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THE DRUM MEDIA • 3
Features
Sleep Alone & Sun.
n o c a e B
Brand new studio album 31/8/12
4 • THE DRUM MEDIA
John Butler Trio (NYE Midnight Set) Sharon Jones & the Dap Kings (usa-nye sEt) tHE bLacK sEedS (nz) fRiEndLY fIreS dj Set (uk-nye sEt)
kRaFty kUtS Vs A.sKilLz (UK) tHE hERd (aus) Kaki King (USA) Blood red Shoes (UK) Unknown Mortal Orchestra (USA) Electric Wire Hustle (NZ) King Tide (AUS) mAt. mChUGh & THE SEPERATISTA SOUND SYSTEM (aus) 65DaysoFstatic (UK) Deep Sea Arcade (AUS) Gold Fields (AUS) Gossling (AUS) Will & The People (UK) Chapelier Fou (Fr) The Medics (AUS) NorthEast Party House (AUS) HatFitz and Cara (aus) Tuka (AUS) The Cairos (AUS) The PreaTUREs (AUS) Battleships (AUS) Lime Cordiale (AUS) Daily Meds (AUS) JONES Jnr (AUS) Tigertown (AUS) MicroWave Jenny (AUS) also featuring — The Return of The Dub Shack Plus many more artists to be announced...
THE DRUM MEDIA • 5
6 • THE DRUM MEDIA
GURRUMUL WITH W ITH SPECIAL GUESTS
EMMA LOUISE
THE RAZZLE DAZZLE SUMMER TOUR
T 20 & WEDNESDAY TUESDAY DAY NO NOV ESDAY SDAYTN NOV 21
/ 1,- 9Ê "6ÊÓÓÊUÊSTATE THEATRE
/1 Ê "6ÊÓÇÊUÊ7 Ê / ,/ /Ê /, ]Ê7" " "
ON SALE NOW FROM MISSYHIGGINS.COM NEW ALBUM THE OL’ RAZZLE DAZZLE FEAT. EVERYONE’S WAITING & UNASHAMED DESIRE OUT NOW
THE DRUM MEDIA • 7
th f e or ha m rperl hoy te
l
OPEN ‘TILL 3AM
900 PRINCES HIGHWAY, TEMPE PH: 9559 6300 www.valvebar.com.au
WED 29
MUSO’S NIGHT ROCKIN WEEKLY BLUES JAM
8.00PM FREE ENTRY FRONT BAR
CHAOS DIVINE (PERTH) + DATURA CURSE + AVARIN + HEMINA
FRI 31
THE LEVITATION HEX + ANNO DOMINI + THE SEER + STARFORGE
SAT 1
PHANTOMS - LAST SHOW! + HOPELESS + I EXIST + RELENTLESS
SUN 2
8.00PM $15 DOOR
8.00PM $15 DOOR
1.00PM LICENSED/AA $20 PRE / $25 DOOR
+ ENDLESS HEIGHTS + WARBRAIN + OUTSIDERS CODE
WED 29TH 7PM THU 30TH 7PM FRI 31ST 7PM SAT 1ST 12PM SAT 1ST 7PM
SUN 2ND 12PM
COMING SOON: 7/9: CARTEL (USA), 8/9: DUMBSAINT 9/9: JOHNNY GRETSH
“EYE ON YOU” “COBY & THE REMEDY” “TROLDHAUGEN” ACOUSTIC AFTERNOON
ROCK SHOW WITH SUPPORT FROM “INICIATE” , “SECOND NATION” BLUES/ROCK SHOW WITH SUPPORT FROM “3 SPEED DOG BOX” , “SABRE” METAL SHOW WITH SUPPORT FROM “DEMON FOETAL HARVEST” , “SARALISSE” , “BLATHERSKITE” ACOUSTIC SHOW FEAT: “TEMPLE OF TUNES” , BRETT FRANKE , “NOTHING RHYMES WITH DAVID” , PETER JONES , DEON HENRY , TERRA LEXUS
“EMPIRE RISING” BIRTHDAY FEST
HIP HOP/FUNK SHOW WITH SUPPORT FROM “COSMIC KING” , “HIGH NOON” , “STONE ARC”
ROCK/FUNK/GOTH/METAL/BURLESQUE
FEAT: DJ 7SYD, TRASH CABARET , “EEVEE NICOLE” , “LANI THE PROCRASTINATOR” , “LO CREATION” , “SHEZBOT” , “KITTY NEEDS A BATH” , “THE WORLD IN CINEMATIC” , “DECONSTRUCTIVIST” , CHRISTOPHER HAWKINS , “RED BEE” , “RUBIX” , “VESSEL” , “INERTIA” , “OUTLAWS” , “CORDEA” , “UPSIDE DOWN MISS JANE”
COMING UP:
‘GOBOOKEM.COM’
Wed 5 Sept: Rock Show with “Astrosphere” , “Revival” , “Hidden Ace” , “Copper Tongue” ; Thu 6 Sept: Metal Show with “Thraxas” , “Visitor” and many more; Fri 7 Sept: Funk/Rock Showcse with many special guests ; Sat 8 Sept: 1pm: Metal Show with “Dystopic” , “On Shoulders Of Giants” , “April Falls” , “Rose From Ruins” , “To Engineer An Exorcist” , “Exekute”; 7pm: Blues Rock Show with: “Tigers & Rogues” , “Thunder Thief” , “51 Percent” , Terra Lexus; Sun 9 Sept: 1pm: “Take It To The Valve” Festival feat: “Carmeria” , “Dinkibike” , “With Confidence” , “Sweet Sounds” , “All That” , “Pixel & Sound” , “Soul Survivors” , “Spiral Conspiracy” , “Retina”
For band bookings please email valvebar@gmail.com
Bistro open Lunch and Dinner !!
FRI 31/08 TUE 28TH AUG COMEDY NIGHT WITH
7:30PM - 10:30PM
SAM MCCOOL (AUSTRALIA’S GOT TALENT)
THU 30TH AUG
MC: DAVE JORY(JJJ)
AND GUESTS
7:30PM - 10:30PM
THE
H.P CORONADOS
+ GUESTS
ADAM PRINGLE (GUITAR), JEREMY CRAIB (KEYS), MATT “THE RUMBLE” MORRISON(DRUMS) AND ROWAN LANE(BASS)
SUN 2ND SEP
LIVE EVERY THURSDAY FREE ENTRY!
SUNDAY ARVO JAZZ AT THE HPH COMEDY NIGHT WITH
FREE ENTRY
7:30PM - 10:30PM
DAVID WILLIAMS (LAST COMIC STANDING) EVERY MONDAY
2 FOR 1 MEALS
EVERY TUESDAY
FEED the FAMILY
MC: COREY WHITE (QLD)
AND GUESTS
WEDNESDAY TO FRIDAY
KIDS EAT FREE
FUNCTION ROOMS - CONTACT JOSH FOR INFO 9660 4745 FREE JOSH@HAROLDPARKHOTEL.COM.AU 8 • THE DRUM MEDIA
Café of the Gate Of Salvation Voices From The Vacant Lot
SAT 1/09
Don Walker + Roy Payne
SAT 8/09
Wednesday 29th August
Fri 28/09
ANDREW WISHART
Luke Escombe
Thursday 30th August
‘Chronic Symphonic’
+ Roy Payne
Sat 29/09 Phil Monsour
DON WALKER
Friday 31st August
MENTAL AS ANYTHING
Sun 30/9
+ The View
Matt Walker CD launch
Saturday 1st September
+ Lucie Thorne
+ Sam Stephenson
Fri 5/10
Sunday 2nd September
The Pigs Fri 12/10
MARK SEYMOUR
EUGENE HIDEAWAY BRIDGES - TRIBUTE TO SAM COOKE
First Ladies Of Soul
Thursday 6th September
Sat 13/10
+ Kirrakamere + Alex Gibson
HIS MERRY MEN
A Taste Of KISS
3:00PM - 6:00PM
TUE 4TH SEP
Idea Of North
Coming soon –
Kristina Olsen Sat 6/10 eBook & CD launch
SAT 15/09
Mia Dyson + Simon Meli
Rolling Stones Tribute ‘The Brian Jones Years’ Sat 20/10 Contraban Final Show Fri 26/10
SUN 16/09
Bridie King + guests 1pm Show
Barbara Blue (US) + Mojo Webb Sat 3/11 Karma County Fri 23/11 Wes Carr introducing Buffalo
Friday 7 September Ian Moss Saturday 8 September Ian Moss Sunday 9 September Lanie Lane Wednesday 12 September Lanie Lane Saturday 15 September CASH - The Concert Wednesday 19 September SongsOnStage - Best Of... Thursday 20 September Wes Carr Friday 21 September SUPERHEAVYWEIGHTS Saturday 22 September The Foreday Riders Wednesday 26 September James Walsh Thursday 27 September Lionheir Saturday 29 September Fleetwood Mac Tribute Sunday 30 September
Professor Groove Wednesday 3 October Benjalu Thursday 4 October Microwave Jenny Friday 5 October Rolling Stones Tribute Saturday 6 October Chase The Sun Wednesday 10 October DIG (Directions In Groove) Thursday 11 October Richard Calabro’s Alpha Omega Friday 12 October Sharon O’Neill Saturday 13 October Peter Northcote’s DRIVE Thursday 18 October Dylan And Co Friday 19 October King Tide Saturday 20 October Spy Vs Spy Thursday 25 October Ray Beadle Saturday 27 October Barbra Blue
THE DRUM MEDIA • 9
FAT AS BUTTER IS A 15+ EVENT 1ST RELEASE SOLD OUT 2ND RELEASE ON SALE $109+BF VIP TICKETS $139.90+BF (18+ ONLY). TICKETS ON SALE NOW FROM FATASBUTTER.COM.AU OZTIX.COM.AU & SELECTED OUTLETS FAT AS BUTTER WILL NOT BE DOING ANY GROUP BUYING DEALS supported by triple j
10 • THE DRUM MEDIA
ADRIAN BOHM PRESENTS
ADRIAN BOHM PRESENTS THE STAR OF ABC TV’S BLACK BOOKS
AWESOME AUSTRALIAN TOUR, GREAT JOB!
SECOND SHOW ON SALE NOW!
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5TH & FINAL SHOW ON SALE NOW! BILLBAILEY.CO.UK | ABPRESENTS.COM.AU
DESTROY ALL LINES AND BLUE MURDER PRESENT
WITH GUESTS
FRIDAY 31 AUGUST
THE HI-FI SYDNEY 18+
WWW.THEHIFI.COM.AU OR 1300 THE HIFI & MOSHTIX OUTLETS INCLUDING RESIST RECORDS † UTOPIA RECORDS † RED EYE RECORDS TICKETS FROM
WWW.APOCALYPTICA.COM † WWW.DESTROYALLLINES.COM † WWW.BLUEMURDER.COM.AU THE DRUM MEDIA • 11
12 • THE DRUM MEDIA
THE DRUM MEDIA • 13
PRESENTED BY triple j DRUM MEDIA |
| SOUTHERN CROSS TEN TIME OFF | FOCUS
SUNDOWNER BREAKWALL TOURIST PARK PORT MACQUARIE – 14-15 DECEMBER 2012
TICKETS ON SALE SEPTEMBER 5 - 10:00AM I N C LU D E 2 N I G H T S F R E E C A M P I N G AC C O M M O DAT I O N PAC K AG E S A L S O AVA I L A B L E
14 • THE DRUM MEDIA
Good things happen when we come together Unlimited mobile Facebook access, standard SMS & voice calls to Optus mobiles, within Australia. NEW Optus Prepaid Social
optus.com.au/social Important information: Optus Mobile Fair Go™ policy applies. SingTel Optus Pty Ltd ABN 90 052 833 208.
