at Thirroul, while you’ll find the regular Blues Jam happening at the Bald Faced Stag in Leichhardt. The guitar wizardry of Canada’s Harry Manx is on show at Lizotte’s in Newcastle, while Mississippi Shakedown soothe those post-budget blues at the National Press Club in Canberra.
FRIDAY
Over the years the Seymour Centre has hosted some of jazz’s finest drummers – and this year they present none other than three-time Grammy Award-winning New York drummer Antonio Sanchez, who will be sitting in back of the international lineup coming to the Seymour Centre Saturday 9 June for the launch of the latest album, ALBARE iTD International Travel Diary Long Way, from French Australian guitarist Albare aka Albert Dadon. Described by The New York Times as one of the standout jazz drummers on the contemporary screne, Sanchez is one of the most in-demand drummers, regularly recording and touring alongside Pat Methany, Chick Corea and Gary Burton among many others. This musical powerhouse takes to the stage with Argentinean-born pianist Leo Genovese (taking a break from his regular gig in Esperanza Spalding’s band), German harmonica player Hendrick Muerkens and fellow Grammy Award winner George Garzone on sax. Handpicked by Matthias Winckelmann, the founder of famous German jazz label Enja, to perform on the new collaboration between Albare and Greek Australian bass player Evripidis Evripidou. Given the busy international schedule of the players in this band, it is a feast to see them assembled together for one performance in Sydney before embarking on their European tour. Sharing the double headline bill with Albare is French double bassist Renaud Garcia-Fons in solo mode.
DOUBLING UP ROCKABILLY/PSYCOBILLY/ALT.COUNTRY WITH PEDRO MANOY
HARRY MANX
THURSDAY
OPEN TRAVEL DIARY
Alison Penney & The Moneymakers are joined by Chris Mawer in solo mode at the Petersham Bowling Club. Rip It Up tear it up at the Eastern Suburbs Legion Club whilst Chase The Sun get together with Cass Eager & The Velvet Rope for a big night at the Brass Monkey. Jim Conway’s Big Wheel and Spyke Flinn play the Empire Hotel and Mississippi Shakedown move to the Valley Tavern in the ACT. Jump Jive & Wail is the monthly jivecat jamboree at the Lansdowne Hotel with Limpin’ Jimmy & Swingin’ Kitten spinning all the coolest platters from 10pm.
SATURDAY
Alison Penney & The Moneymakers are joined by Chris Mawer at the Berowra Village Tavern. Harry Manx moves to Lizotte’s at Kincumber on the Central Coast and Stormcellar bring their hip swamp sounds to the Taverners Hill Hotel.
SUNDAY
Like the immortal Robert Johnson, Dr Don’s Double Dose have a date at the Crossroads Hotel from 1pm. Mississippi Shakedown slide into the Canberra Irish Club from 3pm and Turner & Simmons rock the Gladstone Hotel from 4pm. The Marrickville Bowlo hosts another Sunday arvo hoedown with the Hunter & Suzy Owens Band from 4.30pm followed by evening shows from LA-based boogie pianist Bob Malone and our own Pugsley Buzzard at the Camelot Lounge, Harry Manx at Lizotte’s at Kincumber and the mighty Mal Eastick Band at Lizotte’s in Newcastle. swampshack@drummedia.com.au
themusic.com.au
Recently in town playing piano in John Fogerty’s band, American jazz/boogie player Bob Malone returns to tour in a double bill with local boogie pianist Pugsley Buzzard, Malone kicking things off on his own this Thursday at Murray’s in Manly, he and Buzzard then playing the Camelot Lounge Sunday night. We caught up with him for a quick chat. You’ve become quite the regular visitor to Australia. What can we expect from you this time around? I have a whole album worth of rocking and funky new material that we’re very excited about playing, in addition to the stuff everyone knows and (hopefully) loves. This tour will be a combination of solo shows, band shows and duo gigs with Pugsley. In addition to our separate sets, Pugs and I will do a few songs together to close the show. It’s great playing with him because we are both influenced by the same people and styles but do different things with them, so we’re always on the same page without being redundant. For the band shows I’ve got my excellent Australian band with Andy Byrnes on drums, Mick Malouf on bass, and Steve Grieve on guitar – we’ve toured a lot together, so it’s sounding better than ever! You must have been very pleased to get the call from John Fogerty. Has your style of playing been a relatively easy fit to his style of Southern rock? It was a very easy fit. I grew up loving John’s music, and he was part of the pantheon of artists who have influenced me most. He loves New Orleans-style piano and soul and R’n’B organ, and that’s what I’ve been bringing to the gig – so it’s been working out great. And it’s a real honour to be playing all those classic songs with him. It’s been a while between albums – anything new coming up? Yes! We start recording the new CD in August and I think it’s gonna be the best one yet! And everyone will get a healthy preview of the new tunes on this tour. THE DRUM MEDIA • 59
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THIS WEEK IN
ARTS
TUESDAY 15 The Shape Of Music - an exhibition from photographer Neil Cash, who has just won the AIPP professional Photography Award for fine art photographer and photographer of the year (2012. This exhibition, centred around music features the winning images. Part of the Head on Festival, opening night, The ArtHouse Hotel, 6pm. Opening Address: The Private Moment – Libyan novelist, Hisham Matar says even private life is infiltrated by a totalitarian regime. To describe how people love differently under this situation is an act of resistance. To open the 2012 Writers Festival, Matar speaks of our need for fiction, which articulates these emotions best. Opening night of Sydney Writers Festival, Sydney Theatre at Welsh Bay, 6.30pm festival until 20 May.
WEDNESDAY 16 Slam TV Party - three independent hip hop artists - Joelistics (TZU), Ozi Batla (The Herd) and The Tongue - perform their lyrics a cappella with spoken-word artists including Australian Poetry Slam Champion Luka Lesson and photographed artists Morganics, Bravo Child, Alan Pham and Alana Hicks. To celebrate Slam TV’s launch. World Travels, 6-8pm. Stalker - a classic of Soviet cinema directed by Andrei Tarkovsky and subject of Geoff Dyer’s latest book, Zona. Director Dyer will briefly introduce the film. Part of the
FILM
FRIDAY 18 Angela’s Kitchen - written by Paul Capsis and Julian Meyrick, Capsis performs in this piece of biographical theatre about his grandmother Angela, who left Malta in 1948. Having gathered up five children, she sailed out on the Strathnavar, leaving poverty and the war behind. Her destination, Australia. In Surry Hills, she could build a bright new life. Opening night, Griffin Theatre, 7pm until 9 June. Erotic Fan Fiction - a new batch of writers and performers including Andrew Denton, Zoe Norton Lodge, Ben Jenkins and Tom Ballard turn their craft for a variety night of comedy and wit. Part of the Sydney Writer Festival, Festival Hub, 7pm.
ONGOING Strange Interlude – written by Simon Stone after Eugene O’Neill. Directed by Stone, it’s a play about one Nina Leeds, who has lost the love of her life in the war. Overcome with grief, she quits university, falls out with her father and moves away from home, consoling herself pursue in a series of sexual flings. Eventually she settles down in a comfortable but unexciting marriage with Sam Evans and then begins a 15-year affair with his best friend Ned Darrell. The play interweaves soliloquy and dialogue. Belvoir Upstairs, 8pm until 17 June.
REVIEW
SILENT SOULS Finally receiving a belated theatrical run after various festival appearances from Venice in 2010 on, Silent Souls is a Russian film elegiacally examining the slow disappearance of ancient rites from the collective consciousness through the prism of two men. Miron (Yuri Tsurilo) and Aist (Igor Sergeyev) are paper mill workers, close friends and descendants of the 17th century Merjan tribe. Aist narrates the film and has taken it upon himself to document their contemporary legacy, and upon the death of Miron’s wife, they embark on a road trip to bury her according to Merjan rites. On the way, we learn of ‘smoking’, the act of revealing secrets of the deceased before their body’s cremation, which is where the film’s effectively threadbare character conflict arises. On its surface, Silent Souls is art cinema 101, with lingering, painterly compositions and deliberately opaque performances at the service of an oblique genre deconstruction (it’s a road movie, of sorts). But director Alexei
THEATRE STRANGE INTERLUDE Belvoir Upstairs Theatre 09/05/12 Where Simon Stone’s previous adaptations or rewritings have given texts a contemporary yet timeless naturalism in their re-rendered dialogue – as in Thyestes or The Wild Duck – Strange Interlude seems to verge more on parody. Given snapshots of long lives lived well but often emptily, the commentary, via Emily Barclay in the lead role as Nina, is, by the character’s own admission and Barclay’s performance, “Too 60 • THE DRUM MEDIA
Sydney Writers Festival, Dendy Cinemas, 6pm.
Fedorchenko’s straightforward, essayistic presentation of Merjan culture prevents the film from scanning as ersatz Tarkovsky. Somewhat like Jarmusch’s Dead Man, the film locates a resonance in its examination of a very specific dying culture, and to his credit, Fedorchenko doesn’t exactly valorise this culture. Miron’s relationship with his wife is presented as strictly carnal/ corporeal, suggesting a tacit commentary on the stronghold that Merjan traditions have on the emotions of both men (in the film’s most memorable shot, the camera pans up the bodies of two naked prostitutes before they pleasure Miron and Aist offscreen). Silent Souls haunts because it invites us to compare those rites with our own ingrained routines, biases, ways of thinking, and how they alternately bond and alienate us from one another. Ian Barr WHAT: Silent Souls WHEN & WHERE: In Cinemas Thursday 17 May
2012: A COMIC ODYSSEY US stand-up comedian Arj Barker is a walking, gag-cracking harvest of joy and disobedience. As he tours Oz once again to promote his latest DVD, he tells Paul Ransom that all he really wants is to become irrelevant. Ark Barker is sitting alone, distracted, in the brasserie of a South Yarra hotel peering intently at his phone and pondering his routine for an upcoming TV slot. The notable lack of a minder tells me Barker truly runs the show. He looks up, apologises, and by way of explanation says, “Y’know, I have to keep it together and remember where I’m s’posed to be.” As a much travelled stand-up comic, Barker will readily admit that life on the road telling jokes is not always a laugh. “I mean, it’s awesome because I have a lot of freedom but y’know, every time I go on I feel I have to outdo myself just in case there’s that one fan out there who goes, ‘I dunno about that guy.’” Hence his continued focus on the phone as he searches out hanggliding videos and takes calls. His date with The Project that night is strictly business; namely flogging his just released DVD, Joy Harvest. “I have to nail this,” he tells me. Recorded at Sydney’s State Theatre in late 2010, Joy Harvest is Barker at his sardonic best, veering from almost serious observational banter to outright silliness. However, despite the title (or perhaps because of it) the conversation turns to darker things. Like countless other comedians, Barker frequently extracts humour from misfortune. “It’s almost like alchemy. You are taking dark things, negative things and turning them into things that people will laugh at. It’s like a transmutation. Maybe that’s kinda the comedian’s job, to make shit funny.” However, Barker is keen to point out that he is not a hotel-dwelling depressive. “I’m a pretty upbeat person. Not extremely; but certainly on good days.” On the evidence of Joy Harvest it would be hard to disagree. “There’s a lot of positivity in my show even though I’m dealing with a lot of pretty heavy stuff. The DVD does culminate
REVIEW well” - excessively capable of discontent. The opposing poles of emotion portrayed by Toby Truslove as cuckolded husband Sam Evans border on caricature, but do not seem overacted. Similarly, Toby Schmitz’s Ned Darrel is incomprehensibly pitiable. With each scene the stage is set before us – with sound assistance from composer/sound designer Stefan Gregory – these changes are not laborious, but move fluidly and help each portion of these lives that we see to exist in an oddly manufactured limbo with a visually striking minimalism that counters
the excess of the characters. Robert Cousins’ sets – assembled as they are by hand on a white cyclorama, its endless sense of space aiding the portrayal of these scenes as though we are coasting along the timeline on which they are placed, stopping in for updates and heartbreaks – have bold, singular focal points; a jetty, a model train set, shopping carts… Stone’s least ‘shocking’ work in recent memory, Strange Interlude remains both entertaining and confronting, wonderfully here and now. Dave Drayton Running until Sunday 17 June
in the idea that we’re all being oppressed; but at the end of it all even that stuff’s good for a laugh.” Ever since he burst out of the States, picking up the Best Newcomer gong at the Edinburgh Fringe and becoming a staple on the antipodean comedy circuit, Arj Barker has carved out a reputation for being both dry and absurd. His penchant for Pythonesque ideas, like the creation of a sarcastic font or Awesome Human Theory, underlines both sides of the Barker coin. “One of the things I’m excited about is the idea of adult films where the males are, like, of average size,” he elaborates. “That’s ahead of its time, I know, but it might catch on. Y’know, it might seem funny now but in a few years someone will go, ‘oh shit yeah.’” For all the silliness it doesn’t take long to get Barker onto more serious topics. One of his favourite targets is mainstream news media. “The news is basically scare-based propaganda. It’s war and crime and shit like that and so people are so paranoid that there’s no way I could just walk up to some lady in a park and say, ‘excuse me, but would you like it if I could make your vagina feel nice?’” Such clever juxtaposing of progressive thinking and old school misogyny is, of course, deliberate. It’s part of the joke that Barker plays on himself. “I don’t think I’m a misogynist or an arsehole or anything, it’s more that I like to make a joke out of the idea that I’m trying to be progressive but remaining an ignorant arsehole. As long as I put the blame on me, it’s cool. I wouldn’t like it if the victim was anyone else but me; except if it was some insane bureaucrat or arbitrary government drone.” Barker’s recent discovery of DJing is still a source of neophyte excitement. While prompt to confess that he’s no turntablist yet, his eyes clearly light up at the prospect. “It’s an exciting thing to be learning something different and being part of people dancing and having a good time. I’d be crazy not to explore i. And the beauty of it is that it wouldn’t interfere with my comedy because I could play my show, go out to dinner and still be early for my 2am slot.” In between practising on the decks and honing material for Project slots and future DVDs, Barker’s comic ambitions are reassuring oblique. “I like the idea that someday my jokes will become irrelevant,” he chirps. “I wanna become the Arthur C Clarke of comedy.” In the universe of Arj, the future is now. WHO: Arj Barker WHAT: Joy Harvest in stores now
GOING BACK
Playwright Melita Rowston talks to Dave Drayton about the drama of disappearance. In January 1976 eight year old Eloise Worledge went missing. Despite the biggest missing person’s search in Victoria’s history and a $10,000 reward posted in that year that remains unclaimed, no trace has ever been found. When Eloise disappeared Melita Rowston was still young, but as a fellow resident of the Melbourne beachside suburb of Beaumaris, and with her parents being friends of the Worledge family, Rowston still had some sense of the disappearance, even if she could not yet fully comprehend its gravity. “Everybody knew about it,” recalls Rowlston. “I was very young, but my mum was a friend of the family. I guess the impact for me was because I was so young – and the girl was seven when she was taken from her bed, I was a bit younger – my mum would always tell me that story and say, ‘Keep your window closed at night because you don’t want to get taken like little Eloise was taken.’ So it was more the impact of mum talking about it and her friends talking about it and growing up with that knowledge that a little girl was taken from her bed.” When Rowlston was accepted into Griffin’s emerging playwrights residency, then under the guidance of David Berthold, Eloise’s disappearance, an interest in telling Gen X’s stories, in the myth of the missing child – as seen in stories such as Picnic At Hanging Rock – and frequent trips between Sydney and her Melbourne hometown inevitably led her to the crux of Crushed. “I was visiting home a bit at that time and was having all those experiences you have after not living in a city for a while and going
back to your childhood home and returning and remembering your childhood. I really liked that idea of ‘coming back’, a reunion of sorts, I think I was connecting with a few old high school friends as well, so that was really interesting to me. At the same time, where I grew up a little girl did go missing and I think it came up in a family conversation during my visit and I thought that would really impact on your life, if you were returning to this place full of childhood memories and there was this one friend who was still missing, and the mystery around that.” In Crushed the missing girl’s best friend, Kelly, returns home from Prague, where she has been making a new life for herself, in order to assist in a re-opened police investigation into the missing person. More than being transported back geographically, Kelly and co are thrown back in time as they attempt to recall the fateful night during a series of police interviews and friendly reminiscences. “We were also noticing the woman who’s gone missing in Brisbane,” Rowston adds, citing more recent cases that have influenced the rehearsal process for Crushed, “They’re putting mannequins out on the pavement and that sort of thing. And the mannequin features quite prominently in my play as well, this image of this weird child frozen with a wig on and the clothes that she was last seen in. So we were all last week looking at the news going, ‘Wow, this is really – even though it’s set in the past – something that is so real now as well.’” WHAT: Crushed WHERE & WHEN: New Theatre, Wednesday until Saturday 9 June
FRONTROW@DRUMMEDIA.COM.AU
THE FEST FOR THE TEXT
MEN IN DANCE
Gearing up for his first appearance at the Sydney Writer’s Festival, Benjamin Law tells Liz Giuffre he’s happy being the ‘token’ guy.
Artistic director Vincent Trevino is bringing Les Ballets Eleoelle’s Men In Pink Tights to Australia and tells Jake Millar the all-man ballet has universal appeal.
“I think that whole idea of writers’ festivals being an oldies event, something that’s proper and all about drinking Earl Grey tea is a complete lie,” says Benjamin Law, Sydney Festival invitee and threepanel speaker. “There’s plenty of opportunities to get drunk… I think there’s this perception that it’s this high end, high tea drinking event, but the best [writing festivals] I’ve been to are loud and a chance to throw ideas around – writer’s festivals are just an exchange of concepts or ideas or things we’ve had going on in our head. A novel can bring out anything from war to lesbian aesthetics and when you get around and talk about that at a festival then of course you want to continue that debate and talking later in the pub, and that’s what I love about it. I especially encourage young people to go as well because if you’ve got a brain and you’re interested in stuff, there’s always something for you.” A (rightly) well-loved indie writer who’s gone from niche darling to the mainstream press effortlessly, Law has written as a serious, and humourist, commentator, a journalist and a novelist. While this is his first appearance at the Sydney Writer’s Festival (following gigs at Melbourne and the Young Writers’ Festival), he’s appearing across several events at the festival including panels of bullying, gay marriage and writing the truth. But, he’s not actually there to spruik anything of his own. “My book [Gaysia: Adventures In The Queer East, September release with BlackInc] won’t be out by then, but it’s not the reason I’ll be there. It’s just a great opportunity to talk about and spread ideas, which is what they’re all about.”