OPT14950/FPC/DMNSW/P
THE DRUM MEDIA • 15
16 • THE DRUM MEDIA
THE DRUM MEDIA • 17
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
WED 29 AUG
“AUGUST RESIDENCY ALBUM LAUNCH”
ROLAND K SMITH & THE SINNERS
$10
+ THE GREEN MOHAIR SUITS + EMMA SWIFT + ADAM YOUNG STREET LEVEL BAR:
THU 30 AUG
ENTER THE JURASSIC LOUNGE
FREE
SISKEN RIVER + MINNIE MARKS
HALFWAY HOMEBOUY + THE DRIFTING + HIDDENACE + 2 PICKS, NO STICKS
$10
THE NEW CHRISTS + HITS (BRISBANE) + BRUCE!
SAT 1 SEP
FREE
VIDEO JUKE BOX
DELOREAN TIDE + EMPRA
$10
+ SMOKIN' MIRRORS + THRUSH "FREE CD IF YOU MENTION 'EMPRA' AT THE DOOR"
STREET LEVEL BAR:
SUN 2 SEP
STREET LEVEL BAR:
FREE
DAVE TICE AND MARK EVANS 4PM-7PM DJ KAKI 8PM-LATEDJ
LEADFINGER
EVERY MONDAY
“SANDO SKETCH CLUB”
EVERY TUESDAY
“THE SONGWRITER SESSIONS”
FREE
FREE
STREET LEVEL BAR: ADAM PRINGLE AND FRIENDS - FUNKY AS F#CK + TOOHEYS $6 NEW JUGS (7-8PM)
COMING SOON THU 6 SEP ---
SAT 8 SEP (AFTERNOON) --FRI 14 SEP --SUN 30 SEP --SAT 13 OCT --(MELB) SAT 20 OCT ---
FRI 2 NOV + SAT 3 NOV ---
JONAH MATRANGA / ONELINEDRAWING (USA)
*** WWW.MOSHTIX.COM.AU ***
PUNK ROCK FLEA MARKET SUBHUMANS (UK) *** WWW.OZTIX.COM.AU ***
RABBITOHS BECOME 2012 PREMIERS!!!! THE DEFECTS (IRELAND) + BASTARD SQUAD
*** WWW.OZTIX.COM.AU ***
"WHIPLASH FESTIVAL"
MNEMIC (DENMARK) + CALIBAN (GERMANY) + UNEARTHLY (BRAZIL) + ARSAMES (IRAN) + MORE *** WWW.MOSHTIX.COM.AU ***
“STEEL ASSASSINS” VOYAGER (WA)
, MEGAHERA (ITALY) + MORE *** WWW.MOSHTIX.COM.AU *** SAT 17 NOV ---
BASTARDFEST 2012
*** WWW.MOSHTIX.COM.AU ***
18 • THE DRUM MEDIA
Melbourne’s Blackchords release their fan-funded second album in November, and in the lead-up to that release, they’ve lifted a first single, Dance Dance Dance, which they’re bringing up the Hume in person
FREE
$15
STREET LEVEL BAR:
DANCE WITH BLACKCHORDS
STRUM ALONG WITH THE MCCLYMONTS
Singer/songwriter country music sisters Brooke, Samantha and Mollie, aka The McClymonts, are excited about their brand new album, Two Worlds Collide, but also the fact that they’re coming to the Enmore Theatre this Saturday 1 September to perform songs from it. They came into The Drum Media office specifically to bring an Epiphone acoustic guitar they then all signed for us to give away to one lucky reader, who will also score a double pass to the concert. We also have four more double passes to the show to give away.
FOR MORE GIVEAWAYS THIS WEEK HEAD TO FACEBOOK.COM/DRUMMEDIA AND CLICK ON THE GIVEAWAYS TAB
STREET LEVEL BAR: JONATHAN DEVOY + SPECIAL GUESTS
FRI 31 AUG
TONIGHT! Tonight sees the grand opening launch night for a brand new “venue” – Jurassic Lounge. Running 5.30-9.30pm every Tuesday until 30 October, Jurassic Lounge can be found in the Australian Museum, Sydney, and will feature live music and performance, interactive games, expert talks, hands-on workshops, film screenings and live art. It’s $14 on the door, but we have five double passes to opening night to give away. Music tonight courtesy Cogel and Paper Scissors.
to play Yours & Owls in Wollongong this Friday 31 August and FBi Social in the Kings Cross Hotel Saturday night, with guests Drawn By Bees and Colonies. We have five double passes to the FBi gig to give away.
T H E D R U M M E D I A I S S U E 1 1 2 5 T U E S D AY 2 8 A U G U S T 2 0 1 2
DRUM
FRONT ROW
Giveaways – Check it out for free stuff and head to Facebook for more! 18 The Front Line with industry fact and conjecture. 20 Forward Line – latest news, tours, releases etc. 20 Velociraptor return with a monster debut mini-album. 26 A Is For Alpine – Alpine’s debut album. 28 The Beautiful Girls take our Taste Test for the first and last time. 28 There’s more to Apocalytica than Metallica covers. 30 Split Seconds spill the beans, or is that split the beans? 31 Robert Forster looks fondly back at The Go-Betweens’ legacy. 32 Nitin Sawhney talks up his solo work. 33 Don Walker, back from Chiselling in the UK, regroups The Suave Fucks. 34 The McClymonts proudly showcase their fourth album for Sydneysiders. 34 Grand Salvo deliver what you want. 34 There’s more to Jose Feliciano than Light My Fire. 34 Meet Maria Minerva – you’ll be so glad you did. 35 Perth’s Chaos Divine please themselves. 35 Hard to believe it’s been 25 years, but The Backsliders celebrate just that. 36 Melbourne’s Blackchords return with a first taste of album two. 36 Clairy Browne is loud and proud, and ready to rock. 36 The criminally under-rated Brand New Heavies talk about it all. 36 Our educational supplement fills you in on everything you ever wanted to know about various courses in everything from music and art to theatre and film. 37 On The Record reviews Oh Mercy, The Rubens, Hugo Race, Jeff The Brotherhood and more. 40
Check out what’s happening This Week in Arts, Wes Anderson talks about Moonrise Kingdom, and Bill Bailey chats about Qualmpeddler. We review The Eifman Ballet and Love, while Jamelle Wells brings us some Cultural Cringe. Trailer Trash focuses on the growing film geek category, while Toby Schmitz tells Dave Drayton why he was too awkward to sleep with Tom Stoppard and director Kate Gael ‘fesses up about her new show The Lunch Hour.
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
ADVERTISING DEPT sales@drummedia.com.au Brett Dayman, James Seeney, Andrew Lilley
themusic.com.au
43 44
45
LIVE All the main Live gigs of the past week including Slash, Die! Die! Die! and Loon Lake. 47 Urban and R&B news in OG Flavas. 50 Chris Maric gets local with hard rock and metal in The Heavy Shit. 50 Sarah Petchell, punk news in Wake The Dead. 50 Dan Condon, blues and roots with Roots Down. 51 Adam Curley muses on all things pop culture in The Breakdown. 51 Michael Smith delivers some Blow with jazz and world music news. 51 Go south as you enter Pedro Manoy’s Swamp Shack.51 Viktor Krum’s hip hop with Get It Together . 52 Dave Drayton gets Young & Restless with all-ages goings on. 52 All the new currents in Dance Moves, courtesy Tim Finney. 52 Good Or Shit? Liz Galinovic will tell you. 52 Tour guide, what’s happening this week, gig guide, random shit and more. 54 Backstage and BTL – recording, gear, courses etc. 62 The Classies – need a singer/bassist/drummer/ any other service/product you can think of? Your answer is here. And on iflog.com.au. 64
iflog.com.au
CLASSIFIEDS
ART DEPT artwork@drummedia.com.au Dave Harvey, Matt Davis COVER DESIGN Dave Harvey ACCOUNTS DEPT accounts@streetpress.com.au GIVEAWAYS/GIG GUIDE Justine Lynch THE DRIVERS Grant, David, Julian, Ray, Paul, Al, Mark PRINTING Rural Press (02) 4570 4444 DISTRIBUTION distro@drummedia.com.au SUBSCRIPTIONS Subscriptions are $2.20 per week (Minimum of 12 weeks) – Send your details with payment to Subscriptions Dept, The Drum Media, PO Box 2440 Strawberry Hills NSW 2012 (cheques/money orders to be made payable to Dharma Media Pty Ltd) ADDRESS Postal: PO Box 2440 Strawberry Hills NSW 2012 Street: Level 1/142 Chalmers St Surry Hills NSW 2010 Phone (02) 9331 7077 Fax (02) 9331 2633 Email info@drummedia.com.au www.themusic.com.au The Drum Media is also available on iPad via the iTunes App Store
THE DRUM MEDIA • 19
FOREWORD LINE
NEWS FROM THE FRONT
SUMMER DAYS
Over the past seven years Festival Of The Sun has cemented itself as one of the must-attend music festival experiences on the calendar – you’ll see for yourself over the weekend of 14 and 15 December. It’s the sun, surf and enviable seaside location at Port Macquarie’s Sundowner Breakwall Tourist Park and it’s the feel that only a 3000-capacity, intimate, single-stage, boutique festival can offer. And yeah, it’s that outstanding BYO policy! The 2012 line-up includes Kimbra, Dead Letter Circus, Hermitude, The Datsuns, Busby Marou, Husky, DZ Deathrays, The Snowdroppers, The Cairos, OverReactor, Jackson Firebird, Nat Col & The Kings, Tin Sparrow, Dirty Little Rebels, The Mornings, Joe Robinson, Siskin River, The Widowbirds, Geoff Turnbull, Minnie Marks, Dirty Cash DJ’s and one lucky triple j Unearthed winner to be announced. For tickets etc, head to fotsun.com.
2012
The Cairos Band Name: The Cairos Member/role: Alistar – vocals, guitar, keyboards, banter Alfio – guitar, vocals, mood and atmosphere Reuben – bass guitar, vocals, talking to girls Jacob – drums, vocals, morals
MULLUM FEST IS GO
Hometown: Brisbane Short description of your band and your music: Four young lads from Brisbane. We hang out in a warehouse in the suburbs and write music that’s inspired by everything from ‘60s pop groups to ‘90s shoegaze tunes. What are you hoping to achieve from showcasing at BIGSOUND? Okay... BIGSOUND To Do List: 1. Meet Johann Ponniah from I OH YOU. 2. Kidnap The Preachers. 3. Play a decent set of music. 4. Ask Steve Whilton if there is any way to delete Neil Diamond from my Last.Fm history. Why should people come and see you from the myriad bands at BIGSOUND? I can’t make any promises, but there’s a small chance that we will be doing a cover of one song from every band that’s playing at BIGSOUND. In which case, you won’t need to see the other bands anyway.
LISTEN UP RABBITS
Enigmatic and gifted folk-jazz-soul singer/songwriter Krystle Warren – one of the revelatory highlights of the recent concert event, Way To Blue: The Songs Of Nick Drake – is returning to Australia very soon to wow audiences all over again. Existing Australian fans and newer converts alike can catch Warren at her own headline shows following the Rufus Wainwright tour for which she is the opener as well as being a part of Wainwright’s band. You can catch Warren on Sunday 23 September at The Factory Floor and Tuesday 25 at Lizotte’s in Kincumber.
SITTING PRETTY
SCORCHED SERPENTS
Forming in 2009, The Pretty Littles really stepped it up last year, recording their debut, the Fairweather EP, with Big Scary frontman Tom Iansek and touring in support of copious numbers of incredible bands. Now The Pretty Littles are set to tour with Sydney kids Creo, playing Saturday 22 September at the Annandale Hotel and Thursday 18 October at The Phoenix in Canberra.