While being textless may leave him as something of a ‘token’, Law’s happy with that too – being just an interested party, a fan, an example of where writing can take you and why it’s engaging no matter what angle you want to approach it from. “My whole life is about being the token one. I’m either the token young person or homosexual or Asian; I’m literary grout, I’m there to fill gaps.” He suggests warmly. “And I’m happy to do it, I’d rather be there as that than have no representations [of those demographics] at all, but however you want to use me, that’s okay with me.” Indeed, Law can write, and talk, about a wide range of things, and while he’s keen to make clear that writers’ festivals are for everyone, is he ready for the inevitable audience of ‘ladies of a certain age’, who may not be used to some of his usual topics of consideration? “Those ladies are always the filthiest.” - he doesn’t miss a beat yet still, somehow, with impeccable charm - “About ladies of a certain age – we always have an idea about what those ladies are like but remember they’ve seen it all before. They were the ones who came of age when Germaine Greer was first doing her thing; they’re the biggest filth pots of all. I’ve had conversations with lots of people about this and they tell me this repeatedly, you have to remember they were there when Germaine was putting her ankles behind her head and talking about her cunt; they’ve seen some stuff. If anything these ladies make me relax.” What: Sydney Writer’s Festival Where and When: Various venues, Monday 14-Sunday 20 May
GIVEAWAYS We have five double passes to give away to The Dictator, which is opening this Wednesday 16 May in cinemas nationally. The film that got Sasha Baron Cohen kicked off the Academy Awards red carpet for spilling Kim Jong-Il’s ashes on Ryan Seacrest is the “heroic” story of a dictator who risks his life to ensure that democracy will never come to the country he so lovingly oppresses. For your chance to win go to www.facebook.com/drummedia.com
The clue is in the name. Les Ballets Eloelle (get it?) certainly features plenty of makeup and tutus and pirouettes galore, but this is not your average night at the ballet – far from it. With a cast that includes nothing but men, all of the female roles – and costumes, for that matter – are filled by gents. As the dance company brings its world premiere production of Men In Pink Tights to Australia, with it comes an evening of dance, fun and no shortage of laughs. “The show combines comedy and dance, using an entirely all-male troupe,” explains the show’s artistic director Vincent Trevino, who also performs in the production. “We take classical and contemporary dance and we make parodies of them.” The group put their trademark cheeky spin on some of the world’s best-known ballets, and they’re currently working through a marathon 75-show tour of Australia. “We’ve already done about 27 shows, so we’re hitting pretty much everywhere – big and small cities all around the country.” Before arriving down under, Eloelle’s international cast of dancers also hit everywhere from Japan to France. “The reaction is a little different in places, but it’s also been surprising. In Korea, for instance, people were so excited they just about jumped on stage, whereas in China they were a lot more reserved, so you just never know how people are going to respond. Luckily, language is not a barrier as the comedy’s all physical, but overall most of the Western countries react pretty similarly – everyone has a good laugh and just really enjoys the show.” Before founding Les Ballets Eloelle, Trevino, who is a classically trained dancer, performed with well-known comedy troupe Les Ballets Trockadero and later formed the phenomenally successful
DEVIL’S DETAILS
Marius Holst, director of King Of Devil’s Island, chats with Sam Hobson about Norwegian cinema and making his first genre film. Les Ballets Grandiva, which toured for some 13 years. So what makes these comedy troupes so popular? “Well it’s unusual to see men dancing on their toes. It’s very funny and it makes dance accessible to people who have probably never gone to see it before. But also for people who are really interested in classical dance, they’re able to go and see something that they love done in a very different way.” Whether you’re a stranger to the ballet theatre or something of a dance aficionado, Trevino assures visitors there’s something in the show for everyone. “If you’re more familiar with classical dance, you’re going to appreciate it differently but it’s not necessary to have a background in ballet. Since everyone performing is formally trained, there’s still a lot of wonderful dancing on stage, and the audience is able to see something that they’ve grown to love and they’re able to laugh – so it’s seeing something familiar in a different light.” That said, newcomers to ballet will not be disappointed. Sure, you’re guaranteed to see plenty of elegant dance routines, but it’s the comedy that takes centre stage. “This is a great show for somebody who’s never been to a dance show before. If you have been thinking of going to a dance show, this is the best one to start with because it’s so easy to understand. “The whole point of what we do is to make it easy to follow without needing any explanation of what you’re seeing. I think that’s what makes this show so successful, that they’re able to sit down and just enjoy it for what it is.” WHAT: Les Ballets Eloelle’s Men In Pink Tights WHEN & WHERE: Saturday 19 May, State Theatre; touring nationally until July 7
THE POETRY IN FILM FESTIVAL 2012 IS SEEKING FEATURE POEM The Norton Anthology of poetry proclaims, “poetry is meant for performance by the human voice”. The Poetry in film festival (PIFF) is all about bringing poetry to life through film. Submissions for the feature poem that is turned into a short film can be up to 15 lines. To apply go to poems@poetryinfilmfestival.com.au by June 30. 2011 winning poet Belinda Hilton was overwhelmed by the diverse interpretations of her poem, Four Letters, Four Words, and gained national and international exposure as a result of her participation in the festival, h screens nationally at Palace cinemas in November.
At the beginning of our chat with Norwegian director Marius Holst, he’s deep in the process of editing. ‘A new film?’ Front Row enquires excitedly, recalling that a cursory scan of his imdb page hadn’t shown he’d started another project. Instead, it turns out, he’s working on an advertisement he shot for a local newspaper. “I do one every now and then, you know,” Holst explains, sounding amused. “If you want to also live while directing, it’s a nice thing to do between gigs.” That sweet, and charming, reality seems miles away from his latest film, King Of Devil’s Island, a big and monstrously bleak prisonpicture based on the true story of the Bastøy Island juvenile riots. Shot in what looks like an endless rainstorm, and rocked by thunderclaps of sudden, spiteful violence, Holst’s film tosses in an anxious tumult of menace and hopelessness. “I grew up in Oslo,” he explains, “and the island itself isn’t too far from there, so I always knew of it as sort of a mythical place, and you knew of the bad boys that lived on the island – it was something you were threatened with. “Later, after I made my first film, I started reading up on it. Through my research, I met this man who’d been there in the early 1930s. I got him talking, and he started telling me about his experiences there. He was [imprisoned] from when he was nine until he was fifteen and that was what triggered me into thinking ‘this is the story I want to tell.’” But, he admits, making that
real-life story into a film, it loses something of its reality and takes on the expectations set by other films telling similar tales, so to audiences, it becomes a genre film. “We’re [working] in a genre where we share everything from One Flew Over The Cuckoo’s Nest, to the many other films in that same ‘institutionalised’ setting. It was very important for me then to tell [our] story, and have the characters be very Norwegian.” Of the films from Norway that have made their way over here recently, it’s hard to pinpoint exactly what the Norwegian cinematic voice is, let alone grasp a proper sense of it as a place. “For me, it’s just my natural voice. I just try and use what’s within my taste and temperature, and when we express ourselves we are in some sense more reserved than, say, a Spanish director, and it’s in our reactions, and the way we speak, and the way we finally explode, and our relation to nature and life. It will come out of my way of seeing things, I hope. Again, it has something to do with taste and temperature. It’s very clichéd, but we do tend to tell things with looks, less words. We’re a bit more austere, and a bit more reserved. I mean, we all grew up with European and Nordic cinema, but, like you, [we also see things] a lot in relation to American cinema and their genres. So that is also there, because we’re also in their territory, trying to express something that’s typically ours.” WHAT: Kings Of Devil’s Island WHERE & WHEN: Now open in cinemas nationally
TWEET FEED ET VHEENWT EOEFK THE NARNIA EXHIBITION MEDIA LAUNCH 11.06am - Ladies & gentlemen we have gone through the wardrobe & are in the Powerhouse Museum’s Narnia show. 11.07am - I am pleased to report that there are ponies. Well, centaurs, but they’re close enough, amirite? 11.12am - Haven’t seen Tilda Swinton yet :( 11.21am - Yeah Mr Tumnus does not get less disturbing in bust form.
11.24am - Woah I am doing so much interactive learning about climate science right now! 11.44am - The Frozen Throne: actually is chilled. 11.52am - Also climbed through a hollow log & attempted to build an arch. Heaps interactive! 12.00pm - Check it out, statues in the gift shop. Who wants a $100 figurine of Aslan? WHAT: The Narnia Exhibition WHEN & WHERE: Opening 12 May, Powerhouse Museum, until 26 August. THE DRUM MEDIA • 61
FRONTROW@DRUMMEDIA.COM.AU
C U LT U R A L
CRINGE
WITH JAMELLE WELLS A big winner in last Tuesday’s Federal Budget was the National Gallery, which is part of a group of institutions to get $39.43 million. The Australia Business Arts Foundation was given $3.2 million to fund it for another two years to promote private-sector support of the arts. But classical music label Melba won’t be funded from June 30, despite getting more than $7 million from the Federal Government since 2004. Still on the subject of finances, Belvoir St Theatre fared better than Sydney Theatre Company last year, posting a surplus of more than $300,000. In contrast the STC went into the red for the first time in three years. With box office sales down, it made an operating loss of $216,360. The previous year it had a profit of nearly $1 million. The STC says much of the loss was due to expenditure on behind-the-scenes operations, such as the company’s first in-house IT department. Politicians have been asked to join actors for a play reading at Town Hall next month to coincide with the handing down of the Australian Senate’s findings from the enquiry on same sex marriage. Local actor Spencer McLaren has organised the reading of 8, a play by Dustin Lance, the Oscar-winning writer of Milk. The play documents the US Federal Court trial that banned gay marriage and the reading will feature a cast that includes Shane Jacobson and Lisa McCune. The Town Hall event follows US readings led by Brad Pitt and George Clooney
THE SHOW GOES ON
that were broadcast live around the world on YouTube. Sydney Fringe has announced two successful applicants for a new mentorship program – Amelia Ryan with her one-women comedy/ cabaret, Storm In A D Cup, and Justin Locke and Jordan Shanks with their surreal comedy, Steve: Two Sugars Thanks, I’ve Had A Bad Day. The program provides practical advice to young emerging artists to develop and refine their craft over four months leading up to the fringe festival in September. It offers marketing and PR support, one-onone sessions with a leading mentor in their field and a month’s rehearsal space. An Australian film about a family fleeing war in Cyprus has won the main prize at the national Shorts Film Festival. The Palace tells the story of a Cypriot family during the Turkish invasion in the 1970s. Director Anthony Maras, who is in the US where the film is showing at the Beverly Hills Film Festival, says his movie has now been released commercially. An exhibition based on a Brett Whiteley portrait depicting author Patrick White at his Sydney home in the 1970s is at the National Portrait Gallery in Canberra until July. The painting, Patrick White At Centennial Park, was the source of a huge brawl between them. Whiteley had asked White to compose a list of likes and dislikes for research purposes and, without his permission, used the list in the portrait. The exhibition coincides with the centenary of Patrick White’s birth.
The current Miss Burlesque World Cassandra Jane knows everything there is to know about adult entertainment in Australia. She tells Aleksia Barron about putting the “show” back into the girl in Bring Back The Showgirl. In a world where we can conjure up all manner of salacious delights with the tap of a smartphone screen, it’s almost difficult to picture the adult entertainment landscape in which Cassandra Jane made her name. The current
Miss Burlesque World and Miss Nude Australia has witnessed vast changes to her industry since she first entered it 15 years ago – and it’s inspired her to recapture a bit of the lost glamour with her production Bring Back The Showgirl.
“When I started fifteen years ago, there were between thirty-five and forty venues that we used to work in, all around Melbourne, Geelong, Frankston, Dandenong,” Cassandra Jane explains. “You’d do four or five pubs on a Wednesday, and then you’d do six pubs on a Thursday, and then on Friday you’d start at lunchtime, when the tradies would go and have their lunch. Then Saturday night, you’d do all your buck’s parties and birthday parties.”
But that doesn’t mean we can’t still celebrate it in style. Bring Back The Showgirl is, according to Cassandra Jane, a celebration of the Australian showgirl tradition, with a bit of Parisian cabaret and old-school burlesque thrown in. “I’m trying to breathe life back into it by bringing back the class. Today’s stripper has turned into a sexual being, rather than a sexy being. They’ve lost the entertainment value.”
It was a different era, where showgirls were something quite different to the tawdry image conjured up by the word “stripper” today. “The girls would come onstage and they would have these ridiculous props, like spaceships! They went all out and they spent three of four grand on their costumes. Their hair was immaculate, their nails were immaculate. They looked like superstars. These days, the strippers look like porn stars.”
Entertainment value is what Cassandra Jane brings in spades. She makes all her own costumes, which have been valued at thousands of dollars apiece, by hand, and invests heavily in props, staging and choreography to bring a bit of atmosphere to her routines. She’s proud of her work – after all, she’s in a performance profession that spans a few millennia. “The Dance of the Seven Veils is the first recorded sexual dance in history – recorded in the Bible. It’s been in our culture since we started walking, probably.” Now, she wants to celebrate that tradition. “We’re trying to bring it back – bring back the classiness, bring back the entertainment, bring back the show.” It certainly sounds a lot more exciting than tapping the screens of our smartphones.
The industry has suffered, thanks in large part to the introduction of pokie machines into Victoria’s venues, as well as large fees for providing adult entertainment that have rendered the shows financially unfeasible for most pubs. As a result, the independent showgirl – who created her own acts, ran her own bookings and built her own fanbase – is all but dead. “It’s a dying art, and it’s going to die – there’s no stopping it from dying,” says Cassandra Jane bluntly.
WHAT: Bring Back the Showgirl WHEN & WHERE: Sunday 20 May, The Factory Theatre, 8pm.
GIVEAWAYS Thanks to Bring Back The Showgirl we have five doubles passes to give away to the show Sunday 20 May at the Factory Theatre. For your chance win go to www.facebook.com/drummedia
adventure into design THINKING | MAKING | CONNECTING
Considering switching or upgrading your qualification? Visit Billy Blue for a one-on-one info session and we’ll show you how. Billy Blue Open Night Thursday May 31. Enrol now for our July intake. Contact us on 1300 851 245 or at billyblue.edu.au Think: Colleges Pty Ltd trading as Billy Blue College of Design, ABN 93 050 049 299, RTO No. 0269, HEP No. 4375, CRICOS Provider Codes: NSW 00246M, QLD 03107J, VIC 03252M.
62 • THE DRUM MEDIA
TOUR GUIDE FEATURE TOUR
GASOLINE INC.
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 fivetrack 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 Hotel in Newtown on Friday 18 May.
DRUM PRESENTS 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 DEVIN: May 23 Oxford Art Factory 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
Boatfriend’s chillwave was the perfect way to warm into San Cisco, whose large following came out early to catch a set that was laden with infectious pop hooks that showcased their ever-growing talent. Big Scary’s tracks were transformed into powerful sounds live that travelled right across the field, aptly described by drummer Jo Syme as a “natural amphitheatre”. Syme threw her entire body into smashing out the drums while guitarist/keyboardist/singer/beardenthusiast Tom Iansek played with equal precision and perfection. Matt Corby, the man with the voice that sounds like a beautiful nervous breakdown and eyes that pierce the soul, played a passionate set for his screaming and adoring female audience. He could sit there and make a sandwich on stage and his fans would still lose their shit, yet he does not settle for anything less than musical intensity. The equally charming The Maccabees shortly followed and while the Londoners were not used to the harsh Australian sun, they still managed a great set that juxtaposed lead singer Orlando Weeks soft
DUNE RATS: May 19 Spectrum JOSH PYKE: May 19 Seymour Centre BONJAH: May 19 The Lair JAM XPRESS: May 19 King Street Hotel Newcastle THE MORNING NIGHT: May 20 The Vanguard
FLIGHT OF THE CONCHORDS: Jul 5 Sydney Opera House, Jul 6 Sydney Entertainment Centre, Jul 10 Newcastle Entertainment Centre, Jul 11 WIN Entertainment Centre
The young festival crowd at Maitland’s Groovin’ The Moo was geared up for a day of sunshine and sounds.