ON THE BRINK The Gooch Palms Band Name: The Gooch Palms Member/role: Leroy – vocals/guitar; Kat – percussion, Theremin, backing vocals Hometown: Newcastle/Sydney Short description of your band and your music: We describe our sound as “shit-pop”, proving to audiences you don’t need a lot of members or instruments to make a racket, you don’t need to be accomplished musicians to play catchy as hell pop music, nor do you need to take performances too seriously to get your ideas across. What are you hoping to achieve from showcasing at BIGSOUND? The whole idea of showcasing to industry professionals is a bit far out and foreign to us, but I guess what we’re hoping to achieve from this experience is exposure. With more exposure comes more opportunities and we’re open to the possibilities that might bring. Why should people come and see you from the myriad bands at BIGSOUND? We always put on a stupid and entertaining show people seem to enjoy. Whether people leave smiling or shaking their heads, they’ll remember us. We’re the underdogs; people like to root for the underdogs!!!
Adele & Glenn Band Name: Adele & Glenn Member/role: Glenn – singer Hometown: Marrickville Short description of your band and your music: A two-piece who play pop music. What are you hoping to achieve from showcasing at BIGSOUND? Recognition. Why should people come and see you from the myriad bands at BIGSOUND? Because we are a refreshingly interesting group.
PRESENTED BY 20 • THE DRUM MEDIA
Last Dinosaurs’ Satellites tour has proven to be one hot ticket with most of the national tour now teetering on sold out. In fact the all-ages show at The Metro on Saturday 20 October is now completely sold out. To meet the demand, Last Dinosaurs are extending their tour. Sydney will pick up a second show at The Metro on Friday 9 November and the band have added Canberra Uni’s Zierholz on Saturday 10 November to the Satellites tour orbit. Brisbane pals The Jungle Giants are joining the fun as national supports.
Founded in 1999 in San Diego, California, by John Reis (Drive Like Jehu/Rocket From The Crypt) and Rick Froberg (Drive Like Jehu) Hot Snakes certainly made their mark on the punk rock scene. Due to logistics (band members lived on almost opposite sides of the US) they called it a day soon after their last Australian tour, but now have reformed to play a handful of shows at some of the world’s coolest music festivals, heralded by an invitation from our very own Meredith Music Festival. Besides Meredith, they’ll play Thursday 6 December at the Annandale Hotel.
The first artist line-up for the Mullumbimby Music Festival 2012 has arrived and includes legendary Jamaican vocal trio The Abyssinians with their nine-piece band. Also on the bill are Boubacar Traoré from Mali, Chicago’s gritty singer songwriter Joe Pug, Chilean star Nano Stern and Londoners Will & The People, along with Husky, Darren Percival, Tinpan Orange, Mama Kin, King Tide, Vince Jones, Clairy Browne & The Bangin’ Rackettes, Electric Empire, Gossling, Winter People, Mia Dyson, Joe Robinson, Liz Stringer and Hat Fitz & Cara Robinson. Visit them at mullummusicfestival.com for bookings and details.
12 BAR PSYCH
There’s something about the energy generated by the seven-piece juggernaut King Gizzard & The Lizard Wizard. The Gizzard boys are hitting the road in support of the release of their debut album, 12 Bar Bruise, which comes out Friday 7 September through their own label Flightless. 12 Bar Bruise is full to the brim with violent slabs of psychgarage, wit and the type of scuzzed-out hysteria that picks you up and hurls you down bluntly. They play Friday 28 September at Oxford Art Factory.
LIB IN THE CRIB
Madlib’s production talents are unrivalled; there is no genre of music he hasn’t touched successfully. He returns to Australia with longtime colleagues and friends J Rocc and Egon in October, for the Madlib Medicine Show, hitting Sydney for one night only, playing Thursday 26 October at The Metro. Get your tickets early from the venue as this will sell out quickly.
SOUNDWAVE SELLS OUT
YOU KNOW YOU WANNA Boasting members of some of Brisbane’s bestloved bands, We All Want To are essential on record and completely undeniable live. Their shows are a primal collision of poppy punk, sweet folk, gritty blues and grandiose soundscapes. They’re touring on the back of their latest album, Come Up Invisible, and will play Wednesday 24 October at the Great Northern Hotel in Newcastle, Thursday 25 at Yours & Owls in Wollongong, Friday 26 at the Clarendon Guest House in Katoomba and Saturday 27 at the Brighton Bar.
DOUBLE BANGER Royston Vasie are getting set to release their highly anticipated debut album, Tanah Merah, and are giving you a taste of what’s to come by way of the highly contagious second single, Come On, a goodtime hit featuring harmonies from Courtney Barnett and Bob Harrow from Immigrant Union with a massive singalong chorus. Both bands will play Thursday 4 October at The Front Gallery in Canberra, Friday 5 at the Great Northern Hotel in Newcastle and Saturday 6 at FBi Social.
IT’S GRIMES TIMES Grimes developed her thing within the DIY scene in Vancouver in 2006, a scene where both punk ethos and pop music collided, resulting in a distinct sense of community, religiosity and psychedelic revelry. Following the announcement of her highly-anticipated Australian debut at Meredith’s Supernatural Amphitheatre over the weekend of 7 to 9 December Grimes has announced she’ll embark on an East Coast sideshow tour. The Montreal-based artist (real name Claire Boucher) has sold out her first Sydney show at the Oxford Art Factory on Monday 10 December and will now play a second show at the same venue on Tuesday 11 in support of her new record, Visions.
REFUSED NO MORE
There are only a handful of bands that people regularly talk about never getting the chance to see live. It burns in their soul and gnaws at them incessantly. Refused fit perfectly into the category as one of those legendary bands. However in January this year they announced to the world that they were indeed not fucking dead. Refused reunion shows have been stunning fans across the world and finally they’re heading here. They play Tuesday 13 November at the Enmore Theatre. Tickets on sale Friday, 9am via Ticketek.
The Sydney, Brisbane and Melbourne legs of Soundwave 2013 have sold out in record time. The line-up is undeniably gargantuan and the locations have been set. The Sydney event will take place on Sunday 24 February and once again at Olympic Park. For all information, ticketing (good luck) and line-up additions, head to soundwavefestival.com.
SMOKIN’ BARRELS
Brash, raucous and disconcerting, Chicks Who Love Guns are here to make the world a little louder and unbind the minds of the masses with an East Coast tour this September/October and the release of their third EP, Moon Eater. Their first single from the EP, Shin-Okubo, has already been a viral smash, with their Japanese-inspired film clip rampantly spreading throughout the blogosphere and national community radio. They play Friday 21 September at The Standard and Saturday 29 at Yours & Owls in Wollongong.
DEERREPUBLICANS
DeerRepublic are unashamedly masters of melody and true craftsman of indie pop. It’s already been a busy year for the four-piece, most recently taking over the coveted Saturday residency spot at the Beresford Hotel, packing out the dancefloor each week, winning over a new legion of fans and maintaining their reputation as one of Sydney’s most exciting up-andcoming acts. They play Saturday 18 August at FBI Social, Friday 21 September at Oxford Art Factory and Wednesday 26 at Yours & Owls in Wollongong.
themusic.com.au
AFTERBURNERS
Norwegian death-punks Turbonegro return to Australia this December for the Meredith Music Festival and will headline a Sydney sideshow in their own right. It’s the band’s second visit to Australia, their first back in 2003. Turbonegro hit the high water mark in 1998 with the release of their fifth album, Apocalypse Dudes, an intoxicating mixture of glam, punk and US hardcore garnished with a healthy sense of the absurd and ribald and/or tongue in cheek humour. They play Thursday 6 December at The Hi-Fi. Tickets on sale now via the venue, Moshtix and Oztix.
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FOREWORD LINE
NEWS FROM THE FRONT
THE WANDERER
Matt Walker is one of the most respected musicians on the Australian scene. His work as a songwriter, producer, session guitarist and composer is credited on dozens of albums, films and documentary scores, and among his peers down under he enjoys the status of a true cult legend. He is about to release his latest solo album, In Echoes Of Dawn, and you can catch him Saturday 29 at The Heritage Hotel in Bulli and Sunday 30 Notes in Enmore, opposite “that” theatre.
I N D U S T RY N E W S W I T H S C O T T F I T Z S I M O N S frontline@streetpress.com.au
BIGSOUND ANNOUNCES SCHEDULE, NEW SPEAKERS
New names have been added to the speaker list for this year’s BIGSOUND, with Rdio’s Scott Bagby, Richard North from Google/YouTube and The Tea Party frontman Jeff Martin all set to appear. The Friday program is very different this year, with just four sessions being held, each of them keynote speeches from the Australian artists who have been previously announced; Clare Bowditch, David Bridie, Ian Haug and Ben Lee. Apart from that you’ve got panels that cover everything from Canadian music to making the most of your first recording and so very much more, as well as keynotes from the legendary Steve Earle and EMI’s Mark Poston.
THOUSANDS TURN OUT TO SAVE SANDO
An estimated 3,000 people rallied at Newtown’s Sandringham Hotel last weekend to show their support for the embattled venue, which has been taken over by Bankwest in a move that owner Tony Townsend and supporters have described as “criminal”. Among the speakers at the rally was former Angels frontman Doc Neeson, who then played some of his classic tunes.
SEASON’S GREETINGS
Exploding onto the music scene in Sydney only last year, Sound Of Seasons blend together differing styles defying categorisation in order to create the perfect soundscape in which to hone the signature sound that became their calling card. Now they’ve announced that their second EP, MakeBelieve, will be released on Friday 21 September and that they’ll be hitting the road in September and October to celebrate. They play Thursday 20 September at Yours & Owls in Wollongong, Saturday 22 at The Basement in Canberra, Sunday 23 at The Lair and Wednesday 26 at the Cambridge Hotel in Newcastle.
PAIGE TURNER
A bona fide legend of musical theatre, making her West End debut in 1968, Elaine Paige will be returning to Australia in October. She was thrust into stardom when she originated the role of Eva Perón in Andrew Lloyd Webber’s 1978 production of Evita, winning the Laurence Oliver Award for Performer of the Year and followed it up by creating the role of Grizabella in the record-breaking production Cats, recording the top-ten hit song, Memory. She performs Friday 26 October at the State Theatre and Sunday 28 at Canberra Theatre.
ALLANS BILLY HYDE IN RECEIVERSHIP, CANCEL ALL GIFT CARDS
The Australian Music Group, the company which owns major musical instrument retailer Allans Billy Hyde, has been entered into receivership by one of its major creditors. The company will continue to operate as its assets are offered up for sale, but gift vouchers will not be honoured and deposits will not be refunded. Offshore firm Revere Capital, who provided their ailing company with a cash injection earlier this year, have placed the company into receivership and appointed Ferrier Hodgson’s James Stewart and Brendan Richard as administrators. Stewart said, “We are immediately calling for expressions of interest for a sale of the business as a going concern.”
EMI’S SALE APPROVED BY CANADA
Canada has joined Japan and New Zealand in approving the proposed sale of EMI’s recorded music division to the Universal Music Group. The Canadian Competition Bureau has given the deal the all-clear without asking for concessions from Universal over the $1.9 billion deal. The European Commission and America’s FTC are still opposing the deal as it stands, with Universal desperately promising to sell off EMI assets to sweeten the deal. Following the news Universal released a statement saying that, “Our investment in EMI will create more opportunities for new and established artists, expand music output and consumer choice, and support new digital services.” Independent labels are lining up to acquire parts of labels such as Parlophone, Chrysalis, Ensign, Mute and EMI Classics as well as offices around the world.
UNDERCOVER
Dan Sultan
Metal heroes Between The Buried & Me have confirmed an Australian tour, kicking off this November in support of their forthcoming seventh studio album. The Parallax II: Future Sequence is the band’s most complex, ambitious and accomplished release to date. Joining in support will be US instrumental metal act Animals As Leaders and you can catch the action on Saturday 17 November at The Metro. Tickets are on sale this Thursday.