RESIST THE THOUGHT: May 18 The Loft Newcastle, May 24 Geewhizz, May 25 The Fitz, May 26 Venom, May 27 Unanderra Community Hall
DANIEL MERRIWEATHER: May 20 The Standard
THE AUDREYS: Jun 24 Heritage Hotel, Jun 26 The Brass Monkey, Jun 27 Clarendon Guesthouse, Jun 28 Lizotte’s Newcastle, Jun 29 The Vanguard, Jun 30 Lizotte’s Kincumber, Jul 1 The Vanguard
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 OSCAR JIMENEZ: May 23 Lizotte’s Kincumber, May 24 The Basement Sydney, May 25 Lizotte’s Newcastle, May 26 Clarendon Guest House JOHN WILLIAMSON: May 23 99 On York ADELE & GLENN: May 24 The Vanguard CLAIRY BROWNE & THE BANGIN’ RACKETTES: May 24 Brass Monkey, May 25 GoodGod OWL EYES: May 24 Oxford Art Factory MATT BAILEY: May 24 Red Rattler
THE SHINS: Jul 25 Hordern Pavilion
SHAUN KIRK: May 24 Wickham Park Hotel
ZULU WINTER, HOWLER: Jul 25 Oxford Art Factory
SPLIT SECONDS: May 24 GoodGod TIGER CHOIR*: May 24 Kings Cross Hotel
ELECTRIC GUEST: Jul 31 Oxford Art Factory
THE MISSION IN MOTION: May 24 Great Northern, May 25 The Patch, May 26 Annandale Hotel
THE SMASHING PUMPKINS: Jul 31 Sydney Entertainment Centre DJANGO DJANGO: Aug 1 Oxford Art Factory
NATIONAL
MAITLAND SHOWGROUND: 12/05/12
TRANSVAAL DIAMOND SYNDICATE: May 18 Old Canberra Inn
MISSY HIGGINS: Jun 8 & 9 Seymour Centre, Jun 11 Illawarra Performing Arts Centre, Jun 13 Newcastle City Hall, Jun 14 Canberra Theatre TRIAL KENNEDY: Jun 15 Oxford Art Factory, Jun 16 Cambridge Hotel
GROOVIN’ THE MOO
LIZ MARTIN: May 18 Lass O’Gowrie, May 19 Notes, May 31 Yours & Owls, Jun 1 Front Gallery
YOUNG GUNS: May 31 The Hi-Fi
COME TOGETHER: Jun 9 Big Top Luna Park
KAISER CHIEFS @ GROOVIN’ THE MOO MAITLAND. PIC: JOSH GROOM
GASOLINE INC: May 18 Town Hall Hotel
THE BUTTERFLY EFFECT: May 16 UCU Bar
TIM FREEDMAN: May 24 Burning Log, May 25 & 26 Brass Monkey, Jun 8 Centro CBD, Jun 29 Lizotte’s Newcastle, Jun 30 Lizotte’s Dee Why, Jul 1 Lizotte’s Kincumber, Jul 6 & 7 The Basement Circular Quay, Jul 27 Street Theatre, Aug 2 & 3 Clarendon Guesthouse, Aug 4 The Vault
voice with crunching guitars. Meanwhile, Mutemath played a tracklisting designed perfectly for the tent where dancing was the mission of the day. Lead singer Paul Meany took to the crowd on a rave-lit inflatable mattress while drummer Darren King got the audience to hold his drums while he bashed out the last song of their set. While Mutemath performed well, there was just something off with the sound. The Moolin Rouge stage did not seem as equipped for bands as they were for DJ and hip hop sets, a problem that again sprang up when Wavves found themselves unable to get their sound as loud as they wanted. Unfortunately, from the outskirts of the audience, Mutemath sounded a bit like their music was coming out of a cheap speaker.
BEN WELLS & THE MIDDLE NAMES: May 16 Cambridge Hotel, May 17 GoodGod, May 18 Yours & Owls, May 19 The Phoenix
DEF WISH CAST: May 25 The Standard
EXPATRIATE: May 16, 23 & 30 Spectrum
FRANKENBOK: May 25 The Junkyard, May 26 The Basement Canberra
The humble guys from Parkway Drive were correct when they described themselves as the “sore thumb” in the lineup of the festival, but it didn’t stop them from putting on one insane all-out performance for their fans. Meanwhile, 360 put on a show for one of the biggest crowds for the day, filling out the entire tent. The guy knows how to put on a festival performance and in addition to producing a great
CATCALL: May 18 Oxford Art Factory, May 19 Chino’s
KIMBRA: May 17 Enmore Theatre RUBY BOOTS: May 17 Camelot Lounge, May 19 Lass O’Gowrie, May 20 Wollongong Surf Club, May 24 Transit Bar TZU: May 17 Cambridge Hotel, May 18 Annandale Hotel PAUL GREENE: May 18 The Factory, May 20 Brass Monkey BARNEY MCALL: May 18 SIMA, May 19 505
DAMN TERRAN: May 18 Kings Cross Hotel GUTHRIE: May 18 Old Canberra Inn, May 19 Phoenix Canberra ELEN LEVON: May 18 Mean Fiddler
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EMPERORS: May 25 Cambridge Hotel, May 26 Kings Cross Hotel
GANGA GIRI*: May 25 Builders Club Wollongong, May 26 Transit Bar, May 31 Great Northern Newcastle, Jun 1 The Rhythm Hut, Jun 2 Petersham Town Hall, Jun 7 Manly Boat Shed, Jun 8 Clarendon Hotel PVT: May 25 Opera Theatre Sydney Opera House TIJUANA CARTEL: May 25 Oxford Art Factory, May 26 Northern Hotel Newcastle CHRIS FRASER: May 25 Academy Canberra, Jun 1 Mean Fiddler, Jun 8 New Brighton Hotel, Jun 16 Woodport Inn OUR LAST ENEMY: May 26 The Basement Canberra PJ O’BRIEN: May 26 Beaches Hotel Thirroul SEEKAE: May 27 Opera Theatre Sydney Opera House THE DRUM MEDIA • 63
Kimbra flitted and danced around the stage in a cape made for Little Red Riding Hood on acid, giving energy and colour to a set that could have been stale if done by a lesser performer. Her incredible vocals were given free range in a live setting, adding even more personality to her songs than was already presented.
TOUR GUIDE BOY & BEAR: May 29 & 30 State Theatre, May 31 Newcastle Uni, Jun 1 ANU Bar, Jun 2 Waves, Jun 17 Entrance Leagues Club FLAP!: May 30 Front Gallery and Café Canberra, May 31 Camelot Lounge, Jun 1 Great Northern Hotel Newcastle BAND OF FREQUENCIES: May 31 Brass Monkey, Jun 9 Mullumbimby Civic Hall DAPPLED CITIES: May 31 Oxford Art Factory THE FLOORS: May 31 The Vanguard, Jun 1 Grand Junction Hotel THE TEMPER TRAP: May 31 & Jun 1 Concert Hall Sydney Opera House THE THOMAS OLIVER BAND: May 31 Annandale Hotel BLACKCHORDS: Jun 1 Spectrum CUB SCOUTS: Jun 1 Kings Cross Hotel MAT MCHUGH: Jun 1 The Standard, Jun 2 Newport Arms DEEP SEA ARCADE: Jun 1 Cambridge Hotel, Jun 2 The Standard, Jun 7 Transit Bar LANIE LANE: Jun 1 & 2 The Metro DEF FX: Jun 1 The Factory SUI ZHEN: Jun 1 Lass O’Gowrie, Jun 3 Kings Cross Hotel, Jun 13 Yours & Owls, Jun 14 Front Gallery THE HARD-ONS: Jun 1 Annandale Hotel, Jun 2 Great Northern Newcastle BUCKLEY WARD: Jun 2 Kings Cross Hotel STRANGERS*: Jun 2 Spectrum SNEZ*: Jun 3 Maitland Regional Gallery LISA MITCHELL: Jun 4 Christ Church Cathedral Newcastle, Jun 7 St Stephen’s Uniting Church JACK COLWELL & THE OWLS*: Jun 6 GoodGod NEW EMPIRE: Jun 6 The Vanguard, Jun 8 & 9 Front Gallery Bar Canberra, Jun 28 Yours & Owls, Jun 29 & 30 Glee Coffee Roasters, Jul 1 Brass Monkey
TIM CHAISSON: May 20 Rock Lily, May 22 & 23 Lizotte’s Newcastle, May 25 & 26 Brass Monkey
PRINCE: May 22 Allphones Arena DEVIN: May 23 Oxford Art Factory DAVID MYLES: May 24 The Vault, May 25 Clarendon Guesthouse, May 26 The Basement, Jun 1 Brass Monkey, Jun 2 Lizotte’s Kincumber, Jun 3 Lizotte’s Newcastle FLORENCE + THE MACHINE: May 24 Sydney Entertainment Centre, May 25 Concert Hall Sydney Opera House TIM RIPPER OWENS: May 24 Cambridge Hotel, May 25 The Basement Canberra, May 26 The Hi-Fi, May 27 The Patch BLOOD ORANGE*: May 25 FBi Social NATURALLY 7: May 25 State Theatre NIGHT LIKE THIS feat. DANNY BROWN and M.E.D.: May 25 Opera Studio EFTERKLANG: May 26 Opera Theatre Sydney Opera House JANELLE MONAE & THE ANDROID ORCHESTRA: May 26 & 27 Concert Hall Sydney Opera House MY BRIGHTEST DIAMOND: May 27 Opera Theatre Sydney Opera House BRYCE DESSNER, NICO MUHLEY, SUFJAN STEVENS: May 28, 29 & 30 Concert Hall Sydney Opera House IMOGEN HEAP: May 29 Concert Hall Sydney Opera House
YOUNG GUNS: May 31 The Hi-Fi SIMPLE PLAN: Jun 1 Hordern Pavilion, Jun 3 Panthers Newcastle, Jun 6 Wollongong Uni
DANIEL CHAMPAGNE: Jun 7 Yours & Owls, Jun 14 & 15 The Front Canberra
AMON TOBIN: Jun 2 Concert Hall Sydney Opera House
WINTER PEOPLE: Jun 7 Oxford Art Factory
GHOSTFACE KILLAH, DOOM, CHINO XL: Jun 2 Enmore Theatre TRAIN: Jun 7 Concert Hall Sydney Opera House
MISSY HIGGINS: Jun 8 & 9 Seymour Centre, Jun 11 Illawarra Performing Arts Centre, Jun 13 Newcastle City Hall, Jun 14 Canberra Theatre
SISTER SLEDGE: Jun 8 The Hi-Fi
SAMPOLOGY: Jun 8 Oxford Art Factory, Jun 21 Wollongong University, Jun 22 King Street Hotel Newcastle, Jun 23 Trinity Bar Canberra CHARGE GROUP: Jun 9 Street Theatre Canberra, Jun 10 Yours & Owls, Jun 15 Red Rattler, Jun 16 Lass O’Gowrie ALBARE: Jun 9 Seymour Centre THE JEZABELS: Jun 9 Hordern Pavilion MATT CORBY: Jun 12, 13, 14 The Metro TRIAL KENNEDY: Jun 15 Oxford Art Factory, Jun 16 Cambridge Hotel KATE MILLDER-HEIDKE: Aug 23 The Metro
INTERNATIONAL
CITY & COLOUR: May 15 Enmore Theatre WAVVES: May 15 Oxford Art Factory KAISER CHIEFS: May 15 The Hi-Fi MUTEMATH: May 16 The Hi-Fi NICKI MINAJ: May 16 Hordern Pavilion OPOSSOM: May 16 GoodGod BAHAMAS: May 17 Kings Cross Hotel
MARK KOZELEK: Jun 8 The Factory CHRIS LIEBING: Jun 9 Chinese Laundry DAVID DALLAS*: Jun 9 Civic Underground FRANCOIS K*: Jun 9 Goldfish REEF: Jun 9 The Metro EAST 17: Jun 10 The Hi-Fi TREVOR ROCKCLIFFE: Jun 10 The Metro DAN POTTHAST: Jun 11 Yours & Owls, Jun 14 Cambridge Hotel THE SHINS: Jul 25 Hordern Pavilion ZULU WINTER, HOWLER: Jul 25 Oxford Art Factory FRIENDS: Jul 26 The Standard ELECTRIC GUEST: Jul 31 Oxford Art Factory
While much praise can be given for the music, much less can be said for some aspects of the crowd. Like the seedy underside of every festival, for many people Groovin’ The Moo was an excuse to go out and get as destroyed as humanly possible and they did so with great success. Well done, you were a gloriously grotesque vision to behold. Cara Sayer-Bourne
Public Enemy proved they still had it after 25 years, getting the crowd – many of whom wouldn’t have even been born when they were at their peak – to go off. The group stopped mid-set as paramedics rushed to take a festivalgoer who had collapsed away, using the time for a bit of shameless selfpromotion, but quickly returned to finishing out their set. At its close, Public Enemy reinforced the underlying message of their music, reminding everyone that it is through peace and togetherness we have power. Muscles held the fort on the other side of the festival in a pentagonal prism with everchanging headpieces, the crowd in the palm of his hand as they lost it to his catalogue of beats.
360 @ GROOVIN’ THE MOO MAITLAND. PIC: JOSH GROOM
THE SMASHING PUMPKINS: Jul 31 Sydney Entertainment Centre DJANGO DJANGO: Aug 1 Oxford Art Factory
FESTIVALS
VIVID LIVE: May 25 – Jun 3 Sydney Opera House LOUD FEST: Jun 2 The Annandale SNOWY MOUNTAINS OF MUSIC: Jun 8 – 11 Perisher Snowy Mountains
THE EASTERN: May 17 Camelot Lounge
DARLING HARBOUR JAZZ & BLUES: Jun 9 – 11 Darling Harbour
MICKEY AVALON: May 17 Fanny’s, May 18 The Hi-Fi
COME TOGETHER: Jun 9 Big Top Luna Park
BRIAN JONESTOWN MASSACRE: May 17 The Metro, May 18 ANU Refectory, May 25 Level One, May 26 Oxford Art Factory
HARDCORE 2012: Jul 7 & 8 The Hi-Fi
PAUL COLLINS: May 19 Sandringham Hotel
SYDNEY BLUES & ROOTS: Oct 25 – 28 Windsor
MORGAN PAGE: May 19 Soho
STEEL ASSASSINS: Nov 2 – 3 Sandringham Hotel
SHOWTEK: May 19 Hordern Pavilion, May 26 Tennis Centre
BASTARDFEST: Nov 9 & 10 The Basement Canberra, Nov 17 Sandringham Hotel
BITTER END: May 20 The Wall
* indicates new or amended listing this week
64 • THE DRUM MEDIA
To the other stage, Digitalism played a lacklustre set that seemed to use a brilliant light show to make up for stage presence. The duo were very refined and controlled, but much of it just felt like a DJ show and was not one of their best live performances. Kaiser Chiefs took to the stage swiftly after Hilltop Hoods and went straight into Never Miss A Beat. The dapper English gentlemen got the crowd wound up with a dynamic performance of their most well-known and loved tracks. Lead singer Ricky Wilson is known for his onstage antics and he did not fail to deliver. Wilson took to the crowd, traversed scaffolding and at one point taped a wireless microphone to his hand, grabbed the keyboardist and took a ride on the reverse bungee Slingshot, all whilst still managing to sing in tune. Kaiser Chiefs truly played for the crowd and the audience lapped it up as they sang every song word for word and beckoned to every one of Wilson’s calls for screams or shouts. Finishing off with Oh My God, the boys left the stage and despite of pleas for an encore, did not return.
Wavves worked their magic with a wall of frenetic ear-bleeding noise, but unfortunately it was marred by the fact they could not connect with the crowd. Wavves plays off the idea that their music alone is enough to get the crowd going, but this wasn’t the case at the festival, as most people were too preoccupied with getting to the front rather than actually appreciating the music.
CHRISTINA PERRI: Jun 3 Enmore Theatre
KINGFISHA*: Jun 8 Heritage Hote, Jun 9 Blue Beat
live show, 360 was the perfect host and made sure that everyone was having fun. He asked the crowd to spread out so everyone had space to move and at one point told a group of guys (or “puberty boys” as he called them) that if they wanted to keep on fighting, they could “get the fuck out”. His kindness was proved once again when a girl jumped one of the fences to get into the festival and inadvertently fell into him. Instead of being precious, he high-fived her and gave her a story to tell for some time. As the sun set over Maitland, Ball Park Music took to the main stage and played the lively set we have come to expect from the band. Lead singer Sam Cromack was charismatic as always – if seemingly slightly drunk – and maintained a great back and forth with the crowd. In contrast, for the amount of hype surrounding his set, City & Colour was completely underwhelming. Unusually, Dallas Green barely interacted with the crowd and remained very introverted for the entirety of an abruptly ended set that lasted a total of 30 minutes.
S CLUB: May 31 Wollongong Uni, Jun 1 UNSW Roundhouse, Jun 2 Newcastle Panthers
ANTI-FLAG: Jun 1 Manning Bar, Jun 2 Wollongong UniBar
ELIZABETH ROSE: Jun 8 The Standard
MUTEMATH @ GROOVIN’ THE MOO MAITLAND. PIC: JOSH GROOM
TOM VEK: May 26 The Studio Sydney Opera House
MAJOR TOM & THE ATOMS: Jun 6 The Mac
360: Jun 8 Waves. Jun 29 The Metro
Watching Hilltop Hoods was like watching some kind of musical super-Pope hold communion. The entire Maitland field was filled out with thousands all bowing to every whim of the hip hop group, jumping and pumping their hands in the air. However, their constant stopping of songs to question the crowd’s enjoyment of the set unfortunately overshadowed Hilltop Hoods’ best of set. To do it once or twice is natural for a number of artists, but their constant need for approval tarnished their otherwise enigmatic performance.
THE OCEAN: May 22 ANU Bar, May 23 Annandale Hotel
SPLENDOUR IN THE GRASS: Jul 27 – 29 Belongil Fields, Byron Bay
MUSCLES @ GROOVIN’ THE MOO MAITLAND. PIC: JOSH GROOM
themusic.com.au
an actual physical sense of ‘format’. What was left rather was a natural, impulsive performance, which blended a diverse ambiance of tracks, freestyles and modest banter with the audience. The group chanting during GodLovesUgly demonstrated the surprisingly strong support for the group, indicating that Australia’s alternative hip hop scene is thriving in the underground. To highlight how the audience participation was so prominent, at one point Slug cut the music and cheekily noted, “What the fuck? You know all my words… So what the fuck do you need me here for?” Ava Nirui
PUBLIC ENEMY, SETH SENTRY METRO THEATRE: 11/05/12
Judging from the crowd of modern hipsters, enthusiastic oldies and grimy lads, it is evident that the music of Public Enemy speaks to everyone. Their persona is one that is constructed to be presented live – it is direct, outspoken, challenging, fun and knows no bounds. The crew brought the same power, brutality and controversy to the stage in 2012 as they would have practiced in the 1980s, demonstrating why they have shaped the model of modern hip hop today and hold the position as one of the most influential rap groups of all time. Introducing Public Enemy was Melbourne artist Seth Sentry who, although he was rather unfitting for this position, provided a pleasant and mellow start to the evening with relaxed rhymes and a laidback attitude. Effortlessly spitting out The Waitress Song, Seth Sentry’s lyricism brings his playful and laidback personality to the fore as he works this into his music.