PRESENTED BY 22 • THE DRUM MEDIA
A new series of concerts called Rock For Recognition have been initiated in order to raise awareness and promote the need for recognition of Aboriginal and Torres Strait Islander peoples in the Australian Constitution. The inaugural Rock For Recognition, headlined by Dan Sultan, will tour the country in November and features a varied bill including sultry songstress Leah Flanagan. Other artists will join the bill as word about the concerts gains momentum. The Rock For Recognition tour hits the The Factory Theatre on Friday 9 November. Tickets are $30 pre-booked or $35 at the door. For bookings and more info go to dansultan.com.
YOU WISH
Gracing our shores for the first time since their soldout national tour of Australia of 2009, Nightwish will be performing tracks of their latest album, Imaginaerum, along with fan favourites, and there’s a treat in store for - Swedish rockers Sabaton will be the main support artists. They play Friday 11 January at The Enmore Theatre. Tickets available now via metalmassacre.com and Ticketek.
SHARP SHOOTERS STANDING ON A BEACH
This August Michael Beach, who earlier this year released Mountains + Valleys, has toured Europe and the US in solo mode, in addition to a US tour with Electric Jellyfish. He’ll stop off at the Hollywood Hotel this Sunday to play solo and with Electric Jellyfish and will play Jellyfish shows at Pot Belly in Canberra on Friday and the Terrace Bar in Newcastle on Saturday.
Chasing ORA, one of London’s most successful independent bands, have reformed in Sydney and are inviting you to join them for their debut Australian show at the Annandale Hotel on Sunday 9 September. Chasing ORA’s music is best described as hard-hitting female-fronted rock with a definite UK indie influence. In celebration of their Annandale show, they are giving away free copies of their latest EP, titled Fair Ninjas Shoot, which was a fan-funded EP dedicated to their former member Joanna Jones.
HATS OFF
Aussie bluesman Hat Fitz and Irish-born folk singer Cara Robinson are a striking pair. He’s a giant raggedy-bearded man and she is a petite blonde who barely reaches his shoulders. He has a deep, gruff Howlin’ Wolf-esque voice while she dances with angels in her vocal. He plays wonderful resonator guitar. Her instrument is that sweet and soulful voice. Together they’ll be playing Thursday 11 at Lizotte’s Dee Why, Friday 12 at Camelot Lounge, Saturday 13 at Katoomba RSL, Sunday 14 at Lizotte’s Newcastle, Thursday 25 at The Harmonie German Club in Canberra, Friday 26 at Kidgeeridge Festival at Lake Conjola, Saturday 27 at Illawarra Builders Club in Wollongong, Sunday 28 at Sydney Blues Festival in Windsor and later that night at Lizotte’s Kincumber, showcasing new album, Wiley Ways.
STATUS QUO TOUR ON BACK OF CONTROVERSIAL COLES DEAL
Legendary British rockers Status Quo have announced a national tour of Australia as the next part of their massive marketing campaign with supermarket giant Coles. The partnership started with Status Quo re-recording their classic track Down Down for Coles, The song fronted a television ad campaign and was also flogged to radio around the country and played as a paid advertisement. As pointed out by Media Watch, this can be considered as blurring the line of a Broadcasting Standard stating that all ads, “must be presented in such a manner that the reasonable listener is able to distinguish them”. The band’s upcoming Australian tour is being presented by Coles and Chugg Entertainment. It will coincide with the release of their new album, Quid Pro Quo, which is being released through Coles exclusively next year.
RECOGNITION ROCK
OUT OF WONDERLAND
A man who needs no introduction, Steve Aoki is at the top of his game. Arguably no producer has done more to raise the international profile of Los Angeles’ underground electronic music than Aoki and with his latest full-length release, Wonderland, it seems the man is hell-bent on world (musical) domination. Having already dazzled audiences on some of the world’s biggest stages this year, Aoki plays Friday 12 October at The Enmore. Tickets via Ticketek.
NEARLY GREALY
Prita Grealy will be returning to Australia in September. After relocating to Berlin last year, Grealy has seen more of Germany than most Germans, on tour consistently over the last six months. She has played several tours in the UK covering villages and cities and festivals too. She’ll play Wednesday 26 September at Mars Hill Café in Parramatta and Thursday 27 at the Lewisham Hotel.
themusic.com.au
STRANGERS NO MORE
Hailing from the southern beaches of Sydney, Strangers have risen rapidly since their inception in 2010. They’re launch their debut album, Persona Non Grata, with a residency on Thursdays from 4 October through 25 October at Vultures at The Lansdowne with special guests King Of The North along with an appearance at the BIGSOUND music conference in Brisbane.
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NEWS FROM THE FRONT
NO BULL
Having touring June/July on their Paint The Sky single tour, Central Coast four-piece Elliot The Bull are excited to announce a Spring EP tour – once again heading up and down the East Coast of Australia. They’ll play Friday at Lizotte’s Dee Why, Saturday at Lizotte’s Kincumber, Saturday 8 September at Upstairs Beresford, Thursday 13 at The Loft, Saturday 15 at Big Exo Day, Thursday 20 at Ravesi’s, Friday 21 back at Lizotte’s Kincumber, Friday 19 October at Burdekin Upstairs, Friday 26 at The Lass O’Gowrie in Newcastle, Saturday 27 at The Patch in Wollongong, Sunday 28 at Old Manly Boat Shed, Saturday 10 November at Phoenix Bar in Canberra and Sunday 11 at The Lansdowne Hotel.
I N D U S T RY N E W S W I T H S C O T T F I T Z S I M O N S frontline@streetpress.com.au
INDIE AWARD PHOTO EXHIBITION ASKS FOR SUBMISSIONS This year’s Jagermeister Independent Music Awards will once again feature a photographic exhibition curated by one of the country’s best music snappers, Kane Hibberdm at Revolt, where this year’s Awards will be held once again. The Australian Independent Record Labels Association [AIR] have issued a callout for photographers of independent Australian artists, or artists signed to Australian indie labels. If you’d like your work to be showcased in the exhibition, send a low res (1200 px the longest side) version of the shot to Kane at kane@theartofcapture.com. The full version must have been taken on a 12mp+ camera.
MELBOURNE’S ASTOR CINEMA SAVED BY NEW OWNER St Kilda’s Astor Cinema has been bought by Ralph Taranto, according to a news report posted by the Caulfield Glen Eira Leader. The art deco cinema has been bought off St Michael’s Grammar School by self-professed cinema lover Taranto who previously refurbished the George Cinema in Fitzroy Street. Taranto told the Leader, “The Astor will be refurbished inside and out.” A spokesperson for the Friends Of The Astor group described the sale as a win for the community.
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GET SPIRITUAL
Sweet Heart Sweet Light is Spiritualized’s seventh album. It was released earlier this year to widespread critical acclaim and is arguably their best since Ladies & Gentleman We Are Floating In Space. Jason ‘Spaceman’ Pearce and co were last here last year and they’re back for Meredith Music Festival in December and will also play Sunday 2 December at the Sydney Opera House Concert Hall. Tickets from $49 this Monday via sydneyoperahouse.com or phone (02) 9250 7777.
SIRENS SONGS Indie folk darlings Julia & The Deep Sea Sirens have resurfaced and are set to release an enchanting new single, Little Surprises, lifted from their forthcoming debut album, Family Pets, set for a formal release later this year. They’ll play this Thursday at The Standard with Jack Colwell & The Owls, Brendan Maclean and more, and Monday 10 September at The Phoenix in Canberra.
PYKE TOUR Josh Pyke is gearing up to play one last run of shows before he heads off into the sunset to write his next album. Pyke’s evident love of performing and hanging out with fans proved too much of a temptation to
resist the chance to get back on stage for one more tour. He plays Thursday 11 October at Lizotte’s Kincumber, Friday 12 at the Fitzroy Hotel in Windsor, Saturday 13 at Zierholz in Canberra Uni, Sunday 14 at the Heritage Hotel in Bulli, Friday 19 at Lizotte’s Dee Why, and Saturday 20 at Lizotte’s Newcastle.
THE HOFF HITS TOWN David Hasselhoff is 60 years of age (and doesn’t look a day over 50). Born in Baltimore in the US, he is so much more than a mere television personality; he is worldwide phenomenon - ‘The Hoff’. You can spend An Evening With The Hoff when he hits our shores in February. Catch him in all his magnificence on Friday 15 February at The Hi-Fi. Tickets on sale now. Just don’t ask him to sing Jump In My Car!
themusic.com.au
HI VOLTAIRES
Perth indie-synth poppers Voltaire Twins are proud to announce the release of their third EP, Apollo, and an accompanying national tour. Apollo follows on the back of what has already been a massive 2012 for the group, seeing them showcase at both South By Southwest and Canadian Music Week, a national tour with San Cisco and support slots for The Maccabees and Van She. Catch them launching Apollo on Saturday 15 September at Kittens at The Spectrum.
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THE DRUM MEDIA • 25
Party monsters Velociraptor were the toast of last year’s BIGSOUND industry conference in their hometown Brisbane, and this year they’re doing it again armed with new mini-album The World Warriors. Frontman Jeremy Neale discusses why bigger is better in the garage world with Steve Bell. Photos by Stephen Booth.
I
t’s a rare beast, the band that’s big enough to field its own cricket team from within its ranks. In the case of Brisbane garage party starters Velociraptor they even have enough members to provide a twelfth man to carry the drinks (which, if you’ve seen them play, would probably involve carrying a lot of drinks). Yet things weren’t always so multitudinous in the Velociraptor camp. The band actually began with frontman and creative lynchpin Jeremy Neale playing stand-up drums while Shane Parsons and Simon Ridley (the pair now best known as world-conquering duo DZ Deathrays) smashed away on guitars. Necessity made them expand the outfit.
show. Then one night later on we met out and about at a mutual friend’s show, and they were like, ‘We’re going out to drink, we’re pretty bummed because our band is no more,’ which was at the time Denzel, the precursor to DZ. So I thought, ‘Here’s my chance to get these songs that I’d written in my bedroom back into action again,’ using myself and the only other two guys I knew in Brisbane music, so I asked them to listen to the demos and see if they’d want to do it. The main selling point was seemingly immature at the time – ‘How cool would it be to be in a band called Velociraptor?’ – which in hindsight was a pretty childlike ambition,” he laughs. “They were like, ‘Yeah, that’s fucking awesome! Dinosaurs rule!’ so we tried to find a drummer so we could work as a four-piece with us three up the front, but we couldn’t get one to fit, so we started playing [as a trio] and one day I had a [Iron Man protagonist] Tony Stark moment in the garage and went, ‘Wait a minute, I can just lift everything up and play standing up!’, because I didn’t really like bands with sit-down drummers singing as I didn’t think it was as much of a commanding force as a frontman.”
“It was initially a trio, we kicked off in May of 2008. We all used to play in a band together way back in the day – I think it was 2006, when we were at uni together – called Down Forward Punch, a Street Fighter reference,” the affable Neale recalls with a smile. “We were kinda doing an eclectic mix because we didn’t
It was the early ground gained by the fledgling duo that became DZ Deathrays in 2011 to avoid a name clash with a US dubstep artist that forced the Velociraptor lineup to expand exponentially, allowing the band to continue playing while Parsons and Ridley tended to their increasingly busy commitments. Luckily the thriving Brisbane scene provided them with a plethora of willing and talented fill-ins. “They formed DZ at about the same time, then they started getting busy, so by about 2009 we couldn’t really play a lot of the shows that we were getting offered because they were out of town,” Neale continues, “so we got a couple of guys in to play as like an ‘away team’ when DZ were out of town. We got two guys from Running Guns – Michael Fletcher and James Boyd – and Joshua Byrd from The Strange Attractors to sub in for those guys when they were out. Then one day the DZ guys happened to be in town at the same time, and we played a show with all six of us – possibly seven with Julien [James] by that stage – and it just ruled, so we
it was the number of members for each letter in the band name – beyond that it seems ridiculous. Even though people say that twelve is ridiculous...” As with every band with a point of differentiation that makes them stand apart from the throng, as Velociraptor’s profile rises there are certain to be detractors who claim that the band’s size is superfluous, but anyone who’s seen them live will attest the mass party vibe is integral to their substantial appeal. “They’re totally missing the point, I can’t stress that enough,” Neale suggests of the naysayers. “You could do it with four or five people – and lots of bands do that – but it’s the live experience that sets us apart, it’s ridiculous. It’s like what a billionaire would get to play at their party if they were after something outlandish – it’s next level ridiculous! And it’s as fun to play as it looks! Logistically it’s not fun to organise a lot of the time, but it’s as fun as it looks to play. The DZ guys especially look forward to it, because they just get to strum chords and
do their Iron Maiden neck rolls. Everybody gets to just get rowdy.We get [that response] from our recordings too, because we record so clean people are like, ‘You don’t need seven guitars to make this happen’, but we reckon that if you come to see the live show you’ll get it. People have posted to that effect on Facebook and stuff; ‘I thought these guys were just like a cheap version of The Hives and then I saw them live and had my mind blown.’ At the end of the day it’s a logistical nightmare but a lot of fun, which is basically all that matters.” After an EP and slew of radio-only singles they’re finally releasing debut mini-album, The World Warriors, eight songs of insidiously catchy garage rock, all gang harmonies and call-and-responses augmenting the most hook-riddled garage pop songs imaginable, the perfect encapsulation of what makes the band so much fun. “I guess really early on we modelled on The Hives, because The Hives are a fucking amazing band, but there was only three of us and
we couldn’t really be that loud with three people – well you can, but we couldn’t get our heads around it back then to make it as loud as we wanted it to be – so we made it really brutal. Because we couldn’t have a lot of depth in the music there was a lot of yelling. Me and Shane were yelling a lot, so it was really rough, especially compared to now, especially on record – now we record in a pop kind of way, back then we recorded in a roughhouse way. Then the sound evolved at the point where I wrote a song called Hey Suzanne, which is on the first EP, which was pretty much a ‘60s pop song, so we started combining more elements of that ‘60s pop into a modern context. That point is where the sound kinda changed, and at least I know now when I’m writing what direction a ‘Raptor song should go in: garage pop, but a little bit throwback and a little bit today.” The catchy goodness inherent in the songs Neale brings to the Velociraptor table (he also has a thriving solo career and plays in numerous other Brisbane bands) is due as much to necessity as aesthetics. “Generally I know what is going to be a ‘Raptor song – generally it’s something that I can see having elements of twelve people using, whether that’s a huge gang vocal, or a call-and-response, or just sounding really raw. Maybe occasionally I’ll throw in hooks just to suit the band. Generally the structure is fully-formed, and then everybody else goes to town on it – they put lead lines in, harmonies, bass lines (I never do bass), then maybe the beat changes as well. So when I bring a song in I’ll always bring it in with generally what I feel is the most accessible structure – which is not so much for the people to listen to but for the band to remember.” WHO: Velociraptor WHAT: The World Warriors (Create/Control) WHEN & WHERE: Wednesday 12 September, BIGSOUND Live, Fortitude Valley, Brisbane; Thursday 4 October, GoodGod; Saturday 6, The Patch, Wollongong
PREHISTORIC SOUNDS have one songwriter and we didn’t really know what we wanted to do, so we’d just chuck every cool riff we had into the band. But I couldn’t really get my shit together in 2006 – it was an interesting time for me – so we just practiced a lot and never played a
decided to never play with less than seven. And if we were going to do that, whenever DZ were out of town we were going to need some other guys so there was a blurry six or so months when I went out drunk, met heaps of cool people and wanted to stay in contact with them so I’d ask them to join the band. It was just like, ‘Who’s a rad guy that I like hanging out with?’ So we got the Sulphur Lights guys and a couple of people from The Strange Attractors, and Jesse Hawkins who I was playing in Tiger Beams with and Corey [Herekiuha], who’s just a great dude. Eventually we capped it at twelve because
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BIG BIGSOUND Velociraptor were the smash hit of the live showcase component of the 2011 BIGSOUND industry shindig held annually in Brisbane, blowing punters and industry types alike away with their ramshackle bonhomie and multi-pronged party attack. BIGSOUND Live sees bands play all around the Fortitude Valley entertainment precinct – this year expanded to 12 venues, so 120 bands from Australia and overseas will converge to showcase over two nights, Wednesday 12 and Thursday 13 September – but every man and his dog were trying to get in to see the buzz band Velociraptor. “Last year was our first one, it was crazy!” Neale enthuses. “Not to sound conceited at all, but I think we came away as the heroes of BIGSOUND, which was crazy for us because it could have gone either way. It was a kinda high pressure environment, but we just had a good time and it worked out. Hopefully the same thing happens this year! The show was amazing – I don’t know why, everything just gelled together and it was outrageous. I think we had eleven out of the twelve [band members] there as well, which is usually a recipe for disaster! I got to see a lot of the after party!” Neale laughs. “I can’t really remember what my experience was last year – I remember going to see DZ, I think I just went around and caught up with mates’ bands most of the time. This year I’ve got two shows – one with the band and one solo – but they’re both on the Wednesday night, so I’m going to spend the whole Thursday night just smashing bands, it’s going to be sweet!”
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THE DRUM MEDIA â&#x20AC;˘ 27
HIGH ALTITUDE “If all else fails we’ll all go live in Mexico, eat breakfast burritos and drink tequila,” one of Alpine’s frontwomen, Lou James, advises Bryget Chrisfield on the band’s healthy Mexican following. Phoebe Baker, their other singer, admits the pair were both Spice Girls fans with “young aspirations of wanting to be pop singers.”
T
he two female members of Melbourne sextet Alpine – Phoebe Baker and Lou James – sit around the corner of a boardroom table inside Mushroom HQ. Their outifts are a beautifully assembled mix of florals, lace, velvet and delicate knits – both look like they’ve leapt from the pages of a vintage catalogue. The band’s debut album A Is For Alpine has just dropped, which may be another factor contributing to their exuberance. “It’s so exciting, I feel like we’re having a baby!” Baker gushes in her charmingly posh, English-tinged accent. James adds, “I adore [the album]. So proud of it.”
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Alpine formed only three years ago and James admits of the band’s career trajectory, “It’s been really fast for us.” Even their first booking promised great things. “This woman, a friend of Christian [O’Brien] the guitarist, asked us to play at Hamer Hall,” Baker recalls of how the opportunity for Alpine to supply the sounds for a design conference knocked. “She just heard our demos. We’d never done a gig and she was like, ‘Do you wanna play?’ We’re like, ‘Yeah, we’ll play.’ But we’re a bit, ‘Shit, we’ve never played a show!’ So quickly we organised two shows for practice.” “I remember being so terrified I couldn’t move,” James contributes. There have never been any other vocational aspirations for the brunette chanteuse. “I have always wanted to do music,” she admits, “but then I kind of phased the idea out ‘cause I was like, ‘Pfff, realistically it ain’t gonna happen.’” While Alpine were touring with Matt Corby, a long-time friend’s discovery inside a hole in her wall reminded James of her own adolescent conviction. “I’d completely forgotten this: there was a break [in her wall] and we put these notes in. And she’s like, ’Oh, I found this note,’ and she took a photo and sent it to me. I was 12 years old and I was like, ‘Hi, um, Dear Reader’ [laughs]. I basically was saying, ‘When I’m older, I’m gonna be a singer or someone famous.’ My grammar
was really weird. ‘My name, which is obvious that you need to know,’ and then I put my full name. But I just thought that was the coolest thing, ‘cause I’d totally forgotten about it. I just always loved singing.” “We both had young aspirations of wanting to be singers, pop singers,” Baker clarifies, “and we were both fans of Spice Girls.” So did they have favourite Spice Girls? “Baby,” Baker answers immediately before James confesses, “Gerry, and no one says Gerry. I’m like, she was the slutty one. I think because she was really confident and maybe because I was quite shy. I’m a lot different now, but I used to be quite shy and I think I used to think she was just amazing... When I lived in England they actually had a Spice Girls clothing shop and my mum was so lovely and drove me all the way out to the Spice Girls shop. And we got there and it was closed!” ”I remember I had a Spice Girls party, but it wasn’t Spice Girls, I called it a jazz party ‘cause I didn’t know what genres were,” Baker acknowledges while her bandmate laughs hysterically. “I thought Spice Girls were jazz. I’m like, ‘Come to the jazz party!’ And so I spray painted my hair blue and about five people came.” On whether anyone rocked up dressed suitably for a ‘jazz party’ the blonde singer tells, “One person did and they were like, ‘You don’t know what jazz is.’ I was like, ‘Yes I do.’” Baker estimates she was, “maybe seven or eight? Yes, definitely young,” at the time. The band headed over to South By Southwest earlier this year and played ten shows in just three days. “It was the best experience,” James remembers. “I mean, for us to fly – to get to Austin it’s basically, what, 15 hours? It ended up taking us 30 hours...” Baker begs to differ: “Thirty-three, ‘cause we missed a flight and then we had to drive from Houston to Austin in the night.” “And so we got in at, like, 3am Austin time,” James confirms. “We had a show at 10am the next day and, ‘cause we have to get up and get ready...” Baker continues: “Because we were so high on adrenaline – some of us hadn’t been to America. We were just so excited, everyone was really friendly and the South By Southwest vibe is just the most incredible... it’s electric,
it really is: there’s music on the street, in the venues, people are so friendly, it’s vibrant, it’s just amazing.” “And [there were] people who were really hardcore fans, which was sort of really cool,” James marvels. “I mean, one of them – we were playing in a bar, but it was outside in a garden and there was no foldback so we couldn’t hear ourselves. It was bloody hot and we were just like ‘la-la-la’ singing the songs, dancing around and then afterwards we had these people, right in the front, going, like, ‘Play this song, play this song!’ That’s really magical, when you fly 33 hours or whatever and people are like, ‘Oh, this one, this one!’ And you’re like, ‘What!?’ “The highlight was actually the last show we did. It was called Crow Bar and it used to be a church, then it was a whorehouse, then it was a bar, so it just had this really cool vibe. The venue had this tiny, tiny stage and there was maybe seven people [in the audience] and they were just buying us these chilli whisky shots. We were given three whilst we were playing!” Baker stresses, “And these were people that had come and seen us during the week and [then] come again.” “And it was such an awesome way to end,” James observes. “It was unpretentious and we just got drunk with them afterwards, with all the locals – it was just the best thing.” A band’s online presence these days means that international fans have access to songs simultaneously
around the globe, but James says this doesn’t necessarily translate to lyrical knowledge. “The funniest thing is YouTube,” she offers. “Like, people who have looked at videos and they’ve interpreted lyrics, which is the funniest thing for me. Heartlove is...” Baker pipes up: “Something about cat food.” This jogs James’ memory, “Yeah! One of them says, ‘Ring me solshat/I’m out of chips/I’m happy/ I like cat food/Tonight I’ll be happy,’ which I thought was pretty incredible. Which is totally not the lyrics!” Monitoring international fanbases is something the Alpine ladies admit Facebook is useful for. “The funniest thing for me, which amazes me, is we just get people being like, ‘Come to Mexico’, on our Facebook.” James enthuses. “We have a Mexican following, it’s crazy! And I was looking up the statistic thing, ‘cause I’m a bit of a nerd, and it was saying followers you’ve got: Australia, then it goes America and then Mexico. If all else fails we’ll all go live in Mexico, eat breakfast burritos and drink tequila.” WHO: Alpine WHAT: A Is For Alpine (Ivy League) WHEN & WHERE: Wednesday 29 August, The Patch, Wollongong; Thursday 30 & Friday 31, Oxford Arts Factory; Saturday 1 September, Cambridge Hotel; Sunday 2, Transit Bar, Canberra
TASTE TEST: MAT MCHUGH THE FIRST ALBUM I BOUGHT WITH MY OWN MONEY
It was Pop Abraham & The Smurfs. There was a song called You’re A Pink Toothbrush and it was the first song that I’d just smash. I’d play it like 500 times a day and just walk around singing it all day, every day. I can still kind of remember how it goes.