THE MACCABEES @ THE METRO. PIC: ANGELA PADOVAN
THE MACCABEES, ARGENTINA METRO THEATRE: 10/05/12
A rather sparse crowd welcomed Argentina to the stage, which was possibly the reason for their slightly shaky and nervous start. Usually a solo effort, producer and musician Alex Ritchie was joined by a bass player and drummer for the live set, which worked really well to round out their cheerful indie pop sound. As they played through tracks including The Naked & Famous-sounding Bad Kids and Plastic Excuse, the crowd slowly filtered through from the bar and started bopping along to the tunes with knowing looks of, ‘I’ve never heard of these guys, but they’re really good.’
As Public Enemy’s Chuck D triumphantly hit the stage busting out Public Enemy No. 1 with his camoclothed dancers, we could feel that tonight was all about the Beastie Boys and the sad passing of Adam ‘MCA’ Yauch. Eventually fellow MC Flava Flav burst onto the stage sporting his signature clock neck-piece and began harshly smashing out the lyrics to Rebel Without A Pause whilst animatedly jumping around the stage. “The first tour that Public Enemy went on as a professional group was Licensed To Ill with the Beastie Boys,” Flav yelled, “Rest in peace, MCA!” Chuck D and Flav are the ultimate odd couple – the former is calculated, slick and straightforward while the latter is uninhabited, rowdy and reckless – but somehow they perfectly compliment each other and create a perfect balance. Flav experimented with both the bass and drums, putting his endearingly amateur instrumental skills to work. As Chuck D spluttered Can’t Truss It, Flava stood behind him, dramatically leaping around the stage to the syncopated beat, intermittently chanting “Can’t Truss It” into the mic. As the two-hour show came to its end and the venue curfew had possibly passed, a passionate Flav stood on the stage speaking directly with his audience
on politics, peace and equality until members of his crew eventually pulled him off stage and the crowd was left amused, enlightened and inspired. Ava Nirui
THE BUTTERFLY EFFECT, NUMBERS RADIO, GREENTHIEF UNSW ROUNDHOUSE: 11/05/12
The fans turned out to farewell the ‘Butters’ on their final go round in this present incarnation. It seems many in fact had plunked down considerable amounts of time and money following the tour across several venues and dates in an effort to take in as much of the stomping goodness while it was still going. Brisbane three-piece Greenthief kicked things off with their grungy take on rock and put in the effort despite a sparely peopled room. The fact that their stuff is pretty different to that of the headliner didn’t appear to do much for the punters that had turned up early, but hey, that’s hardly their fault. Numbers Radio seemed to have a few more fans down front, but it could also have been the diehards staking out their turf. They do a nice line in short, sharp, fast, loud with some interesting flourishes and don’t shy away from the old school guitar solo. Unfortunately it sounds a bit too So-Cal early noughties pop/punk to these ears, prompting several rounds of ‘spot the riff’ and a feeling that it’s all been done ten years ago. They still mixed in the odd ‘70s element and they got a few more cheers than the first band. The Butterfly Effect took the stage to thunderous applause and plenty of pogoing. In the midst of the familiar bombastic majesty we had all come to love about their live show, the career-spanning set was heavy on the big singles and crowd favourites. Some numbers had been re-worked for the tour and others had been stripped down to the bare essentials as acoustic versions. While it took a while for the singalongs to ramp up to howlalongs, the beefy bloke next to Drum seemed determined to the make up the difference. Band and punters kept it together pretty well right up until the heartfelt Gone managed to choke us all up. “I’ve got to be honest with you, you really fucking got me! That’s the closest I’ve come in over twelve years, since it all began in 2001,” said a clearly moved frontman Clint Boge. The boys came back for a quick photo, two encores and a signing at the merch desk where again the love flowed, the tears were wiped and what will come next was pondered. Long live the Kings. Fiona Cameron
The room was packed out by the time The Maccabees appeared on stage in a cloud of coloured smoke to cheers from a heavily British-skewed crowd. Singer Orlando Weeks, looking so ‘90s cool in a buttonedup chequered shirt and hooped earrings, eased into Given To The Wild from the new album of the same name with daintily soft vocals building up to feverishly strumming guitar perched high on his chest. The cool looking quintet then crashed straight into Feel To Follow, prompting a mass jump around by the crowd and guitarist brothers Hugo and Felix White facing off for the big riffs. A selection of arguably their best tracks from all three of their albums followed including Love You Better, Can You Give It and First Love, with the older tracks garnering the most attention. Weeks’ quiet and mousy nature didn’t lend itself well to the live show, with much of the set going by without much crowd interaction at all. However no one seemed to care as long as they heard all the hits they came for. A brief encore of three tracks, featuring Lego, Precious Time and the beautiful Grew Up At Midnight followed a round of boisterous chanting, building up perfectly to a punchy finish. A happy band and a happy crowd. Helen Lear
ATMOSPHERE, EVIDENCE THE HI-FI: 12/05/12
In the contrived climate of contemporary hip hop bursting with handclaps, Auto-Tune and selfaggrandising lyricism, it is truly refreshing to witness acts that still embrace purist attitudes towards the genre and sanctify the original meaning and intention behind rap music. Subversive Minnesota duo and veterans to the world of alternative hip hop, Atmosphere have more than 15 years’ experience
ATMOSPHERE @ THE HI-FI. PIC: MACLAY HERIOT in the game and still have not compromised their signature sound in the years but rather matured and expanded it to signify growth and exploration. Opening for Atmosphere was fellow Rhymesayers multi-talented rapper/photographer/graffiti artist Evidence, who warmed up the animated crowd by spitting honest rhymes, showing obvious passion and energy towards his work. The underground feel of the show became obvious in these early stages, with true hip hop fans banding together at the front, reciting lyrics with their fists strongly held in the air. Atmosphere showcased their raw and unadulterated talents in this live setting, demonstrating that real, organic hip hop needs not frills but a mic, a beat and live instrumentals. Opening the show with Became, off their most recent album, The Family Sign, MC Slug exercised his dope flow and flare for rhyme, moving the audience with his intricate lyricism and evident self-absorption in his own poetic stories. The show lacked one element, which rather than giving it consistency, made it more visceral – and that was
themusic.com.au
THE BUTTERFLY EFFECT @ UNSW ROUNDHOUSE. PIC: JOSH GROOM THE DRUM MEDIA • 65
MANIACS!
Brisbane indie/rock quartet New Manic Spree will make an appearance this Friday night at the Annandale Hotel, supported by Sydney Girls Choir and Mavens. Their newest single, Sangria, has just been released, and the band is embarking on a massive East Coast tour to spread the news. Their tunes are full of fun, excitement and energy, so make sure you tune in before they explode.
JUST VISITING
SINGLE FOCUS
FRANK TURNER & THE SLEEPING SOULS @ MANNING BAR. PIC: ANGELA PADOVAN
FRANK TURNER & THE SLEEPING SOULS, WILLIAM ELLIOTT WHITMORE, THE SMITH STREET BAND, JEN BUXTON MANNING BAR: 12/05/12
Newcastle’s Jen Buxton took no time reminding us why she was on this very strong bill in the first of her three appearances onstage tonight. Stragglers who missed her fine opening set got to see her appear again twice, with The Smith Street Band and again with Frank Turner. The Smith Street Band kicked into I Ain’t Safe with customary sloppiness (though this isn’t usually a bad thing, translating as enthusiasm and rawness) but their energy seemed lacking. Frontman Wil Wagner – a remarkable songwriter and captivating performer – was as unsettled as ever. It’s just either due to them being ragged from the last few days of touring and partying, or their act being better suited to small rooms, but they weren’t really at their best. The set’s peak moment came when Buxton joined Wagner for The Belly Of Your Bedroom. The mesmerising William Elliott Whitmore opened with Burn My Body and seemed to draw in just about everyone with call and response sections perfect if you wanted to sing along but had never heard the songs before. Whitmore’s use of an impossibly big voice, everyman yarns about run-ins with the cops between songs, banjo, bass drum, guitar (and no backing band) manage to create more interest than a band of ten men might and songs like Don’t Need It and Let’s Do Something Impossible are hard not to get swept up in. Eulogy and Try This At Home might be the perfect one-two opening – Frank Turner has arrived, passionately tells you this is what he does, then reminds you you’re part of it too. Of course, singalongs are a massive element to the show. This gig was the antidote for every performance you’ve seen of a band that doesn’t care about an audience, playing their songs like they’re sick of them and blindly going through the motions. The current album featured heavily, naturally, though signature songs like I Knew Prufrock… and The Real Damage were all included.
PRINCE
ALLPHONES ARENA: 11/05/12 Some shows you go to, the audience sits back, arms folded and waits for the artist to impress them. They may be on their feet for the last three songs. They’ll sing along to the hit and they won’t wait for the lights to come on before scrambling to their cars. Then you go see Prince. This crowd would not sit down. From the moment his still-perky-at-fifty little butt stepped onto the stage dressed, as only Prince could be, in a racy gold-sequined number, with matching, high-heeled boots (naturally), the love that poured towards the stage was palpable. “Are we here to paaaartay?” his Purpleness asked ever so kindly. “Hells yes!” was the only acceptable response. Besides, any protestations to the negative wouldn’t have been heard anyway, such was the air punching, screaming, booyah-inciting riot happening in the seats from the front of the stage to the gods. The only thing left was to shake that thang and wait for the hits to start pouring from the stage. Expectations were high and by song five, the still-raucousafter-all-these-years Let’s Go Crazy, they were not only met but also exceeded, and then some. If anyone was thinking that 30-odd years of FM radio high rotation had killed the fire of any of Prince’s bigger hits, they only had to hear the crowd roar along to 1999, Little Red Corvette or Raspberry Beret to realise that it takes a lot more than icy cold cans of anything to douse a flame that burns that strong. Even perennial wedding favourite (really? Read a lyric sheet people) Nothing Compares 2 U was pulled out and well and truly dusted off, Prince-style. It will never be listened to the same way again. Can’t reach further back into the “look what else I wrote mum” file? How about Martika’s (yeah, you heard) Love… Thy Will Be Done?
A rousing cover of Queen’s Somebody To Love was an event in itself. An encore featured another cover, Ryan Adams’ Oh My Sweet Carolina, while the roof was torn off once more for Photosynthesis.
But, when he made his way side of stage to a synth and everything got deconstructed, we were blessed to be witness to the full range of this singular man’s genius. When Doves Cry was a revelation. Barely audible embellishments. Drum track to the fore. The whole crowd singing. It’s these moments that make you realise why you love music in the first place. That and watching His Grooviness shake it to Kiss. The only thing missing there was a diagonal button fly on his tight black pants.
Turner and co. put on a tremendous show to a packed Manning Bar. You get the feeling the next album they tour out here will be to much bigger venues.
And the most redundant question any of the attendees will be asked over the next week will be, “How was Prince?”
Brent Balinski
Beck
66 • THE DRUM MEDIA
CHANCE WATERS – MAYBE TOMORROW FEAT. LILIAN BLUE What’s the song about? The end of the world. Or, I guess more specifically, not the end of the world. Is this track from a forthcoming/ existing release? It’s the second single from my unreleased sophomore record Infinity, though it’s my debut record post the Phatchance era.
BAHAMAS Why are you coming to visit our fair country? The goal of this trip is to touch the hearts of the Australian people using music. Music that I wrote and recorded. Is this your first visit? I’ve been here once before but never to play my own songs. How long are you here for? Three weeks. Just enough time for a flat white and a pair of RM Williams. What do you know about Australia, in ten words or less? Civilized, domestic, air travel, a strong dollar, far away! Any extra-curricular activities you hope to participate in? Groovin’ The Moo. I’m playing some guitar with my friend City & Colour on the weekend festivals and at his headline shows – but I’ve also got a couple of my own shows too. What will you be taking home as a souvenir? A tea towel for my Mom. Where can we come say hi, and buy you an Aussie beer? I’ll be at FBi Social on Friday 17 May playing my stuff, as well as at the City & Colour shows (Saturday 12, Groovin’ The Moo, Maitland Showground; Sunday 13, Groovin’ The Moo, University Of Canberra; Monday 14 and Tuesday 15, Enmore Theatre) For more info see: bahamasmusic. net; myspace.com/bahamasbreeze
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How long did it take to write/record? Unlike some of the songs on the album which came together over the course of a couple of years, this song probably took three months from concept to mastering, we revisited the recording process a couple of times though to get things just right, there’s a harmony in the bridge where I tried about 15 different things before I decided on which to run with, no one is ever going to hear the difference. Was anything in particular inspiring you during the making? I drank a lot of tea. Actually, I got really pissed off on Facebook reading some super exploitive crazy new-age crystal waving rants about the dawning age of Aquarius and the fact people should not see doctors when they’re sick and I think that sort of set me off. I also thought a few times about how much I regretted paying to see the movie 2012. What’s your favourite part of the song? The chorus! Usually I’m a verses guy and I’m pretty self-indulgent when it comes to lyric writing, but the chorus is heaps of fun and the switch up in the rhythm of the song gets me every time, it’s been heaps of fun performing it. Do you play it differently live? Live we add banjo and violin melodies, the banjo probably wouldn’t have suited the recorded version of the song, but it’s a really fun twist live and adds a bit of extra oomph, I probably sing more badly, too. Will you be launching it? Yes! I’ll be playing it for the first time in Sydney Saturday 19 May at FBi Social (Level Two of the Kings Cross Hotel) For more info see: chancewaters.com
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NEW DIRECTION(S) Not exactly the teenage boy band. Two thirds of the famous jazz/funk trio Directions In Groove (DIG) will hit up Bluebeat for the second time this year. The group will play a mixture of Dig and Eon Beats tunes, as well as revisiting some of their favourite covers, from Meters to Miles Davis. This Friday night.
Wednesday night, alongside Tokyo Denmark Sweden, who share a passion for all things electro, who attract attention all over the music blog community, and who are currently featured on Triple J and FBi Radio. Two explosive acts, one night - what more can you ask for?
PERFECT FIT
TAKE A LUNCH BREAK
San Diego natives and indie/pop buzz band Wavves hit up the Oxford Art Factory this Tuesday (yes, tonight!!) for their only Sydney show. Wavves have been making music for just four years, but they’ve already amassed a cult following and released three full-length albums. Full of distortion, low-fi sounds and pop melodies, these tunes have won over sceptics and generated much noise. Grab tickets before it’s too late!
Every Wednesday around 1 PM, FBi presents a free little lunch-time concert featuring a brand new, buzz-generating, up-starting local act, right in Sydney at FBi Social. This week, we have Holy Balm. They took over last year’s ‘Choose Your Own Adventure’ festival with their synth/electro/ dance music experiments and their insanely upbeat stage persona. This will be their first live show in a few months, as the band have been tucked away, working on their debut album. This little show will serve as a sneak preview, so sneak on down and see what these guys are cooking up.
FEELING MERRI
BAHAMAS HOLIDAY
MAKING WAVVES
This Sunday night, catch Daniel Merriweather and a selection of guests at The Standard in Surry Hills. Daniel has returned home after much overseas success, and will be playing a select number of small, intimate shows in Sydney and Melbourne with his full band.
NOT EVEN This Wednesday night, American comedian Neil Hamburger, who has performed as support for everyone from Frenzal Romb to Tim & Eric, will hit up The Standard. Keeping the midweek party raging, local bands Rd El Suavo, Jay Katz, and Shanghai will perform.
PARACHUTE TO TOKYO Sydney electro band and current Splendour In The Grass stars Parachute Youth will be hitting up the Beach Road Hotel in Bondi this
SINGLE FOCUS
Canadian act Bahamas - serving as City and Colour’s support on their national tour - will be playing a special headline show at FBi Social this Thursday night. Plugged as a “star on the rise”, Bahamas is the musical nom-de-plume of Afie Juraveen, whose work with Feist and solo projects has earned him a solid reputation in the music industry. His tunes are forthright, captivating, and disarmingly honest. Get your tickets from Moshtix ASAP, because FBi Social doubts they’ll have any left at the door!
DAMN CHICKS
A night of loudness, boldness and perhaps a little distraction - Friday night at FBi Social brings together the reckless, boyish energy of rock outfit Chicks Who Love Guns, as well as the postpunk fury of Damn Terran. Damn Terran will be celebrating the release of their new 7”, Rebels, so be prepared for extra rabidity. Arrive a little early for local punk/rock acts Corpus and Sweet Teeth.
MAKING MAGIC
Melbourne trio Magic Bones will be releasing their debut EP this Friday night, serving up some of their trademark hypnotic, forceful rock and roll. They’ll be supported by local acts Bones Bones Bones, The Go Roll Your Bones and (breaking the ‘bone’ trend) Mannequin.