THE ALBUM I’M LOVING RIGHT NOW I get stuck in eras, like I listen to a lot of dub stuff from the early ‘60s and funky reggae from the late ‘70s, The Clash and all that kind of stuff. So I get stuck in those worlds and new stuff escapes me a lot. But there’s a reggae band from Queensland called Kingfisha, they just did their debut record that I really dig.
MY FAVOURITE PARTY ALBUM
Michael Jackson’s Off The Wall could be a good one. Or All Night Long, Lionel Richie, just particularly that song, that’s my karaoke/ party song as well. If it comes on at a party, I’m karaoke-ing no matter what happens.
MY FAVOURITE COMEDOWN ALBUM
There’s a lot of good ones in that category. Probably Massive Attack, Blue Lines. Any Massive Attack will do because they’re heavy but calming as well. There’s been a lot of days where it’s been the day after the night before and Massive Attack has helped.
THE SURPRISING RECORD IN MY COLLECTION
I don’t consider anything surprising and I guess that question is based on what people would think that I would listen to and I actually have no idea what they would assume. They probably think that I’ve got like John Butler and Xavier Rudd records and stuff lying on my shelf. I’m a huge fan of Rihanna, I’m a huge Beyonce fan; heaps of Kanye, Jay-Z and underground hip hop, I really like. Is Rihanna a weird one to have in your collection? I don’t think so, but some people might. It doesn’t matter to me if someone’s massive and they’re a huge star. If you’re a musician and you actually really love music, the barriers that people draw of coolness tend to not exist as much, because music’s either good or it’s not good, regardless of style or fashion or whatever. The best musicians I’ve ever met don’t draw any lines between style. 28 • THE DRUM MEDIA
THE FIRST GIG I EVER ATTENDED
I went to see Dragon and Electric Pandas at the Sydney Entertainment Centre with my mum and my friend and I ate way too many jelly babies in the car on the way over and I saw about two songs of Electric Pandas and then I felt real sick because I’d had too many jelly babies and I threw up and had to leave. I don’t know what age I was but there’s no way that I can remember actually requesting tickets to go see Dragon. So I guess my mum must have been a fan or something and I probably blew it for her because I ate too many jelly babies.
THE WEIRDEST GIG EXPERIENCE I’VE EVER HAD
That’s so hard, that one. I did have a weird experience when I had to do a gig in Seattle one time when I had food poisoning. That was kind of weird because I was pretty much hallucinating because I’d spent the day with food poisoning and we had like a bucket set up in the little bandroom behind the stage and I had to, after every song and sometimes halfway through songs, just bail off the stage and battle with food poisoning and then get back on stage. That stands out as being quite strange but there’s been moments of strangeness in probably every gig.
THE COOLEST PERSON I’VE EVER MET I met the Dalai Lama, he’s pretty cool. My son’s pretty cool as well. There’s probably people that other people would consider cool but I just don’t ever really consider anybody cool. I think people are people. I never ever, no matter who it was, would get star struck and think someone was extremely cool, but the Dalai Lama was on some pretty different level, he just has a different kind of energy around him. And then the first time I met my son when he was born, that was the coolest moment meeting the coolest dude ever.
THE BIGGEST CELEBRITY CRUSH I’VE EVER HAD
The Beautiful Girls, Mat Mchugh on left And I used to seriously, seriously, I’m not kidding, want to marry her. When I was a little kid I was like, ‘Please mum, please, I just want to marry Olivia Newton-John!’ When we go back to that question of if you’ve ever met anyone cool, probably Olivia Newton-John would freak me out. She would be the only person that would freak me out. Still, to this day.
IF I COULD HANG OUT IN ANY TIME AND PLACE IN HISTORY
The longest lasting, most serious celebrity crush would have been Olivia Newton-John. And there’s still part of that crush that is probably alive. When I was a little kid and Grease was on and then she did Xanadu, I used to listen to the Xanadu soundtrack and just imagine dancing with Olivia Newton-John. I would imagine I was in the movie Xanadu with her.
Either early 1960s in Kingston, Jamaica when the early Studio 1 stuff was happening with King Tubby. A lot of the early dub stuff and the sound system stuff, that was just ridiculous. Or the late ‘70s, very early ‘80s. Probably that would win. And I would commute between London and New York and I’d check out The Clash and The Police and Elvis Costello on the London side of things, and then I’d go to Brooklyn or Queens and I’d check out going to some rehearsal rooms and see the early Run-DMC ideas getting thrown around. The peak of the punk reggae stuff and the very birth of hop hop would be pretty cool.
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IF I WASN’T MAKING MUSIC
Well, I had no plans to make music for a job anyway, and when I left school I studied design and art so I’d be doing art direction or graphic design or making movies, definitely something creative like that in the visual realm. Music was always something I just enjoyed, and it happened the way it happened but I never once in my whole life thought, ‘Yeah, I want to do music and go on tour and be in a band’.” Interview by Kate Kingsmill WHO: The Beautiful Girls WHEN & WHERE: Wednesday 29 August, The Station Resort, Jindabyne; Thursday 30, Hellenic Club Of Canberra;Friday 31, Metro; Saturday 1 September, The Entrance Leagues Club, Bateau Bay; Thursday 13, Bar On The Hill, Newcastle; Friday 14, Port Macquarie Panthers; Saturday 15, Plantation Hotel, Coffs Harbour
THE DRUM MEDIA • 29
APOCALYPTIC CELLOS What some initially perceived to be a joke has spawned a nearly two decadelong career for Finnish cello rock/metallers Apocalyptica, drummer Mikko Sirén explains. Brendan Crabb is the master of puppets pulling the strings.
A
pocalyptica’s debt to metal’s most successful outfit Metallica is hardly hidden. The Finnish cello crew began life as a tribute band via 1996’s Plays Metallica By Four Cellos, featuring reinterpretations of favourites from James Hetfield and company. However, being invited to be part of Metallica’s 30th anniversary celebrations last December was a surreal moment for them. Besides their own set, Apocalyptica were invited to join Metallica on-stage for a few songs. Despite having previously played several support slots with the metal titans (the first being in Helsinki in 1996) this was the first time the two bands actually played on-stage together. Drummer Mikko Sirén (aka the only fullyfledged member of the band who doesn’t play the cello) sounds like he’s still stunned
by the star-studded company they kept when opening the weeklong residency at the famous Fillmore in San Francisco. The guest list featured a staggering collection of performers, from Black Sabbath, Rob Halford, Glenn Danzig, King Diamond, Marianne Faithfull and Lou Reed to long since departed band alumni. “Yeah, the backstage there is like the tiniest room next to the stage. You do your own stuff, warm up and check that everything is alright,” Sirén explains. “Then there are people who are walking in and out of the room, these famous people. All of a sudden you realise, and it’s like, ‘Oh my God, that’s him, and that’s him, and they are here as well,’” he chuckles. “It was absurd. We tour on all of these festivals and you get to meet all your biggest idols, and somehow you still are seeing yourself like a little boy when you get to meet your idols. I think that’s good though, because when you become cynical and you don’t feel that way anymore, then I think it’s time to call it a day. “That was such a huge honour for us to be asked to play on that occasion. They had four shows in a small club and they had the idea that they would like the bands who have been in some way important during their career [there]. To be named among them was of course like the highest possible credit you could get. They have always been really supportive of us and the whole time we got to spend with them, going to rehearse with them and to be part of that show was really something to remember. What can I say? The band wouldn’t exist without them, so it was really remarkable for us. Also to work with them as musicians; they’re great musicians who love what they are doing and it’s great to do that with them.” Rather illustrious company for the Finns, but then they’re used to that by now. Although initially dismissed as a novelty by many, they’ve forged a sizeable career. The band, which is also comprised of classically-trained cellists Eicca Toppinen, Paavo Lötjönen and Perttu Kivilaakso, have since expanded into predominantly original material spanning classical, traditional folk and world music alongside heavy metal. Recent albums featured an array of guest musicians and vocalists too, including Corey Taylor, Dave Lombardo, Cristina Scabbia, Till Lindemann, Max Cavalera, Gavin Rossdale and Ville Valo. Despite all this high-profile peer approval and several million records sold, we ask the tub-thumper whether he feels there is still a perception among some punters that they’re merely a classic metal covers act. “I think people have kinda accepted us now as we are,” he suggests. “There are always people that have opinions about what you should do and what you should not do. Especially when the band started because the original band, it was an instrumental band playing covers. But now I think the main thing is to be inspired by our own music, to be excited about it. For us it means that we can’t have rules, we can’t repeat ourselves and that’s been the way from the very early days on. Of course when the band started writing original material, there were some people who said they should not to do it. “When the first songs came with drums, there were some people who said we should not do it. But I think we should not listen to that. We are doing what we are doing because of what our heart and what our mind decides. Of course we are doing it for the fans as well, but it needs to come naturally and purely from our hearts, so we need to be honest to ourselves. We do what we do; we do our own material, vocal tracks, instrumental tracks, we do covers every now and again. But the whole idea of the band is to be exploring.” He also has some curious – and ambitious – collaborations in mind for future records. “There are so many great vocalists or musicians that we would like to work with. Sometimes you can try to write something with somebody and maybe it works out, maybe it won’t. I have always been most excited about the projects which are unlikely to happen, where it’s coming from somewhere people don’t expect. To make something together with Emmylou Harris or Bob Dylan or something totally uncharacteristic and totally strong in their own field, but they come from a different genre… To combine those two worlds together I think would be exciting.” Anticipating some much-needed respite when their upcoming Asian tour finishes, they’ll begin the process of following up latest record, 7th Symphony. “We will just take a break because the band has been existing for like seventeen years and in that time there has not been a proper break where we have not been doing something. I’ve been in the band for ten years and the other guys seventeen years, so it’s important to stay excited about the stuff we are doing. We need to be inspired and excited about everything we do.” Said tour will include their debut Australian visit. “Some moron books our tours and they don’t have a clue what it should be like, so unfortunately we don’t have any days off in Australia, so it will be in and out. But we’ll be lucky enough to spend at least a few days there, so it will be great fun.” He says the career overview shows Down Under will feature a guest vocalist on selected tracks. “When we come to a place we haven’t visited before, we always play plenty of old material because there are people that have waited for us since the first album and we really want to give them what they wish to hear. The show will contain basically material from all our albums; it’s kind of a retrospective. When we play our club shows we try to make them really theatrical, so it’s well-planned in terms of the drama and the light. We try to create our own world on stage.” WHO: Apocalyptica WHEN & WHERE: Friday 31 August, The Hi-Fi
30 • THE DRUM MEDIA
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SPLITTING TIME “It doesn’t matter whether you’re on triple j or you win a WAMi, you’re still gonna find yourself in the studio worrying about whether that chorus was any good,” Split Seconds frontman Sean Pollard advises Cam Findlay.