What’s the song about? To be perfectly honest I wrote the lyrics to this song about an hour before I put the vocals down to keep. I had my girl in mind and the same image and phrase just kept coming back to me…when everything turns to shit who’s the one person I’d want by my side? And the rest is all just metaphors and imagery to me. Is this track from a forthcoming/ existing release? This track is from our latest record Go Go Chaos and is the fourth single from it. How long did it take to write/record? The music for this had been there for a little while but we all kinda put to one side not really feeling it for a few months so it all really came together in the studio, over half a day. Was anything in particular inspiring you during the making? The actual chords used in the song I loved, and were a big inspiration to completing the song as I wanted to have the right melody and phrasing to do the track justice. What’s your favourite part of the song? It’s a pretty straight forward tune with not much variation in terms of dynamics and rhythm so there’s not a lot to pick from, but if I had to I’d have to say the wee bass slide somewhere in the third verse. Do you play it differently live? Don’t know…we haven’t yet. Lets hope it goes well. Will you be launching it? Yes! We will be at the Metro Lair Saturday 19 May. For more info see: facebook.com/bonjah 68 • THE DRUM MEDIA
“Our first show was in October 2010,” the Perth-based Bex Chilcott remembers. “I mean, I was doing a bit of solo stuff but everything I was doing never really felt right until these guys and it’s only been just over a year and a half, so maybe this is the exception to the rule, but it’s all happened really quickly,” she laughs. Within the 18 months or so, the six-piece Ruby Boots have released two EPs – a self-titled debut and the one that brings them to Sydney, At Last. They’ve taken out a West Australian Music Industry Award for Best Country Music Act and are nominated for three awards in this year’s event; have played all the big festivals and recently opened for Justin Townes Earle, so they’re obviously doing something right. But don’t be fooled by that country tag. Sure, it’s heavy on the American side of things, but there’s plenty of folk, rock and pop in the Ruby Boots sound.
BLACK CROW
BONJAH – FALL TOGETHER
Sometimes things really do take off faster than you ever imagined. It certainly has for singer/songwriter Bex Chilcott and her band Ruby Boots, as she tells Michael Smith.
This Saturday night, Sydney legends Crow are going to wow crowds at the Annandale Hotel. They’ll be supported by PEG, Medicated Youth and Post Lobster. This trio of bands puts on a remarkable show, full of wild energy and raucous tunes. Be there.
“I’m really fortunate because I really do quite like a broad genre of music – you know, a lot of folk and country and alt. country really tugs at my heartstrings – but I really kind of like to have that diversity there, with all the different
LIGHT UP
Renowned local folk act Bondi Cigars will hit up the Old Manly Boatshed this Saturday night. Bringing their awesome, addictive tunes to a quaint venue, this is not a show to miss.
instrumentation. It’s important to let the song say this instrument’s not working, let’s try this instead and that’s definitely why I feel so fortunate in our case. It’s quite flexible with the amount of instrumentation that we’ve got access to I guess. “I was thrilled. All of a sudden there were six strangers in a room and no one really knew anyone apart from me knowing them all individually and just everything they brought to the songs, it exceeded my expectations. I guess because I’d never found players that I was happy with what they were doing and then when all of them got in the room, I was just really stoked with what everyone was doing – it was quite surreal, for it to have come together that quickly. They still all always surprise me every time, even with the new stuff we’re doing now.” WHO: Ruby Boots WHAT: At Last (MGM) WHEN & WHERE: Thursday 17 May, Camelot Lounge; Saturday 19, Lass O’Gowrie, Newcastle; Sunday 20, Coalcliff Surf Club, Wollongong; Thursday 24, Transit Bar, Canberra
STORM BREWING
Well-travelled blues/roots act Stormcellar will hit up the Taverners Hill Hotel in Leichhardt this Saturday night. Work continues on their fifth album, and this show will provide a much-needed chance to blow off some steam and road-test some of the new material.
PHAT…WATERS?!
New name, same deep, articulate hip-hop. Chance Waters has left behind his old moniker and taken up work on his more mature sophomore album, Infinity. Triple J’s Dom Alessio called Waters a “burgeoning hip-hop star”, so get on down to FBi Social this Saturday night to see what all the fuss is about.
LOOKING THROUGH TUNNEL VISION
After several months of recording, mixing and now crowd source fundraising to finish the mastering, Flick’s Device return to performing live in Sydney this Saturday night, supporting catchy noisemakers Tunnelvision at Valve Bar.
THE WALL
Everyone’s favourite art/DJ night. With hip hop in the main bar, and bass heavy dance tracks everywhere else, the World Bar is filled to the brim with tunes. Featuring Ajadai, Singha, Blackmale, Deckhead, Clockwerk, The Brothers’ Grimm and Nann Does Smack and completely free with student ID.
BEGINNING OF THE END
Sydney band Tzu has announced an East Coast tour to launch their new single, “The Beginning of the End”. They’ll be stopping in at Sydney this Friday night at the Annandale Hotel, joined by Galapagoose and another special, if unnamed, guest. The track now has an accompanying film clip and comic strip, featuring a drugged-out, time travelling thrill seeker. Check it out, and then check out Tzu on Friday.
themusic.com.au
FOR THE BENEFIT OF
HAVE YOU HEARD
BARBARION What do you think is your act’s greatest strength? Normally I would say my biceps...but our guitarists will shred your brain, 600 pounds of lead singer will shout you down, live fire exercises will melt the faces of those with plastic surgery. Upon reflection everything is our greatest strength. If you could time travel back to any gig in history which would it be and why? Cold Chisel at the Star Hotel in September 1979. Chisel are a great live band, this gig was followed by a glorious battle. What more can one ask for a good night out?
FREE THE REFUGEES
The Refugee Action Coalition has rounded up some of Sydney’s most notable hip hop names and more in order to bring to you “an evening of music to support refugee rights.” Featuring acts like The Herd, Watussi, Mohsen Soltani & Ember, Dog Trumpet and Rosie. Kicking off this Friday night, each of the bands involved is trying to spread the message: end mandatory detention. It’s at The Standard.
SINGLE FOCUS
DUNE RATS - FUCK IT What’s the song about? I guess it’s a song about someone who isn’t right for you. Someone who isn’t making you feel the way should be or allowing you to be doing what you should be doing. Is this track from a forthcoming/existing release? Yeah, it’s the first song to be released for our upcoming EP. How long did it take to write/record? We wrote it pretty quickly originally, but after working with Sean Caskey from Last Dinosaurs and our muse Thomas Stevenson for a couple of months we made it a tighter song. Then in the recording process Sean managed to pull out all the right sounds. We did the takes pretty quickly, so I mean for us it just happened really easy.
The ninth annual Great Gig in the Sky takes place this weekend—a yearly celebration of Pink Floyd, and their seminal albums The Wall, Wish You Were Here and Dark Side of the Moon. The collaborative effort of nine musicians from nine bigname domestic and international bands, including Steve Balbi (Noiseworks), Ian Tilley (Boom Crash Opera), this will be an impossible night to miss for Pink Floyd fans. The event takes place at The Basement this Friday and Saturday nights.
NOT IN EXCESS
This Thursday night, legendary Australian rock vocalist, frontman of both Noiseworks and INXS, is performing in a very special one-off performance. Jon Stevens, multi-platinum selling, multi-ARIA Award winning artist will be stopping into Bluebeat for a very intimate performance with his full band, performing a night of soul and rock his four highly successful decades.
BRAND NEW PROPAGANDA
What? Music used to have words? Thursday night at the World Bar, Propaganda, is like waking up from a dream—their sets are filled with songs that sound almost real, with real words and tunes. Catch Jack Shit, Andrew P Street, Shag, Urby, and Dan Bombings for a night of indie tunes and ‘90s classics along with cheap drinks to get you in the mood. Free for students, $5 for everyone else, good times non-optional.
What’s your favourite part of the song? I like the verses, but I mean I think it all works. Though BC’s drum beat in the verses and how it works with the vocal melodies is cool as fuck I think.
Will you be launching it? Yep we are launching it on Friday 19 May at Spectrum with Gung Ho and Pear Shape. For more info see: www.facebook.com/dunerats
MARK GOUDKAMP – REFUGEE ACTION COALITION
CELEBRATE PINK FLOYD
Was anything in particular inspiring you during the making? I think that for both of us it’s just the changes going on around us and what causes them. We are still a DIY band, and we meet a lot of people who say shit and don’t deliver, and that’s the same in our personal lives. So it’s relevant to everyday frustrations that you can manage to get over so long as you don’t hold on to them with too much emotional weight.
Do you play it differently live? Not really. Maybe louder and we can miss the odd beat ‘cause we like to hang out before the shows and it can get a bit messy.
BUILDING BRIDGES FESTIVAL What’s the benefit gig for? Firstly, we want to raise awareness about the ongoing human rights violations that are occurring under the policy of mandatory detention, which was introduced 20 years ago this month. As the festival name suggests, we are also seeking to build bridges between asylum seekers and the general population. Why do they need the help? Asylum seekers have a right to seek asylum in Australia. However, the psychological shock is immense and intense when they are incarcerated indefinitely and they realise that safety or freedom is still beyond their reach. What’s the current situation like? At the moment there are just under 6000 asylum seekers in detention. Many people have been locked up for over a year, despite Labor going to the election in 2007 saying that 90% would be out of detention within 90 days. Some asylum seekers are now being let out on bridging visas, but without the right to study or work.
What movie do you think your music would best accompany and why? Predator, because this stuff will turn you into a sexual Tyrannosaurus Rex, just like me. What are your plans for the immediate future? World domination, followed by an album later this year. We may make another video clip, as Rage is getting dull again after our last video clip. What is your favourite song lyric and why? Our song Chop – “Boots and balls we swing better/We bring more than you ever did.” Reason? Because we always do. Favourite “pick me up for a big night” drink? Beer, followed by another beer, followed by another beer, followed by another beer, followed by another beer, followed by another beer, followed by another beer, followed by another beer, followed by another beer, and chase it with a Jager. Favourite hangover cure? More beer, followed by another beer, followed by another beer, followed by another beer, followed by another beer, followed by another beer, and chase it with a Jager. For more info see: www.barbarion.net When and where are your next gigs? No more gigs in conquered lands. See us at Black Cherry Club on Saturday 19 May or not at all!
Who else is helping out on the night? The event is being put on by the Refugee Action Coalition. We have invited a range of other organisations – Chilout, Labor For Refugees, The Greens, and The Asylum Seekers Centre – to hold stalls on the night. Why is music/art appropriate for this cause? Musicians and artists have a long history of supporting the refugee rights movement and is now rapidly re-emerging. The Herd have been very supportive of the refugee rights movement for many years. And it’s a privilege to have Ember (the band of Iranian ex-detainee Mohsen Soltani) on the bill. He has been deeply connected with the refugee rights movement ever since his release from detention in late 2002. When and where can we help out? The show is at The Standard Friday 18 May. Doors will open at 6pm. For more info see: www.refugeeaction.org.au
THE RIGHT CHORDS
This weekend, Melbourne country trio The Rechords are planning to hit up Sydney with their rootsy sounds, full of flashbacks and lyricism. They’re stopping it at Clarendon Guesthouse in Katoomba this Friday night, so trek on out to see what these boys can deliver.
HAVE YOUR CAKES
Saturday night at the World Bar is Cakes, a night dedicated to pleasure. If heavy bass, addictive rhythm and genre-jumping sounds like your idea of a good time, then head along to catch Blaze Tripp, along with other local maestros and Cakes regulars, SAYWHUT?!?!, Mike Hyper and Illya.
themusic.com.au
YES, PROFESSOR
An expanded 12-piece pimp orchestra, fronted by Professor Groove, blasting all the best tunes from films like Superfly, Shaft and Black Caesar. A night of casual coolness, smoothness and pimpery—what could be better? This Friday night at Bluebeat. THE DRUM MEDIA • 69
TUE 15 ACRONYM ORCHESTRA, SHOWA 44: 505 - Surry Hills ADAM PRINGLE: Sandringham Hotel, street level ALISON PENNEY: Dee Why RSL CITY AND COLOUR: Enmore Theatre DAN SPILLANE: Maloneys Hotel - City DUSTY THE CONCERT: Mingara Recreation Club - Auditorium KAISER CHIEFS: JB Hi-Fi Sydney City KAISER CHIEFS, DEEP SEA ARCADE, LOON LAKE: The Hi-Fi NEIL HAMBURGER, DR SUAVO, BLACKIE: The Vanguard - Newtown OMG!: Scruffy Murphy’s - City STARR WITNESS, JOSH OVERETTE: The Basement - Circular Quay WITCH HATS: Goodgod Small Club - City
WED 16 ANDY MAMMERS DUO: Maloneys Hotel - City ANTHEA DENNIS, ANITA HARTMANN: Belmont 16’s BERNIE HAYES, THE DEAD MARINES: Sandringham Hotel, street level BRAD JOHNS: Dee Why RSL CHOSANI AFRIQUE: Macquarie Hotel - City DAN SPILLANE: Mean Fiddler Hotel - Rouse Hill DANNY & THE COSMIC TREMORS, THE ASTON MARTINS, DJ BRIAN: Rock Lily, The Star -Pyrmont EUGENE ‘HIDEAWAY’ BRIDGES, RAY BEADLE, MATT ANDERSEN: Brass Monkey - Cronulla EXPATRAITE: Spectrum - Darlinghurst GEMMA: Observer Hotel - The Rocks I’M WITH STUPID: O’Malley’s - Darlinghurst JASON BETTINGER: Harbord Beach Hotel - Harbord
70 • THE DRUM MEDIA
JOELISTICS, OZI BATLA, THE TONGUE, MORGANICS: 47 George St - The Rocks KRISHNA JONES: Coogee Bay Hotel - Beach Bar LAKESIDE, THE SHIRE, IMMERSIONS, VENTURES, THRASHED: Valve Bar & Venue - Tempe MATT PRICE: Summer Hill Hotel - Summer Hill MICHELE MADDEN, DAVID SWAN, MELISSA JANE WYLIE, MO FKN MAYHEM, ADAM CAMM: Sandringham Hotel, upstairs MIMOSA DUO, KYM CAMPBELL: Lizottes Sydney - Dee Why MUTEMATH, THE CAIROS: The Hi-Fi NEIL HAMBURGER, DR EL SUAVO, JAY KATZ, SHANGHAI: The Standard - Surry Hills NICKI MINAJ: Hordern Pavilion ONE WILD NIGHT: Scruffy Murphy’s - City OPOSSUM, KILL CITY CREEPS, THE BLOODS: Goodgod Small Club - City PARACHUTE YOUTH, TOKYO DENMARK SWEDEN: Beach Road Hotel - Bondi PAUL SUN, ALEX COMPTON, MONIQUE LYSIAK: Jazushi - Surry Hills PLAYWRITE, LITTLE NAPIER, FANNY LUMSDEN: FBI Social, Kings Cross Hotel SANDIE WHITE: 505 - Surry Hills SPECK, SURFING SCIENTIST: The Vanguard - Newtown THE KORANIC, BASIL’S KITE, SAAN: Yours and Owls - Wollongong THE LURKERS, CHAIKA: The Basement - Circular Quay THE MAZE, HEADS WILL ROLL, THOMAS CONVENANT, BEC MCINTYRE: Annandale Hotel - Annandale TOM RICHARDSON, JONO ZILBER: Beaches Hotel - Thirroul TRICKFINGER: Artichoke Gallery Café - Manly
WAVVES, SURES: Oxford Art Factory - Darlinghurst WOLF AND THE GANG: Lansdowne Hotel - Chippendale
THU 17 ALPHA DEGENERATE, SIERRATONIN, THE LAZIEST MAN ALIVE: Bald Faced Stag - Leichhardt ANDREW WISHART: Brass Monkey - Cronulla ANDY MAMMERS: Harbord Beach Hotel - Harbord BAHAMAS: Kings Cross Hotel - Kings Cross BIG SMACK: Bull & Bush - Baulkham Hills BRIAN JONESTOWN MASSACRE, THE RAVEONETTES: Metro Theatre CAMBO: Observer Hotel - The Rocks CROOKED SAINT: Yours and Owls - Wollongong DAVE MCMASTER: Campbelltown Catholic Club - Caf‚ Samba DOUBLE STANDARD: Artichoke Gallery Café - Manly ELEVATE: Scruffy Murphy’s - City ENDLESS HEIGHTS, THORNS, REALITY, LEGIONS: Spectrum - Darlinghurst HIVEMIND, DOCTOR FUNGI, SKINPIN, SPENT CASE, LIBERTY COUNTY: Annandale Hotel - Annandale HOW TO SURVIVE A BULLFIGHT, JESUS CHRIST, BRAVES, THE REFLECTIONS: Valve Bar & Venue - Tempe HUE WILLIAMS: Belmore RSL IAN BLAKENEY: Dee Why RSL IGNITION: 3 Wise Monkeys - Sydney JEREMY ROSE & FRIENDS: The Spice Cellar - Sydney JESS HARLAN, LISSA, ANTHONY OUSBACK: Notes Live - Enmore JON STEVENS: Blue Beat - Double Bay JONATHAN DEVOY: Sandringham Hotel, street level
KATE MARTIN, BEN WELLS & THE MIDDLE NAMES: Goodgod Small Club - City KATRINA BURGOYNE: Dee Why Hotel KIMBRA, DANIEL MERRIWEATHER: Enmore Theatre LAWRENCE BAKER: Coogee Bay Hotel - Beach Bar MARTY from RECKLESS: Marlborough Hotel - Newtown MARTY STEWART: R.G McGees - Richmond MICHAEL MCGLYNN: Greengate Hotel - Greegate MICKY AVALON, KID MAC: Fannys - Newcastle MIKE MATHIESON, CHRIS ALEXANDER: Bankstown Sports Club NICKY KURTA: Beverly Hills Hotel ROCKSTEADY: 505 - Surry Hills RUDE HEADS, DJ SKAR, RANGER SPACEY, DUSKER & JOHN KENNER BAND, THE HEART ATTACK MACHINES: Lansdowne Hotel - Broadway SAM & JAMIE TRIO: Maloneys Hotel - City STEVE SMYTH, KATE GOGARTY: Hard Rock Café - Darling Harbour THE BIRD HAS FLOWN: El Rocco Jazz Cellar - Woollomooloo THE CHEMIST, PLAYWRITE - Rock Lily, The Star - Pyrmont THE EASTERN, RUBY ROOTS: Camelot Lounge - Marrickville THE POD BROTHERS: Gymea Bay Hotel - Gymea TZU: Cambridge Hotel - Newcastle ZOLTAN: Northies, Sports Bar - Cronulla
FRI 18 031 ROCK SHOW: Scruffy Murphy’s - City AARON LYON: Artichoke Gallery Café - Manly ABBALANCHE ABBA SHOW: Club Marconi - Bossley Park
ALI PENNEY AND THE MONEY MAKERS, CHRIS MAYER: Petersham Bowling Club - Petersham AM 2 PM: Coogee Bay Hotel - Beach Bar ANDY MAMMERS & CRASH AVENUE, MATT PRICE: Dee Why Hotel BANG SHANG A LANG: Club Cronulla - Cronulla BASELESS: Matraville Hotel - Matraville BAYONETS FOR LEGS, BEN DAVID AND THE BANNED, LET ME DOWN JUNGLEMAN: Roxbury Hotel - Glebe BENN FINN: PJ Gallaghers - Drummoyne BLACK ROSE: Courthouse Hotel - Darlinghurst BLOW: Bull & Bush - Baulkham Hills BRISCOE, YAE! TIGER: The Patch - Wollongong CALIFORNICATIONRED HOT CHILLI PEPPERS: Illawarra Yacht Club - Warrawong CALLING MAYDAY, DIE FOR YOU: Candy’s Apartment - Potts Point CAMBO: Parramatta RSL CATCALL, PALMS, THE FABERGETTES: Oxford Art Factory - Darlinghurst CHART BUSTERS: Rooty Hill RSL, Fred Chubb Lounge - Rooty Hill CHASE THE SUN, CASS EAGER & THE VELVET ROPE: Brass Monkey - Cronulla COUGAR DUO: Red Cow Hotel - Penrith COVER NOTES DUO: Vineyard Hotel - Vineyard DAMN TERRAN, CHICKS WHO LOVE GUNS, CORPUS, SWEET TEETH: FBI Social, Kings Cross DAN CRESTANI, NIKKI LLUKA: Mars Hill Café - Parramatta DAN LISSING DUO: Crows Nest Hotel (early) DARTH VEGAS, THE TANGO SALOON, THE RESCUE SHIPS, JAY KATZ: The Factory Theatre - Marrickville
themusic.com.au
DJ ALEY CATS, THE FLAT EARTH CONDFEDERACY, SENZA SOLE, HOWBOY CAT: Lansdowne Hotel - Broadway DR ZOOM DUO: Belmore Hotel - Newcastle DYNAMITE SOUND SYSTEM, BASSLINES, LEVINS, NICK TOTH, SHANTAN WANTAN ICHIBAN, ABILITY: Goodgod Small Club - City EKO: Mounties, Terrace Bar - Mt Pritchard ENORMOUS HORNS: Bankstown Sports Club FALLON BROS: Stacks Taverna - Darling Harbour FIONA LEIGH JONES DUO: Harbord Beach Hotel - Harbord FRAN DAMME, T-ROMPF, KILL THE LANDLORD: FBI Social, Kings Cross Hotel GARY JOHNS DUO: Hillside Hotel - Castle Hill GEOFF RANA: Observer Hotel - The Rocks GLOVECATS: Chinese Laundry - Sydney GLUV NEM SLEP, PHYSICAL GRAFFITI, UNKNOWN TO GOD: Valve Bar & Venue - Tempe GREAT GIG IN THE SKY: The Basement - Circular Quay GREG BRYCE AND THE BAD BAD THINGS: The Stag & Hunter Hotel - Mayfield HARBOUR MASTERS TRIO: East Leagues Club - Bondi Junction HEATH BURDELL: Clovelly Hotel - Clovelly HOORAY FOR EVERYTHING: Kurnell Rec Club - Kurnell HUE WILLIAMS: Avalon RSL HYPE DUO: Crown Hotel - Sydney IAN MOSS: The Vanguard - Newtown INTIMATE LOUNGE MUSIC: Fairfield RSL, Supper Club IVAN DRAGO: Jacksons On George, George St Bar JCONNEXION: Engadine Family Tavern JJ DUO: Taren Point Bowling Club
JOHNNY ROCK: Northies, Sports Bar - Cronulla KATE MARTIN, BEN WELLS & THE MIDDLE NAMES: Yours and Owls - Wollongong LIMPIN’ JIMMY & THE SWINGIN’ KITTEN: Lansdowne Hotel, Level One - Broadway LOVE THAT HAT: Windsor Castle Hotel - Newcastle LYNKYN CHAIN: Club Engadine - Engadine MACSON: Club Rivers - Riverwood MUM feat. MAGIC BONES, MUM DJs: The World Bar - Kings Cross MANDI JARRY: Panthers, Terrace Bar - Penrith MARK TRAVERS: Castle Hill RSL MARKIE MARK: Campbelltown Catholic Club-Club Lounge MARSALA: Camelot Lounge - Marrickville MATT JONES DUO: Cronulla RSL MICK FLAVIN, ZANE PENN DUO: Cessnock Supporters Club MICKY AVALON, KID MAC: The Hi-Fi MIKE MATHIESON, CHRIS ALEXANDER: Waterview Dooleys - Silverwater MILLENIUM BUG: Towradgi Beach Hotel - Towradgi MOONLIGHT DRIVE DUO: Nelson Bay Diggers Club NEILL BOURKE: O’Malleys Hotel - Kings Cross NICKY KURTA: Castle Hill RSL - The Terrace NOVA TONE: St George Leagues - Kogarah NUMBER STATION, FEVERPITCH, MORGAN JOANEL: Upstairs Beresford - Surry Hills ONE HIT WONDERS: Wentworth Leagues Club ONE NIGHT IN PARIS: Excelsior Hotel - Glebe ORIGINAL SIN - INXS SHOW: Pioneer Tavern - Penrith OUTLIER: Crows Nest Hotel (late)
PARADIGM, SANCTIUM: Bald Faced Stag - Leichhardt PAUL GREENE: The Factory Theatre, The Other Room PHILL SIMMONS: Oasis on Beamish Hotel - Campsie R.U.S.T, TOPNOVIL, BLAZIN’ ENTRAILS: Sandringham Hotel, upstairs RED REMEDY, RED BEE: Club Blink Agincourt Hotel REGGAE GOT SOUL: Great Northern Hotel - Newcastle RICHARD IN YOUR MIND: Goodgod Small Club - City RIP IT UP: Eastern Suburbs Legion Club ROB HENRY: Observer Hotel (early) - The Rocks SAM & JAMIE TRIO: Kirribilli Hotel - Kirribilli SCOTT, RICK, ALEX AND TIM FROM DIG: Blue Beat - Double Bay SHAMUS, CANDIDATE: Cohibar - Darling Harbour SHANE FLEW, BRAD JOHNS: North Manly Bowling Club SOFTWAR: The Spice Cellar - Sydney SPRING BREAK: Sportsmans Hotel - Blacktown STEVE EDMONDS BAND, DJ SMITHERS: Rock Lily, the Star - Pyrmont STONE MONKS: Notes Live - Enmore TAKE A HIT: Kingswood Sports Club TED NASH: Chatswood RSL THE BEATNIX: Lizottes Sydney - Dee Why THE FLAMING STARS: Rose of Australia Hotel - Erskineville THE GOOD STUFF: Marlborough Hotel - Newtown THE HERD, WATUSSI, MOHSE SOLTANI & EMBER, DOG TRUMPET, ROSIE: The Standard - Surry Hill THE PHAT CONTROLLER: Burdekin Hotel - Darlinghurst
FREE POOL 6.00 - 10.00
SUN
20 MAY
THE DELIVERY 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 • 71
THE ROCKIN’ EDDIE BAND: Belmont 16’s THEY CALL ME BRUCE: Quakers Inn - Quakers Hill THIEVES: Oxford Art Factory, Gallery Bar - Darlinghurst TIM CLARKSON QUARTET: Sound Lounge, Seymour Centre - Chippendale TODD HARDY SWING ORCHESTRA, MONICA TRAPAGA: 505 - Surry Hills TOM T DUO: Customs House Bar - Circular Quay TOUCHWOOD: Blaxland Tavern TZU: Annandale Hotel - Annandale VAUDEVILLE SMASH, FAIT ACCOMPLI, THE GOONS OF DOOM, DEAD BEAT BAND: Beach Road Hotel - Bondi ZOLTAN: Pittwater RSL
GIG OF THE WEEK
SAT 19 AFRO MOSES: Yours and Owls - Wollongong AFTER PAR: Illawarra Master Builders Club AM 2 PM: Revesby Workers, Skyline Lounge ANDREW RUSSELL: Artichoke Gallery Café - Manly ANDREW WISHART: Bald Faced Stag - Leichhardt ASHES, THE SWEET JELLY ROLLS, ADAM ROCHE: Excelsior Hotel - Glebe A-TONEZ, TRENT RACKUS, RIFRAF, DEF TONEZ, KING LEE, U-KHAN, JAMES CRIPPS: Chinese Laundry - Sydney BARBARION, THE RE-CHORDS, THE DREY ROLAN BAND, NEON HEART: The Factory Theatre - Marrickville BARNEY MCALL & KURT ROSENWINKLE: 505 - Surry Hills BEN FINN: Brewhouse - Marayong BENJAMIN’S BIG BAND: North Bondi RSL BLUE MOON QUARTET: Fairfield RSL, Supper Club BONDI CIGARS: Old Manly Boatshed BONJAH, ALEX BOWEN, QUIXOTICS: The Lair, Metro Theatre - Sydney BRAD JOHNS: Harbord Beach Hotel - Harbord BRYNSTAR, CANDIDATE: Cohibar - Darling Harbour CARL FIDDLER: Observer Hotel (afternoon) - The Rocks CATCALL, PALMS: Northern Star Hotel - Newcastle CATH & HIM: Club Engadine - Engadine CHANCE WATERS: Kings Cross Hotel - Kings Cross CONSTANT MONGREL, MODEL CITIZEN, FAMILY JEWELS, OIL BOYS: The Square - Haymarket
72 • THE DRUM MEDIA
MUTEMATH
For the first time ever, New Orleans three-piece Mutemath have announced an Australian tour, descending playing The Hi-Fi on Wednesday 16 May. They’ll be bringing their latest album Odd Soul on tour, which fuses rhythm and blues, psychedelic and modern electronica genres to create an innovative new sound. After a Groovin’ The Moo performance that included their singer crowdsurfing in a liferaft and their drummer taking his kit into the audience to drum, you can assume this performance will be eventful.
COSY VELOUR: Windsor Castle Hotel - Newcastle CREEDENCE & FRIENDS: Bull & Bush - Baulkham Hills CROW, PEG, MEDICATED YOUTH, POST-LOBSTERMAN: Annandale Hotel - Annandale DAN LAWRENCE: Novotel - Brewery Bar, Olympic Park DAVE STEVENS: Observer Hotel - The Rocks DAVE TICE, MARK EVANS: Sandringham Hotel, street level DAVE WHITE EXPERIENCE: Crows Nest Hotel (late) DAVID AGIUS DUO: Sydney Rowers Club - Abbotsford DEREB THE AMBASSADOR: Sound Lounge, Seymour Centre - Chippendale DIRTY DEEDS - AC/DC SHOW: Oatley Hotel DJ ALLEY CAT, NEW MANIC SPREE, MAVENS, SYDNEY GIRLS CHOIR: Lansdowne Hotel - Broadway DJ URBY, MR WILSON: Rock Lily, The Star - Pyrmont DORA D BAND: Castle Hill RSL - Cocktail Lounge DUB FX, SPOONBILL: Metro Theatre - Sydney DUNE RATS, GUNG HO, PEAR SHAPE: Spectrum - Darlinghurst FATT LIPP: Carousel Inn - Rooty Hill
FRANKIE J HOLDEN, WILBUR WILDE: North Sydney Leagues, Cammeray GARY JOHNS DUO: Mean Fiddler Hotel - Rouse Hill GREAT GIG IN THE SKY: The Basement - Circular Quay HEATH BURDELL: Northies, Beach Bar - Cronulla I, ESCAPE, SAFE HANDS, THE ARCHIVIST, ADVERSARY: SFX - Space Nightclub IAN MOSS: The Vanguard - Newtown JAMIE LINDSAY: Ettamogah Hotel (afternoon) - Rouse Hill JASON NORRIS: Northies, Sports Bar - Cronulla JOSH PYKE, GOSSLING: Seymour Centre, York Theatre - Chippendale JP DUO: Stacks Bar - City KING TIDE: Great Northern Hotel - Newcastle KIRK BURGESS: Newport Arms Hotel KLARTRAUM: Goodgod Small Club - City KURT WILLIAMS DUO: Engadine Family Tavern LA MANCHA NEGRA, GLITTER CANYON, THE WALK ON BY, KILL CITTY CREEPS: Oxford Art Factory - Darlinghurst LIZ MARTIN: Notes Live - Enmore LOVE THAT HAT: Belmont 16’s LUKE O’SHEA AND THE MEDICINE WHEEL: Brass Monkey - Cronulla MANDI JARRI: Menu 33, Novotel - Rooty Hill
MATT JONES: PJ Gallaghers - Drummoyne MICHAEL MCGLYNN: Kirribilli Hotel - Kirribilli MICHAEL STEWART: Jacksons On George, Luna Lounge MID NYT SUN: East Leagues Club - Bondi Junction MIKE MATHIESON, CHRIS ALEXANDER: Parramatta RSL MILLENIUM BUG: Mounties, Terrace Bar - Mt Pritchard MORGAN PAGE: Soho - Potts Point MYSTERY GUEST: The Belvedere Hotel - Sydney NICK RASCHKE DUO: Northern Star Hotel, Hamilton NICKY KURTA: Hillside Hotel - Castle Hill OMG!: The Stag & Hunter Hotel - Mayfield OVER THE EDGE: Campbelltown Catholic Club-Club Lounge PAUL COLLINS, SOUTHERN PREACHERS, MICK MEDEW, RICHARD LANE, GLENN MORRIS: Sandringham Hotel, upstairs PROFESSOR GROOVE’S BLAXPLOITATION: Blue Beat - Double Bay ROB HENRY: Castle Hill RSL - The Terrace ROCK MY SOUL: Penrith RSL, Castle Lounge RUBICON: Exchange Hotel SABRINA AND THE RED VANS, JUNK, HENRY FRASER: Roxbury Hotel - Glebe
SAM GREEN, NIGEL WEARNE: Illawarra Folk Club SARAH PATON: Sir Joseph Banks Hotel - Botany SHOWTEK: Hordern Pavilion SILICONE SOUL: The Spice Cellar - Sydney SIMON LAING: Jacksons On George, George St Bar SKY BAR, MATT ROBERTS: The Watershed Hotel Darling Harbour SOUNDPROOFED: Macarthur Tavern - Campbelltown SOUTHLAND: Jannali Inn STONE PARADE: Lizottes Sydney - Dee Why STORMCELLAR: Taverners Hill Hotel - Leichhardt SWING SHIFT - COLD CHISEL SHOW: Bradbury Inn TAKE TWO: Brighton RSL THE BEATELS: Blacktown RSL THE FURIOUS FIVE: Panania Hotel - Panania THE GOOD STUFF: Scruffy Murphy’s - City THE HAPPY HIPPIES: Ettamogah Hotel - Rouse Hill THE MIKE WHITNEY BAND: Marlborough Hotel - Newtown THE OLDE BOYS OF ROCK: Toukley RSL THE PREACHERS, THE WALKING WHO, JASON AND THE LYREBIRD: Upstairs Beresford - Beresford Hotel THE RHYTHM HUNTERS: Camelot Lounge - Marrickville
themusic.com.au
TUNNEL VISION, BONES ATLAS, FEICK’S DEVICE, THE CALL: Valve Bar & Venue - Tempe VICES, DIRECTIONS, TRUE LIES, MOWGLI, SIERRA, COLD YOUTH: Valve Bar & Venue Tempe (Afternoon) WASTED YEARS: Q Bar Darlinghurst YUKI KUMAGAI, JOHN MACKIE: Wellco Café & Wine Bar - Leichhardt ZOLTAN: Ingleburn RSL
SUN 20 ACE: Brighton RSL Brighton-Le-Sands AMAZING WOOLLOOMOLLOOSERS, SHAGGIN’ WAGON: Sandringham Hotel, upstairs ANTOINE: O’Malleys Hotel - Kings Cross BILL CROFT: Hurstville RSL Club BITTEREND, BLKOUT, CIVIL WAR: Bald Faced Stag - Leichhardt BLUEANGELS, JOHNNY DEVILSEED AND THE BIRDMAN, NASTY CLOUD DELTA BLUES, SLIGHTLY OFF: Forest Café - Green Point BOB MALONE, PUGSLEY BUZZARD: Camelot Lounge - Marrickville BONJAH, TIM CHAISSON, STEVE CLISBY BLUES EXPERIENCE: Rock Lily, The Star - Pyrmont DAN LAWRENCE: Observer Hotel (afternoon) - The Rocks
DANIEL MERRIWEATHER, TOUCAN: The Standard - Surry Hills DAVE MCMASTER: Campbelltown Catholic Club-Club Lounge DAVID AGIUS DUO: Northies, Sports Bar - Cronulla ELEVATION - U2 ACOUSTIC: Orient Hotel - The Rocks FAST TRACK ZODIAC: 3 Wise Monkeys FRANKY & JOHNNY: Belmont 16’s GLOBAL BATTLE OF THE BANDS: Valve Bar & Venue - Tempe HANDPICKED DUO: Mean Fiddler Hotel - Rouse Hill HITSEEKERS: Marlborough Hotel - Newtown HUNTER & SUZIE OWEN’S BAND: Marrickville Bowling Club JEMMA: Campbelltown Catholic Club JILL BIRT & ALSY MACDONALD (THE TRIFFIDS), THE MORNING NIGHT, BIG SMOKY: The Vanguard - Newtown JIVE BOMBERS: Cronulla RSL JOHN & DORA: Oatley Hotel (afternoon) - Oatley JOHN LEIGH CALDER: White Horse Hotel - Surrey Hills JOHNNY CASINO: Sandringham Hotel, street level JOSH MCIVOR: The Belvedere Hotel - Sydney
KURT WILLAMS DUO: Riverstone Sports Hotel - Riverstone LIZA OHLBACK, JO ELMS: Lizottes Sydney - Dee Why MANDI JARRY: Kirribilli Hotel - Kirribilli MARK HOPPER: Artichoke Gallery Café - Manly MATT ROBERTS: The Watershed Hotel - Darling Harbour PAUL GREENE: Brass Monkey - Cronulla PAUL SUN, MATT LAMB, MONIQUE LYSIAK: Organic Food Markets Frenchs Forest PETER NORTHCOTE, VIRGINIA LILLYE: The Bridge Hotel - Rozelle RACHEL ELDON: Waverley Bowling Club MIKE BENNETT, ROB HENRY: Observer Hotel - The Rocks SCREAMING SUNDAY: Annandale Hotel - Annandale SHANE MACKENZIE: Cohibar - Darling Harbour STEVE EDMONDS: Bateau Bay Hotel - Bateau Bay TERRY BATU: Wallacia Hotel - Wallacia THE DELIVERY: Botany View Hotel - Newtown THE ROYAL ARTILLERY: Lansdowne Hotel - Broadway THE WHITE BROS: Ettamogah Hotel - Rouse Hill ZOLTAN: Harbord Beach Hotel - Harbord
MON 21 BERNIE: Observer Hotel - The Rocks BERNIE MCGANN TRIO, JOHN HARKINS: 505 - Surry Hills GREG BYRNE: Novotel - Brewery Bar, Olympic Park MARY JANE KELLY, PERSPECTIVES, SNAKEPIT, CLIPPED WINGS, COLD YOUTH: Yours and Owls - Wollongong MEN WITH DAY JOBS, PETER MILLER ROBINSON, CHRISSIE PEARCE, BEN /TOBY DUO: Camelia Grove Hotel - Alexandria SONIC MAYHEM ORCHESTRA: Blue Beat - Double Bay TRIO DALI: City Recital Hall - Sydney WAYNE PEARCE & THE BIG HITTERS: Marlborough Hotel - Newtown
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THE DRUM MEDIA • 73
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BEHIND THE LINES IN THE STUDIO: HUNTING GROUNDS BROUGHT TO YOU BY
WITH MICHAEL SMITH
ANDREA VALERI GUITAR WORKSHOP
Twenty-one year old Italian acoustic guitarist Andrea Valeri is coming to town for the first time next week to perform as part of an event dubbed Acoustic Guitar Spectacular On Tour 2012, featuring Melbourne’s roots/blues virtuoso Nick Charles, Sydney twotime Australian flatpicking guitar champion, Robbie Long, Brisbane’s Michael Fix and flamenco guitarist Andrew Veivers, playing Centro CBD in Wollongong Friday 25 May, Big Music in Crows Nest Saturday 26, Kantara House in Gosford Sunday 27 and Lizotte’s Newcastle Friday 31. While in Sydney on Saturday 26, Valeri will present a free acoustic guitar workshop in the Big Room at Big Music, with Fix facilitating proceedings. Call (02) 8622 6555 for details.