S
ean Pollard, lyricist, vocalist and guitarist for Split Seconds, has become somewhat of a Perth icon. Over their two-year gestation, the five-piece have become darlings of the touring and festival circuit. Just look at their past achievements: five 2011 WAMi awards, national support duties for The Panics, Jebediah and Owl Eyes, and a whole raft of festival slots including Homebake, Southbound, Pyramid Rock and the Big Day Out. To quote their bio, and depict their nigh-obsessive infatuation with AFL: “If Split Seconds were a football team, their preseason preparation for the 2012 musical year could only be described as impeccable.” On top of this, consistent pub gigging and solo work from Pollard himself lead to what triple j’s royal heir Richard Kingsmill described as his favourite Perth band. Funny, then, that Split Seconds have now chosen to base themselves in that convoluted musical sprawl we know as Melbourne. “We’ve just been working in Richmond, trying to work up a set and get the feel right again,” Pollard explains as Drum sits down with the affable frontman over a pint. “We haven’t been doing that much because we’ve been making our way over here. James [Trewenack, drums] drove over, so it took him, like, 11 days, and Rhys [Davies, guitar/vocals] took a while with work and everything.”
not to worry about it, I think it’s a thing every band goes through. We got all that attention really early on and we were really grateful for that, but we never really saw ourselves as being a buzz band. We don’t really think that we have a particularly trendy sound; it’s more of a slow-burning and gradual thing, which I think – I hope – shows through the music itself. If you start trying to sound like what’s on the radio, or what any other band sounds like, you’re in a bit of trouble. We try to avoid that. I feel that we’ve developed into something that stands out by itself.” WHO: Split Seconds WHAT: You’ll Turn Into Me (Inertia) WHEN & WHERE: Friday 31 August, The Standard
So yes, Split Seconds could, albeit tentatively, be labelled as living out the old trope of relocating over east to fulfil their career ambitions. It was an important factor in Pollard and the band’s ability to independently produce their debut album, You’ll Turn Into Me, and a decision they didn’t take lightly. “Because we’re an independent band and we don’t have too much financial backing from anyone but ourselves, it got a bit harder to make it over all the time,” Pollard explains. “Especially last year, we did, I think, four tours and a couple of festivals. “A couple of times we just ended up getting stuck in no-man’s land. At one point, we got stuck in Melbourne for something like ten days. We were just, like, ‘We can’t go home because we don’t have enough money, so we have to stay here and find accommodation; we can’t stay on these people’s couches for ten days, there’s six of us, including our manager!’ We realised that we were just losing so much money on tours and we decided that, by that time the album comes out, if we wanted to tour it properly, we would have to move. So we’ve moved over now, but we still see ourselves as a Perth band. There’s so much of a Perth influence over there anyway. It’s not like we’ve left Perth, it’s more that we’ve just relocated for the sake of making it easier for ourselves. We have no interest in trying to crack the Melbourne scene or anything. There’s bands over there that can certainly do that, and we don’t want to step on anyone’s toes or anything.”
There’s more to this story on the iPad The aforementioned debut album features a mix of songs old and new, many that the band have been playing since the beginning. On the recording process, Pollard says, “It was a pretty gradual thing. We actually started recording it in about April or March last year. We had a garage where we lived in North Perth in which we were doing all these demos. We couldn’t really record drums so we were just using, like, drum machines and just messing around with countless demos. Because we had that time in between sessions to weed songs out that didn’t work, we were quite pointed when we went into the studio; we had 11 songs lined up, and we only cut one of them. The tracks we chose came out of really wanting to go with a guitar theme for the record. That was something we really wanted to go for.” This leads the conversation to something you may have already noticed about Split Seconds; their penchant for (and aptitude at) big, powerful vocal harmonies. In fact, their bio lists “vocals” as a role for every member in the band. “It’s weird, in every band I’ve been in and every time I sing, I’ve always found harmonies to be such a good addition,” Pollard ponders. “You can always make a song a little better with a harmony. You can use them in so many different ways, like call-and-response and so forth. It’s just something that I like to do, and I kinda encouraged everyone else in the band to do them. They’d all sung a few harmonies before in other bands and they’re pretty adept at it. It’s always the last thing we work on, but it always gets to the point where we’re like, ‘Okay, let’s work on our harmonies now’.” Pollard says that he is happy with how the album turned out and feels that it is a worthwhile document of the music Split Seconds have been working on for years. In that, one has to account for the huge buzz that hit the band after their WAMi sweep, and the various pressures that come with touring and making a name for yourself nationally. The question naturally arises over whether Pollard ever felt the pressure with so much hype early on in their career. “I was talking to Rhys about this the other day. Now the album’s coming out, and with the WAMis and everything, it never feels like anything’s really happening, in a way,” Pollard laughs. “It all just happens one day at a time. One thing will happen one day, and you’ll be like, ‘Oh sweet, that rules,’ but it never feels like you’ve changed a whole lot. The WAMis were one thing, because in other bands I’d been nominated for a bunch but had never won before. That really helped with getting a bit of attention [for Split Seconds] over east, and that’s one thing the WAMis are great for: with triple j and festivals and everything. That was invaluable, because we really needed that at the time. But still, it doesn’t really feel that much different. You still go into a rehearsal room or a studio, and you’ve still got the same doubts you had before. You still have to work the same way you always have. It doesn’t matter whether you’re on triple j or you win a WAMi, you’re still gonna find yourself in the studio worrying about whether that chorus was any good. “I mean, it was quite humbling to win so many things and get so much attention so soon. We had all been around the block a few times, so we did all feel prepared, we felt like we had worked hard enough that we’d do well in front of any audience. But yeah, I guess it always feels like the other shoe’s gonna drop at some point and someone’s gonna go, ‘Actually, no, you guys are shit’,” Pollard laughs. “But you just learn
themusic.com.au
THE DRUM MEDIA • 31
LOVE GOES ON! With new compilation, Quiet Heart, shining a torch on the career of his revered former outfit The Go-Betweens, Robert Forster tells Steve Bell about traversing the road less travelled and why he thinks their music will stand the test of time.
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t’s hard to reconcile the image of two young friends in late-‘70s suburban Brisbane trying valiantly to unlock the magic of the music that captivated them amidst the oppressive heat and even harsher socio-political environment of the time, with their eventual band The Go-Betweens, whose urbane and literate music made them global cult figures, revered for (in their own words) “that striped sunlight sound” which became so distinctive throughout their long and decorated career. Of course, history tells us that the bond forged by those two friends and confidants – Robert Forster and Grant McLennan – all those years ago was cruelly ripped asunder when the latter passed suddenly in 2006, just as the second phase of the band’s career was threatening to take sail and perhaps
even afford them the commercial success that had forever eluded them, even while they were being critically feted all over the world. We’ll never know where the ride would have ended had it not been for McLennan’s tragic passing, but thankfully we still have The Go-Betweens’ beautiful music. They left us with nine studio albums – six from their initial period of existence between 1977 and 1989, and three from the twilight phase that began with their reformation in 2000 – plus a swag of compilations and live efforts, and now they’re adding their first completely career-spanning retrospective, Quiet Heart, to that canon. “It was a long process – we actually started this around September last year,” the eternally debonair Forster recalls of the compilation’s genesis. “A lot of work goes into it – you think, ‘Oh well, we just have to write sixteen or seventeen songs on the back of an envelope and mail it off to EMI’ – but various members of the band were involved in the selection process, plus there’s a live album, so you’ve got reel-to-reel tapes from 1987 in Vienna... it takes time. There were no serious hitches or anything – it was quite a smooth process – but it just took time. So that’s the physical side of things. On the emotional level it was great. Just listening to the albums and tracks and singles – it was a pleasure working on it.” Other compilations have covered The Go-Betweens’ career before, but never one mixing together songs from the disparate eras, and Forster stresses that they did their utmost to make Quiet Heart a release befitting the band’s considerable legacy. “The packaging was important – I’m very happy with the way that it looks and it feels, and I’m very happy that [US Rolling Stone senior editor] David Fricke has written some amazing sleeve notes for it. A lot of attention has gone into it, so it’s not just the record company picking sixteen tracks and a generic cover of a rose with a raindrop on it, and it’s called The Go-Betweens Ultimate Collection in a plastic case, and that’s it. I think there’s a whole process behind it which has come very much from the band – it’s a personal record. The band’s hands are on this release.”
PRESENTS
The inclusion of the bonus disc, Live In Vienna, is important from Forster’s perspective not just as a document of The Go-Betweens in the live realm but also as a complementary device to help get a more rounded handle on the band’s career.
There’s more to this story on the iPad “Quiet Heart is obviously studio cuts, and there’s a lot of attention to detail, which is fantastic, but what I love is having something sitting beside it, which is just the band on fire and wild in Vienna one night in 1987, where you just get twelve tracks in an hour. So [on one hand] you get eighteen tracks culled from almost 25 years of recording in various studios in different countries, and then you get this very kinetic livewire night of mayhem in Vienna, so it’s a balance. The band’s this – which is the studio – but live the band was also that. Plus it gives us a chance to put in tracks like The Wrong Road, [The House That] Jack Kerouac [Built] and The Clarke Sisters – tracks that we would have had to fight to get onto Quiet Heart.”
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In recent times, as well as continuing his solo career and making promising excursions as a producer, Forster has forged a name as an astute rock critic, writing for The Monthly and even releasing an incisive collection of his music criticism, The Ten Rules Of Rock And Roll. Did he glean any significant insight about his own band when poring over its history for Quiet Heart? “Oh, tons! When I was listening to it one thing that sticks in my mind which has come to me about the band – and this is just a random thought from over the last month – was how there was an unorthodoxy built into the band right from the start, and I don’t think we ever deviated much from that. Grant wasn’t a musician – I taught Grant to play the bass, and he was like nineteen and had never been in a band before – so it sort of starts like that, it starts with friends and one friend teaching the other. The Go-Betweens are not five guys meeting and starting a band, who had met each other around practice rooms and had been in gigging bands and pulled advertisements off rehearsal room walls. The band is quite unusual from the start, and then Lindy [Morrison] joins – a woman drummer, she was already in her late-twenties by that time and had already had a number of careers – so that’s another unpredictable choice coming into the band. And it just goes on from there – it was just different right from the word go with The Go-Betweens. It’s not a normal career at the start, and we pretty much follow that all the way through.” Forster is justifiably proud of The Go-Betweens’ legacy, and is hopeful that the music that he and his bandmates made will resonate through the ages. “It does and I think it will. I think the work is too good, and I think we’ve done enough of it – we did nine albums, there’s depth of catalogue there. I still think that The Go-Betweens are criminally underknown, and maybe with this filtering process the band will become potentially in fifteen years far bigger than they are at the moment. There is that chance. But one thing that I see – and I’m proud to see – is that I read reviews from around the world of other bands, and I see The Go-Betweens used as a reference point. I find it quite extraordinary, if only because I know how I felt – and still feel, but especially when I was younger – about bands that I loved, and wanted The Go-Betweens to sound like. That the way I felt about Talking Heads in 1977 might be the way that someone feels about The Go-Betweens in 2012 is very gratifying and an amazing thought to me.” WHO: The Go-Betweens WHAT: Quiet Heart (EMI)
32 • THE DRUM MEDIA
themusic.com.au
SPINNING THE GLOBE Jack – and master – of many trades, Nitin Sawhney gets Guido Farnell just as excited on music from all corners of the world as he is.
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he so called ‘Asian Underground’ of the nineties saw a range of South Asian acts like Talvin Singh, Joi, Badmarsh & Shri, Asian Dub Foundation and Fun-Da-Mental attract the attention of larger audiences. The Asian Underground may have faded but Nitin Sawhney, who rose to prominence from that ‘scene’, continues to move his career in fascinating directions. Catching up with Sawhney, on the phone from his home in London, finds him thrilled to be touring Australia once again. “I am touring with such a fantastic band that I am sure they will be great shows,” says Sawhney with great excitement in his voice. “We will play a crosssection of music from all my albums. The show is very much about the albums. We don’t play any of the soundtracks music that I have written or music from other projects in which I have been involved. The aim of the show is to create a totally immersive experience and get audiences to listen to music that they may never have heard before.” Melbourne audiences can expect an acoustic show, but in Sydney Sawhney expects to add more electronics to the mix. Sawhney is also excited about DJing while he is here, and as it turns out, the talented multi-instrumentalist and composer is also an avid DJ. “I DJ’d in Fabric in London for a very long time,” he explains. “Currently I have my BBC Radio 2 show called Nitin Sawhney Spins The Globe. I play everything from electonica to breakbeats and drum’n’bass. Whatever grooves and keeps people moving, I guess. Global sounds and music that has some kind of emotional resonance is what gets me most excited.” Sawhney, however, finds it difficult to talk about the tunes that are currently on high rotation in his sets. “It is kind of hard to talk about the music that I like. There is the music that I like to listen to around the house and then there is the music that I would play in the club and the music that I would play on the radio. What I would play in each of these situations can be so different and covers a vast amount of music.