THE FENDER BLACKTOP SERIES
Fender has now created vintage–style Fender Blacktop alnico humbucking pickups across the full range of their classic guitar lines – the Stratocaster, Telecaster, Jaguar and Jazzmaster. Guaranteed to deliver the hot high-gain power required to create today’s most aggressive sounds, each model also includes skirted black amp knobs, an alder body, maple neck, 9.5” radius fretboard, medium jumbo frets, gloss urethane finish and nickel/chrome hardware. If you’re quick, your local Fender outlet might also still have a few of the limited special run of white blonde Telecasters and butterscotch blonde Telecasters they put out recently, each featuring an ash body, modern “C” shape maple neck and three standard single-coil Strat or two hot Tele pickups respectively.
SOUND BYTES
Mark Lewis (Black Dahlia Murders, DevilDriver) engineered, mixed and produced the latest and self-titled album by Tennessee metal six-piece Whitechapel. Co-producing with Sam Williams, who worked on the 1995 Supergrass album, I Should Coco, former Supergrass frontman Gaz Coombs recorded his debut solo album, Here Come The Bombs, in his home studio in Oxford, UK, with a range of vintage gear and a Revox tape recorder, all one-take recordings. Melbourne’s Oh Mercy are currently in The Family Farm studio in Portland, Oregon, with Australian producer Burke Reid (The Drones, Wolf & Cub), recording their third album. The Stranglers recorded their forthcoming album, Giants, at their Charlton Farm headquarters near Bath with co-producer Louie Nicastro, who recorded and produced their Suite XVI album. UK band The Charlatans’ frontman Tim Burgess has recorded his latest as yet untitled solo album in Nashville with Lambchop producer Mark Nevers. Melbourne-based French jazz guitarist Albare recorded his latest album, Long Way, with his international project iTD, at Systems Two Studio in Brooklyn, NYC, with producer Matthias Winckelmann, bringing it back to Sing Sing Studios in Melbourne to be mixed by Tony Espie and then Stepford Audio to be mastered by David Walker. Perth hardcore five-piece Blkout hooked up with Sydney producer Lachlan Mitchell (The Jezabels, The Hard-Ons, Nitocris) to record their second album, Point Of No Return, at Def Wolf Studio in Alexandria, upstairs from Troy Horse Rehearsal Studio and FBi Radio. Producer, engineer and mixer Andy Lawson, who runs Debaser Studio in Perth, has been over in Melbourne working with The Living End main man Chris Cheney, himself in the producer’s chair, on a project at his Red Door Sounds studio in Collingwood, which boasts an SSL G+ Series console with Neve 1073 preamp/EQs and 9098 compressors. Melbourne six-piece Thunderchild have been tracking new material at Damien Gerard Sound Studios in Balmain with Russ Pilling engineering and Jordan Ellery producing, though Forrester Savelle (Birds Of Tokyo, Dead Letter Circus) mixed their new single back in Melbourne. Mixing/mastering engineer Andrew Beck used his remote recording services at the Enmore Theatre and Notes to record the Sydney contributions to The Hoodoo Gurus’ Dig It Up event by Japan’s The 5678’s and American Steve Wynn respectively. Stevie Knight is again producing Sydney four-piece Marlow’s next single at Electric Sun Studios in Surry Hills. Former guitarist with The Frames David Odlum (Luka Bloom, Josh Ritter) is producing Blackchords, recently bunkered down in an isolated barn cum improvised studio in country Victoria for two weeks of recording. btl@streetpress.com.au
When Bryget Chrisfield visits Hunting Grounds in the studio, one of the band’s alternating frontmen Michael Belsar enlightens, “It sounds stupid that a keyboard could change the sound of a band, but it really did.”
S
ix very excited Hunting Grounds (formerly Howl) band members assemble at Red Door Sounds studios in Collingwood, an old decomissioned church originally refitted as a studio in 1998, before being bought by a partnership that included Living End guitarist Chris Cheney and producer Paul “Woody” Annison. They’re in the initial mixing stages for their debut album and while Annison works his magic behind closed doors, guitarist Tim Street says of the room we inhabit, “We did our second EP [Brothers In Violence] here and we annoyed [Annison] so much that he made this area for bands.” Hunting Grounds admit they’ve spent a lot of time on Playstation in between takes, FIFA being their game of choice. There’s a lot of love in the room for Annison as vocalist/ keyboardist Galen Strachan admits. “We’ve all got a lot of faith in Woody, his decisions and his opinions.” Street jokes, “So if the album’s shit, it’s Woody’s fault.” Vocalist/guitarist Michael Belsar extols, “I personally never knew just how good he was until we actually sat down and spent a few days with him. Like, [previous single] In Colour – we did that in July or something last year and it was three quick days and stuff like that. But within the first few days I realised that he was the right guy, ‘cause he’d have these insane ideas that I initially would think are fuckin’ stupid and then they just work.” Belsar describes the songwriting sessions for this album: “It was a weird process. We were still trying to find our sound, ‘cause when we won triple j [Unearthed High in 2009] we sorta got thrown into this thing and we started writing new songs in the style that we wanted to do at the time, but then we spent a lot of last year – like, the first six months of last year – trying to write in that style and it just didn’t work for us anymore. We just started writing the songs we wanted to listen to as opposed to the songs that we thought people would want us to play. So the album’s a lot different.” On their previous two EPs, Belsar was the band’s primary songwriter, but Strachan penned three songs for this album and makes his lead singing debut on one of these, Wings. “Galen’s songs are a lot different to the songs that Michael was writing,” the band’s alternate
vocalist/guitarist Lachlan Morrish says before Belsar adds, “Galen just came out with these three amazing songs and it was at that point we were like, ‘This is how the album should sound’… And then Galen got this new keyboard and, it sounds stupid that a keyboard could change the sound of a band, but it really did. When we brought it into the studio it just ended up on everything.”
it a lot bigger, and we didn’t have much time so we didn’t wanna put out a crappy version of it.”
“A lot of us bought new pedals and stuff, but I got a new synthesiser. It’s all analogue and cool so we used that a lot,” Strachan confirms. Belsar adds, “I brought a reverb pedal into the studio when we recorded our second EP and Woody used it on vocals for the first time, and I think the next day he went out and bought one ‘cause it was just so good. And then I sold it, stupidly. But, yeah, this reverb pedal that he bought is literally on every instrument. It’s just the greatest pedal that ever existed.”
“Some of the songs have a phenomenal amount of tracks. Like, this one that’s getting mixed right now [Wings] has 165 separate tracks, but it’s such a simple song I actually don’t know what’s taken up so [many].”
John Crawford also tested out a new toy in the studio this time round. “I used my uncle’s bass on each and every song on the album. He’s pretty protective of it, so I was a bit nervous having it. I gave that back to him as soon as I stopped recording. It’s a ‘70s Fender, natural wood colour. He has got this protective plastic thing Velcroed to the back so his belt doesn’t scratch it when he plays it.” Street teases, “He loves it more than John,” and Crawford chuckles, “Yeah, he does.” The opening track on this forthcoming longplayer is called In Hindsight and Belsar describes it as “the prequel to In Colour”. Strachan estimates the band started composing this track in “probably, like, Year 11 or 12. Well [it’s] the oldest one we’re putting on here. It’s from ages ago. We’ve never had a chance to record it. We were gonna put it on the second EP but then we decided against it because we thought that we wanted more time to polish it off and make
“It’s changed shape a lot in those three years,” Crawford observes. Belsar points out, “That was supposed to have trumpet at the end, but we replaced it with this really intense wall-of-noise kinda guitar thing and it sorta just didn’t need trumpet anymore.
“Maybe the guitar,” drummer Daniel Marie chips in. “All those ambient ones.” Belsar considers, “Oh yeah, that’s true, and there’s this spacey bit in the middle that’s got James Bond sounds in it.” “When you listen to it, you just won’t be able to tell,” Morrish says. The only recording that was done for this album outside of Red Door Studios, Belsar did at home. “I did vocals for In Colour and only because back then I was really sick,” he explains. “I did vocals for a song called Cold Feet at home as well and then there was a few little guitar parts and random little parts from the demos that Woody wanted to leave, just ‘cause we couldn’t replicate ‘em ‘cause they were really shit, but they worked really well with the song.” The album’s release date has been pushed back a few times and Crawford explains, “We thought we may as well wait, you know: there’s no point in releasing a bad debut album.” In Hindsight is expected to be released by Redcat Friday 6 July
ENGINEER PROFILE
Engineer: Paul Stefanidis
What areas of engineering do you specialise in? Mastering. What is your favourite kind of project to work on? I enjoy working on all types of music, anything that is well produced. Are there any pieces of gear that you couldn’t get by without? My Weiss rack. What song/album can we listen to to get the best idea of your work? Australian acts include Gin Wigmore, Short Stack and Nat Cole & The Kings. Are you currently working for a studio or are you freelancing? I’m the mastering engineer at Viking Lounge Mastering. Do you have any advice for young or inexperienced artists who are heading into a recording studio? Always try to work with an experienced engineer and producer that can bring out the best in you. What notable acts/projects have you worked with/on? Have worked on projects for Robin Gibb and Lenny Kravitz as well as many other multi-platinum-selling artists from all over the world, including Eurovision winner Dima Bilan. I also worked on the Athens 2004 Olympic opening and closing ceremonies for more than 18 months, a very intense project that I recorded, mixed and mastered. It was a great experience and one of the best parts was that I got to record the Royal Philharmonic Orchestra.
Do you have any words of wisdom for those wanting to become an audio engineer? Remember that actual skills come from experience so get involved in any way and in as many jobs as possible. You may have to do some things for free but it’s all part of the learning experience.
themusic.com.au
Where are you based? Sydney. Contact details: vikingloungemastering.com; facebook. com/Viking.Lounge.Mastering; or email paul@vikingloungemastering.com THE DRUM MEDIA • 75
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I am an active member of the recording industry, an experienced touring and session musician with extensive tutoring history. I also specialise in long term tutoring for ATAR music performances. I teach all styles and aim to guide you along your OWN musical path. I have experience professionally performing blues, rock, jazz and country styles. newtownguitar@gmail.com I teach with a focus on musical appreciation and the development of a musical ear, I am excited to teach people who are willing to be challenged. I am based in Newtown (off King Street) and teach in a calm comfortable environment. Please feel free to email if you have any queries and would love to chat about which musical approach is best for you! iFlogID: 18350 Paramount Guitar Tuition. Learn to play the guitar. Or learn to compose &/or improvise on guitar. Most importantly, learn at your own pace, no pressure! Classical & other styles. 0402 630 243 www.pgtonline.net pgtonline@hotmail.com Parramatta area iFlogID: 15320
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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 davemormul@hotmail.com iFlogID: 16948
SINGING LESSONS THAT >>ROCK<<
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. www.immersionimagery.com info@immersionimagery.com iFlogID: 18477
MUSICIANS AVAILABLE BASS PLAYER Electric & upright bass. Good gear. Comfortable in most styles. Experience performing live and in the studio. Check out my website if you wanna hear more. http://www.wix.com/ steelechabau/steelechabau iFlogID: 16159 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 iFlogID: 17909
Your voice has the ability to sing at the Audioslave/Muse/Aretha/ Yeah-Yeah-Yeahs level because of Design. Increase your range-sing with effortless power-learn to sing the right technique. Microphone, recording, songwriting Newtown CALL-0405-044-513 iFlogID: 18401
SINGING LESSONS
DJ Dj available Dubstep to Drum&bass. Willing & able to adapt to your event. Low hourly rates. Everything negotiable. Easygoing, flexible entertainment. Call for a quote today. KN!VZ Entertainment Group Ph:0415680575 iFlogID: 16661
DJ 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 iFlogID: 17801
RINTOUL
Singing lessons in a positive environment with a highly experienced and professional singer/songwriter. Lessons tailored to suit individual needs. Also beginners guitar. www.realvoice. net.au for more details. Inner West, Rosanna 0431 157 622. iFlogID: 18004
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. iFlogID: 17958 VocalHub - Sing like no one is listening! Singing lessons for vocal technique and care, audition tips and repertoire in a encouraging and supportive environment. Visit: http://www.vocalhub.com.au iFlogID: 17102 Wanted left handed electric guitar teacher Parramatta area, Contact John at... rodt1114@yahoo.com iFlogID: 16308
VIDEO / PRODUCTION D7 STUDIO MUSIC VID FROM $250 music vid $250. Live gig edits, multi angles, fr $125 a set, 1 live track $100. All shot in full HD. d7studio@ iinet.net.au 0404716770 iFlogID: 13368 Kontrol Productions is a highly professional production company that specializes in the production of music video’s. We ensure that our products are of the highest industry standards. For enquiries www.kontrolproductions.com iFlogID: 13827
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. iFlogID: 18117
DRUMMER A1 TOP PRO DRUMMER AVAILABLE FOR SESSION FREELANCE WORK, TOURS ETC. EXTENSIVE EXPERIENCE, TOP GEAR, GREAT GROOVE AND TIME.SYDNEY BASED, WILL TRAVEL. PH 0419760940. WEBSITE www.mikehague.com iFlogID: 18334 Experienced Soul / Reggae / R’N’B / Blues / Funk / Rock drummer (36yo) available for work preferably in Northern Beaches. Call Michael 0402 549 423 iFlogID: 17324 Professional drummer/percussionist/vibraphonist available for performances/recording. Toured with international acts such as Dianna Krall, David Campbell and Patrizio Buanne. Have huge range of instruments including vibraphone. More info at www.davekemp.info iFlogID: 17317 Professional mature-age Drummer/Vocals/ reads/back acts/shows - all styles including jazz - available for casual work. phone:(02) 9807-3137 eMail: nadipa1@yahoo. com.au iFlogID: 16562 Professional mature-age Drummer/Vocals/ reads/back acts/shows - all styles including jazz - available for casual work. phone:(02) 9807-3137 Mob:0413-931-897 eMail: nadipa1@yahoo.com.au iFlogID: 17160 TOP INTERNATIONAL DRUMMER available. Great backing vocals, harmonica player and percussionist. Gigs, tours, recording. Private lessons/mentoring also available. www.reubenalexander.net iFlogID: 14261
GUITARIST 18 year old guitar player looking to form Rock N’ Roll band. Influences: Guns N’ Roses, Aerosmith, Led Zeppelin, New York Dolls. Preferably in South. Call Tom on 0401722767. iFlogID: 13358 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 iFlogID: 18014
OTHER
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 paul@popfilms.com.au or visit www.popfilms.com.au iFlogID: 18398
MUSIC VIDEO PRODUCTIONS
We are a friendly jazz band playing music to any style for romantic situations, weddings, anniversaries, small cozy clubs - very affordable. contact Chris 0419 272 196 ventura@yayabings.com.au iFlogID: 15177
MUSICIANS WANTED BANDS 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 wellknown USA band at end of year. Serious musicians only. Please call Mel 0401 017 275. iFlogID: 17577
Professional & affordable photo & video productions,industry experienced team. Make your stunning looking,1080p HD music video,enjoy the process.Check us out on web or contact Dave 0280185520 musicvideoproductions.com.au Yours, creative MVP Team iFlogID: 18230
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 nightmare_ screams@hotmail.com. iFlogID: 17940
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. iFlogID: 17772 Experienced bass player with pro attitude is looking for musicians for prog/alt rock outfit. Commintment, love to music, realiability is required. Great opportunity to bring in their own ideas. 0411743248 iFlogID: 18298 FREE RECORDING Audio students seeking bands to record & mix in a professional studio. Located in Sydney CBD. Must be able to play to a click track. Text 0433442255 iFlogID: 16983
KEYS+FEMALE SINGER WANTED
Keyboardist and Female Singer to join Eric Clapton cover band. Rehearse in the west. Will be doing quality gigs. Keith 0404017202 iFlogID: 18236
LEAD GUITARIST WANTED
HIGH-ENERGY PUNK/ROCK’N’ROLL Male/Female. Inner city rehearsal. Weekend shows, (some midweek/interstate). Own gear and extended commitment required. Infl: Social Distortion, Stooges, TurboNegro, Hellacopters, Foo Fighters. Google me- SIMON CHAINSAW contact: simonchainsaw@yahoo.com iFlogID: 18438
PRO BASS PLAYER WANTED
Hi! The Last Apollo are looking for a pro bass player 21-30 to join new band with Singer and Guitarist and Drummer. Although very early into its lifetime The Last Apollo is already generating some interest from industry types and will be heading into the studio in the next few months.. Previous music has featured on national TV and international radio. What we need from you? A professional and career minded attitude with the time and patience to put in the hard work for the eventual reward. You MUST have good gear and transport and be available to rehearse/write at least once a week and be based in the Sydney metro area. We are currently not playing live but will be up and running later in the year. We are currently working on new songs with new singer and will be recording a new EP very shortly. We would like the new bass player to play on the record and be involved in the writing process. If this sounds like you then please email Mitch info@thelastapollo or call 0451 957 772 Previous work (2008) can be heard at www. myspace.com/lastapollo New songs available on application. iFlogID: 18407
PRO ROCK DRUMMER WANTED
Hi! The Last Apollo are looking for a pro drummer 21-30 to join new band with Singer and Guitarist. Although very early into its lifetime The Last Apollo is already generating some interest from industry types and will be heading into the studio in the next few months.. Previous music has featured on national TV and international radio. What we need from you? A professional and career minded attitude with the time and patience to put in the hard work for the eventual reward. You MUST have good gear and transport and be available to rehearse/write at least once a week and be based in the Sydney metro area. We are currently not playing live but will be up and running later in the year. We are currently working on new songs with new singer and will be recording a new EP very shortly. We would like the new drummer to play on the record and be involved in the writing process. If this sounds like you then please email Mitch info@thelastapollo or call 0451 957 772 Previous work (2008) can be heard at www. myspace.com/lastapollo Auditions being held through May New songs available on application. iFlogID: 18409 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 iFlogID: 17882 Singer required for Latin Duo. Must be able to sing in Spanish. 0416020051 iFlogID: 18182
SINGER: ROCK COVERS BAND
Singer wanted for band playing classic rock material from the 60’s to current. M or F. We are 4 very experienced players looking for someone who is passionate about playing quality music. Would best suit someone on the north shore or northern beaches. Call Noel on 0409 455 280 iFlogID: 18308 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: turbowitchaus@gmail.com iFlogID: 17985
Untalented Libertines/BlocParty/SexPistols inspired singer/songwriter/guitarist seeks bandmates who are also inspired by these bands, willing to practice, prefer making originals rather than covers & who are easygoing. Inner West/Sydney, How bout it? iFlogID: 13790 Young guitar player looking to start metal, punk band. influences include metallica, ozzy, black sabbath megadeth, trivium, bullet, anthrax, slayer slipknot and many many more. email space1996@hotmail.com if interested iFlogID: 17027
BASS PLAYER
GUITARIST NEEDED
Guitarist needed for a female-fronted original rock and roll band. Influences-The Bellrays, The Paybacks, The Stooges, The MC5 etc Phone Jeff on 0405 225 267 iFlogID: 18264
GUITARIST REQUIRED
HEAVY ROCK SINGER WANTED
Band needs versatile bass player!! Originals and covers. Mix of Tool, Evanescense, Winehouse.....whatever! We have female singer, guitarist, drummer....all 19yrs. Based in Northern Beaches. Please call Ziggy 0432872290! iFlogID: 18258
BASS PLAYER WANTED ASAP
Bass player wanted urgently for original grunge/rock n roll band looking to gig and record ASAP. Influences brmc, QOTSA, nirvana. Songs ready to go. Must be willing to rehearse weekly in the city. No time wasters please. Contact Mick 0409310509 iFlogID: 18372 Double Bass player wanted for jump/swing blues band. Age open but prefer 30 plus. Rehearsals inner west. Call Rob (0408607342) or email lemonsqueezindaddies@gmail.com. iFlogID: 18386
HARDROCK/METAL BASS
Chasing ORA, an original female fronted Indie/Rock band is looking to recruit a talented guitarist for live shows, writing, and studio work. Check out Chasing ORA’s videos at www.facebook.com/chasingora. If you’re looking to take on an exciting project and if this is something you can be passionate about please register your interest by email at chasingora@hotmail.com. Please provide examples of your playing and as much detail as possible about yourself. iFlogID: 18260
GUITARIST WANTED
guitarist wanted for covers duo. used to write and sing songs on guitar now want to try covers with someone else playing along and gig. Rock/ pop bondi area Sarah 0439915707 iFlogID: 18423 Heavy, light Garage/punk/rock Stix and/or Axe/vox needed for 3/peace Original band in Sydney. Big Beats, raw Riffs & Poppyseed melodies of d minor Fuzz. Ages 0-100. Influenze: NIRVANA. Apply within 0403859234. iFlogID: 18377 Looking for Hard Rock / Metal guitarist with prog influences for Western Sydney band, must have own gear and transport and be reliable. Call Anton on 0426822750. Cheers! iFlogID: 18468
METAL BASS PLAYER WANTED
Rythum&leadguitaristneaded rock/ambiant call vee 93193513 iFlogID: 18462
DRUMMER Aggressive solid drummer needed for band. have material written and demos recorded. rehearse in the wollonong area, keen to gig asap. age/sex/skill level not important. contact 0403508102 for demos iFlogID: 14021 Drummer 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 walrusblues@hotmail.com iFlogID: 18195 Established Wollongong hard rock band looking for a replacement drummer. Must be commited, reliable, own gear, willing to travel. distract010@live.com iFlogID: 18425 Experienced drummer with a commitment to practice and regular rehearsals required for Melbourne-based alternative rock band. Influences QOTSA, Foo Fighters, Nirvana… www.myspace.com/mollydredd 0411 372 469 iFlogID: 16936 experienced energetic drummer wanted for sydney 3 piece. age 20-30. influences: ramones, queen, nirvana, brian-jonestownmassacre, beatles etc.100% commitment needed as we wanna get proper busy. call dee 0431317613 iFlogID: 17876 Heavy, light Garage/punk/rock Stix and/or Axe/vox needed for 3/peace Original band in Sydney. Big Beats, raw Riffs & Poppyseed melodies of d minor Fuzz. Ages 0-100. Influenze: NIRVANA. Apply within 0403859234. iFlogID: 18375 JAZZ DRUMMER wanted for established gigging trio that plays standards. Looking for a tasteful drummer who likes brushes and is willing to commit to a weekly rehearsal. Garry 0434615931 iFlogID: 18440 Lycanthia seek Heavy Metal double kick drummer for gigs and recording, must have gear and transport. Please contact lycanthia@hotmail.com iFlogID: 18415 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! iFlogID: 17858
GUITARIST ACOUSTIC GUITARIST OR KEYBOARD PLAYER WANTED. To join Mature Vocalist and Rhythm Guitarist/ Drummer MOR repertoire. Regular rehearsals working towards gigs. Based in Penrith. 043 279 0076 iFlogID: 18280 18 year old guitar player looking for another guitar player. Influences: GN’R, Aerosmith, Zeppelin, New York Dolls. Preferrably someone in the south (Shire). Call Tom on 0401722767 iFlogID: 13407
TUITION MUSIC PRODUCTION COURSE 6 WKS.
Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Logos, Hosting and 5xemail addresses and much more! Contact info@bizwebsites.com. au or see www.bizwebsites.com.au iFlogID: 13864
GRAPHIC DESIGNER
Bass player with metal ability wanted for originals hard rock band. Own equip + exp a must. Songs ready no bass written. contact us on reidrokk@yahoo.com.au iFlogID: 18460
Metal Bass Player urgently wanted to join a death/thrash/melodic metal band. Currently playing gigs around Sydney. Need a bass player to commit to practice and play regular gigs.Need an experienced and serious addition to our band ASAP. Go to facebook.com/terrorential to listen to music. Ph: 0412901891 iFlogID: 18396
Get your Band or Business Online Cost effectively and PROFESSIONALLY from $299 including Hosting and email addresses! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au iFlogID: 15450
KEYBOARD 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: firebrandproductions@hotmail.com iFlogID: 17789
PRODUCTION NEED BEAT CREATOR/ PRODUCER
We’re an audiovisual collaboration between musicians and VJs working on getting material for an upcoming gigs and album and we’re looking for someone who can refine our beats and help us get this thing out of the studio and onto the stage. We work with Logic and Maschine for the mac and would prefer to work with someone who uses those tools too. PC would work since it should be compatible. here are some tunes: http://www.huntingwithpixels.com.au/blog/ wearesilverninja We’re a electronicy guitar based band with styles ranging from dubstep to breakbeats to electro kind of beats. iFlogID: 18494
SINGER ACAPPELLA COMMUNITY CHOIR looking for tenors and basses to join our trip to The Port Stephens Choral Festival in September. Call 0414 869 352 or email info@thecleftomaniacs.com iFlogID: 18344
BLUES SINGER WANTED
Singer wanted to front blues rock band. Think Hendrix, Clapton, SRV, ZZ Top, Kenny Wayne etc. We are a trio of mature & experienced musicians who are looking for the right person to front our brand of high octane blues. A good knowledge of standards a must, harp ability highly regarded. Look & age unimportant if you have the chops & attitude we are looking for. Rehearsing in Hills district. Call Dave 0438437213 iFlogID: 18412 GOSPEL SINGERS WANTED for non-denominational music ministry to record triple-CD in Perth. World-class, passionate and devotional vocalists sought. View www.THE001Music. com for details. Jesus is KIng! Reverend Eslam. God Bless You! iFlogID: 13088
A practical guide to computer based recording with the bulk of the course being hands on with no more than 2 students per work station. The course is software neutral. The software and platform take a secondary role to the concepts that are being taught. Six 3 hour lessons over six Saturdays @ $660. Students are able to use the teaching resources anytime during the six weeks course for free. Contact Zen Studios 02-9550-3977. www.zenstudios.com.au iFlogID: 17932
Heavy rock singer wanted for BONEYARD ,70s 80s 90s mature aged cover and origionals band ,influences purple, lepplin, sabs,van halen ,acdc,angels, tattoo,you get the idea. looking to start giging and having some fun as sone as the right singer comes on board . phone george at 0400750175 or larry 47824125 iFlogID: 18500
PARTY CENTRAL/ABSOLUTE DIVAS
‘Party Central / Absolute Divas’ requires a professional female lead vocalist. We are a Sydney-based, agency backed, 5 pc cover band with regular work. You must be able to commit to Friday & Saturday night gigs. We are looking for someone who projects confidence and can sing harmonies. Please call Troy on 0400 27 5154. You will then need to forward a head-shot and demo (if avail) to andrea8884@ gmail.com iFlogID: 18254 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 iFlogID: 17692 Progressive rock/metal band seeking vocalist. Influences include: tool, limp bizkit, karnivool, butterfly effect and korn. Early to mid 20s. Based in Campbelltown. Own gear and transport preferred! 0432098808 purple-monkeydishwasher iFlogID: 18405 Revertigo are looking for a talented frontMAN aged 18-30. Must be extremely committed, available to rehearse 2/3 nights/week and be able to sing. Hard rock band, influences inc Foo’s, QOTSA, Nirvana. EP recorded and ready spread awesomeness! Listen on www. facebook.com/revertigomusic and then contact Michael on 0404700869 or Revertigo@live. com.au YOU WONT REGRET IT! iFlogID: 18390
SINGER WANTED - ASAP
Experienced Progressive Heavy Groove Band seeks, Strong Heavy/Melodic Vocalist. Think Sevendust(ish) for vocals style wanted etc. READY TO PLAY!!! Call Sven - 0421540972 iFlogID: 18370
SINGERS WANTED
A great opportunity exists for an experienced male and female vocalist to join the ranks of an exciting live band specialising in classic and contemporary rock covers from the 70’s to now. The band is currently looking at expanding its repertoire and lineup. You will need to be 100% committed to an established working band. Check out our website to see what we do www.framedmusic.com.au & send your CV or demo to framedmusic@hotmail.com iFlogID: 18282
TRUMPET
GIG POSTERS / ALBUM ART / FLYERS / T-SHIRTS WWW.BRIDIEALLAN.COM DESIGN@BRIDIEALLAN.COM iFlogID: 18496 Limited Edition mens tees and hoodies with a sense of humour. All hand-screened and numbered. monstrositystore.com iFlogID: 13611
OTHER EARPLUGS FOR MUSICIANS Protect your hearing with custom moulded earplugs designed to reduce the level of sound without adversely affecting the frequency response of the music. Choose between 10,15 and 25dB attenuation. Fitted by professional audiologist, by appointment only. Ph 9387 3599 iFlogID: 15216 Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au iFlogID: 15454 Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Hosting and 5xemail addresses and much more! Contact info@ bizwebsites.com.au or see www.bizwebsites.com.au iFlogID: 13862 If you want to use DRUGS, that’s your business If you want to STOP, we can help. Narcotics Anonymous 9519 6200 www.na.org.au iFlogID: 16217
Musician Plugs come in four different filter choices to reduce the volume of loud music to a safer level. They will not distort the tonality of the music, rather simply reduce the volume ‘equally’ across all tones. Fitted by a qualified hearing professional we have a number of locations throughout Sydney as well as in the CBD. To make an appointment call 9223 0225. iFlogID: 17016
Fully Qualified & 8yrs Experience, Thai Massage $49/hr or Sensual Balinese Aroma $69/hr. In/Out calls, Male/Female Welcome. www.takecaremassage.com.au - By Anson 0433646338 iFlogID: 17428
GRAPHIC DESIGN
SINGING, BASS, GUITAR, DRUMS
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 iFlogID: 17764
SERVICES
CUSTOM MADE MUSICIAN PLUGS
School of Rock teaches students from primary school to high school, from anywhere in Sydney with any level of musical talent. School of Rock helps students form a suitable band based on each of their musical likes and level of experience. Classes run every day of the week (Weekdays: 4.30pm – 6.00pm, Saturday/Sunday: 8.30am – 10.00am) at $320/per term (including all teacher fees, room and instrument rental). Each term includes a free recording session @ Zen Studios and a live show at The Valve Hotel in Tempe. Contact Ash 0450406-201. www.schoolofrockinnerwest. com.au iFlogID: 17972
NEED IT MOVED?
MUSICIANS WANTED. Big band music ( Dorsey - Ellington etc) arranged for smaller group. More WIND PLAYERS needed. Play with a band and have some fun. Contact Dave on 9807 8866 or email oddsocksmusic62@yahoo.com.au iFlogID: 18353
BEAUTY SERVICES
SCHOOL OF ROCK - ZEN STUDIOS
Need to move? Whether its moving house or getting your gear transported to your next gig, we’ve got you sorted. Move Sydney is insured, affordable and equipped for any sized move. Boxes, packing material available. Call 0412 228 251 for a quote or visit www.movesydney.com iFlogID: 18486 ‘
Need to promote your restaurant, club and make it the place to go? Contact us now, because providing good entertainment is a personal skill. Chris 0419 272 196 ventura@yayabings.com.au iFlogID: 15175
SOUTHERN MANTIS KUNG FU
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 iFlogID: 17980
FULL COLOUR BAND GIG POSTERS @ AMAZING PRICES 100 A4 full colour on Gloss = $40 100 A3 full colour on Plain = $50 100 A3 full colour on Gloss = $80 100 SRA3(32 x 45cm) full colour on Gloss = $80 WWW.BLACKSTAR.COM.AU iFlogID: 16754
Engadine Music Guitar Soloing Contest. Great prizes! Go to http://goo.gl/Q9JZ9 iFlogID: 18388
Traditional Southern Chinese Kung Fu with a focus on Real Self Defense and Practical Applications. Small group lessons (between 4 and 6 people). Private lessons also available. Lessons are $20 per class lesson. Wednesdays 7.30 pm NEWTOWN Please inquire about Private tuition Call 0430145222 iFlogID: 18419
SYDNEY RADIO SCHOOL Take the first step towards a career in the media. Enrolments now open. sydneyradioschool.com.au iFlogID: 18304
For a limited time. Free online and print classifieds Book now, visit iflog.com.au
Make movies on your parents’ camcorder. Edit them on your computer. Enrol at JMC. Do a summer internship at a TV network. Tear up your old scripts and start over. Direct a promo trailer for a classmate. Get 10,000 online views in a week. Finish at JMC. Write the short film you always wanted to. Pitch the project to investors. Screen your film. Win a film festival. Get discovered. What will your creative future look like?
Start JUNE 2012
Degrees and Diplomas in Audio Engineering, Music, Entertainment Business Management, 3D Animation, Game Design and Film and Television Production. Launch your creative journey through collaboration, education and training at JMC Academy.
Your creative future starts today. Visit jmcacademy.edu.au or call on 1300 410 311. facebook.com/jmcacademy
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