I was in a youth orchestra but I was also in punk, funk and rock bands. I have dabbled with flamenco guitar. I even learned to play sitar at a temple near home. I grew obsessed with all types of music and that all feeds into what I do now. I think I was just lucky to have this exposure to all these different types of music when I was growing up. It isn’t difficult to shift around between all these different styles at this stage of my life. Writing music comes as easily as conversation. It is my language, much more than speaking. I have probably spent more time playing music than I have talking. I do a lot of things with my time, but music is the one thing to which I always return.” WHO: Nitin Sawhney WHEN & WHERE: Tuesday 4 September, Sydney Opera House
Feel Presents
“I don’t like to talk about what I play in my sets partly because I like to keep things spontaneous. I tend to just arrive and feel the vibe and play tracks that fit with the mood but also reflect how I am feeling. It kind of all has to make sense on the night. That said, I play a lot of music by the Nasha Collective who are an amazing bunch of breakbeat and dubstep heads from London. Lately I have been listening to a lot of traditional African music, but I don’t play them as you would hear them on the record because I tend to mash them up with different beats and samples.” As a British-Indian composer, Sawhney’s music has always been an exotic and sumptuous blend of diverse cultural styles. Touring India for the first time this year, Sawhney has discovered his fanbase extends well beyond Western audiences. “We got an incredible response from the people who came to see us. We played at the Blue Frog in Mumbai and Delhi and Sulafest, which is a food, wine and culture festival that is held on a vineyard. I really enjoyed it because we got to work with a lot of local musicians. The standard of musicianship over there is extremely high. We also ended up doing a session for MTV India which was a lot of fun. “I have spent a lot of time in India over the years but I had not been there for quite a few years prior to going there this year. It was really cool to be able to go back, meet people, perform there and get my head around what has been happening over there. I enjoyed being able to meet local musicians and getting to know them. There is a music scene that is developing very quickly over there. Things can happen fast in India and it is fascinating to see it develop. You could say a real renaissance is happening there right now. A number of people [are] looking at developing a music festival scene across India. There are some truly brilliant players and singers over there, which makes this a very exciting time for music in India. You just cannot find people with that high level of musicianship and such a different take on music in the UK. I had the pleasure of working with Jivraj Singh and Mohini Dey and after showing them the parts they were very quickly able to put their own amazing spin of the material.” It is hard not to be astonished as Sawhney talks. “Jivraj Singh from Kolkata, who plays for the relentlessly experimental PINKNOISE, is arguably one of the hottest drummers on the planet right now. Mohini Dey, on the other hand, has been playing bass since the age of three. At sixteen and still in year eleven, she has been hailed as a child prodigy who puts more technical skill on the table than most seasoned players.” Sawhney loves producing albums and tells me that he is gearing up to record his tenth album early next year. Yet as his career blossoms he has also managed a parallel career as a soundtrack composer. “I have been very lucky to be asked to work on some very interesting and high-profile projects in recent years, but I have never lost my focus on making albums,” he insists. “It takes a lot longer to write an album because you have to face your own demons. When you are writing music for someone else it is easier because you are simply taking direction. It is easier to work out what you should be doing for them. I am currently working on music for Japan In A Day, which is a Ridley Scott production. Being about post-tsunami Japan makes it a very poignant film in my eyes. I have loved working on it because creating this soundtrack has been a very interesting process. It is also a very cool film.” While Sawhney seems capable of pumping out three or four soundtracks each year, it is his recent work for Deepak Mehta and her to-bereleased version of Midnight’s Children that’s currently attracting a lot of attention. “It was a fantastic experience to work on this soundtrack. I think it is amazing that Salman Rushdie was able to work on the film adaptation of one of his finest novels. It recently won the Best Of The Booker award and the Booker Of Bookers award as the best novel to ever win the Booker Prize. Deepak Mehta is quite a character too. I am very pleased with the score, it feels great and has a really good sonic to it,” Sawhney explains.
“Most rock ‘n’ roll bands start as a riot but end up as a parody. We started up as a parody but ended up as a revolution.” - Happy Tom
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As Sawhney talks of the many projects he has been involved in this year, it seems that he has complete mastery over almost every genre of music imaginable. Quite a feat when many struggle to master just one. “I grew up training as a classical pianist and like a lot of other kids
themusic.com.au
THE DRUM MEDIA • 33
SIBLING HARMONIES
STILL SUAVE Okay, all the Cold Chisel craziness is done and dusted for the moment, so Don Walker is getting back to just singing the songs, no frills and ntimate, as Michael Smith discovers.
It’s all threes with the latest from The McClymonts – it’s their third, they used three producers and, well, they’re three sisters. Michael Smith chats to the bass-playing Sam McClymont about making (the admittedly three-free) Two Worlds Collide.
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efore heading off to London, their first visit there in 30 years, to play a couple of Hard Rock Calling concerts in London’s Hyde Park with Cold Chisel, Australia’s most unassuming and for many finest songwriter Don Walker was in Adelaide to do two shows at the City Of Churches’ Cabaret Festival with his other band, The Suave Fucks, and it was from there he fielded a few questions about what he’s been up to outside the Chisels. On the agenda is talking up the then-forthcoming Nightfishing Tour. “New songs,” Walker says, when asked what we can expect on the tour. “Well, there are always new songs. I guess the difference between when we played last year and this time is more new songs. Quite a few of them have been recorded but not released yet, and there are some that we haven’t recorded yet and I’m hoping to do that on the back of the dates in Sydney. There’s a lot of unreleased music now, a whole album’s worth. I can give you some titles – Hully Gully, Young Girls, um, Pool – there are two versions of Pool. One’s a swampy version recorded with The Suave Fucks back in 2006 and another is a completely different version musically with just me on piano. And I might even put both of them on, because both of them are the same lyrics with completely different pieces of music. “It’s nice, when you’re compiling an album, to have different recordings of the same song with a few years separating that you can choose from, because songs evolve. Sometimes songs evolve and deepen, and sometimes they go stale.” The Suave Fucks are drummer Hamish Stuart, Michael Vidale on bass, Roy Payne on baritone guitar, Glen Hannah on guitar and Garret Costigan on pedal steel. A slightly different version of the band features on the album, Live In Queenscliff, recorded at the 2006 Queenscliff Festival, which was finally released in February last year, and itself followed the reissue of Walker’s solo and Catfish back catalogue over the previous two years.
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While he was looking forward to the concerts in London, Glasgow and Manchester with Cold Chisel, Walker didn’t have any huge expectations. “Cold Chisel hasn’t been to the UK for thirty years, and we probably only played half a dozen shows in the UK in all – we were mainly concentrating on Germany. It’ll be nice to do what we do in front of people over there, and particularly playing the festival, because at the festival we’ll get to play to English people. Our curse over there, when we used to go there, was English people couldn’t get in, thirty years ago. We were flying to the UK and getting up in little clubs and just playing to the same pack of Australians who were coming to see us in Bondi. “The guy who runs [Hard Rock Calling] rang us up. He’s a big promoter in that part of the world and I think he had seen the figures on our tour in Australia [last year’s record-breaking Light The Nitro Tour that saw them play to more than 270,000 people] and he rang [co-manager] John Watson and said he’d like us on the bill for Friday night of the festival, which is the rock’n’roll night.” In the event, Walker left for the UK ahead of the rest of the band, hired a car and took himself off on a trip to Scotland before returning to London for rehearsals and the shows, the Hard Rock Calling concert seeing them perform alongside Soundgarden and Iggy Pop & The Stooges. At least they didn’t get the plug pulled on them like McCartney and Springsteen on the Sunday. WHO: Don Walker & The Suave Fucks WHEN & WHERE: Thursday 30 August, The Brass Monkey; Saturday 1 September, Notes
MANN ALIVE
While Mann’s “quiet vibration” is very much preserved on Slay Me In My Sleep, he’s planning a “large ensemble” launch in Melbourne that will try to capture the breadth of the album’s arrangements. Mostly recorded in Berlin with composer Nils Frahm, who played piano on it, the album features cello, saxophone, backing vocalists and the recorder ensemble Quartet New Generation, whom Frahm called “the Kronos Quartet of the recorder world”. Mann hopes to bring a lot of that instrumentation to the stage, with around 15 singers and musicians total. “When I launch an album,” he muses, “I try and recreate it, I guess. I always try and have, if not exactly what I had on the record, then something at least approaching it. I don’t play that much any more, so I may as well make it an occasion. It’s about the only time I really enjoy organising a show, actually.” Mann lived in Berlin with his girlfriend while working on the album, taking advantage of the city’s famed artistic receptivity. “Everyone seems to try it once,” he says, now based in Melbourne again. “I wasn’t so much into touring or playing a lot of gigs, but I did really want to record and write 34 • THE DRUM MEDIA
“It was before the Taylor Swift phenomenon,” Sam remembers. “He’d just recorded her first album and it hadn’t exploded, so it’s nice to know he remembered that friendship and still wanted to work with us, but he is so busy so he only got to do a couple of songs on this record. He pretty much plays every instrument on the songs except drums – he’s just a one-man band and a huge talent. Because he is an amazing guitar and piano player, you can really create moods with him.” The sisters recorded the bulk of the album with another Nashville producer, Luke Wooton, but the real highlight was working with veteran producer Peter Asher, who made his name producing artists like James Taylor, Linda Ronstadt, Tony Joe White and Bonnie Raitt among others. By the by, his daughter, Victoria, plays keytar in Cobra Starship.
“Luke Wooton really nailed those country songs. He’s one of the legends in Nashville, and just being with the Nashville players and that whole vibe is a lot of fun in the studio. He just brought the rest of the songs to life.” While they’ve worked everything from festivals to the Grand Ole Opry, The McClymonts feel they’re still only taking small steps in the States. “Radio is hard to get,” Sam admits. “They do only have about 25 artists that they play on country radio, so to try and get in a slot as a new artist is really, really hard. So right now we’re building a fanbase from the bottom really, going out and playing live. It took Keith Urban about 15 years in Nashville – we’re hoping it’s not that long!” WHO: The McClymonts WHAT: Two Worlds Collide (Universal) WHEN & WHERE: Saturday 1 September, Enmore Theatre; Sunday 2, Lizotte’s Dee Why; Sunday 9, Bateau Bay Hotel; Saturday 22, Vikings, Canberra; Saturday 29, Evan Theatre, Penrith; Friday 5 October, Newcastle Civic Centre
He lit the fires of popular consciousness 44 years ago covering The Doors. Now Jose Feliciano has taken on the King – Elvis Presley – as he tells Michael Smith.
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Being Grand Salvo, anything that might initially sound pretentious is done with a mastery that silences one’s inner cynic. His work has a sweeping quality yet is intimate too, finding the grandiose in the tiniest details. “I definitely try and base everything on a very quiet vibration,” he admits. “I did want bursts of excitement, but I wanted it to be slightly uncontrolled and childlike. More ramshackle and not so much that epic kind of pop/rock ballad vibe. It’s still just guitar and quiet vocals, with stuff on top.”
While the three sisters – Brooke on guitar, Mollie on mandolin and Sam – write together for the most part, they also seem to work best when a fourth party joins the process, be it Sydney songwriter Lindsay Rimes, or Nashville guys Ross Copperman, Frank Myers and Nathan Chapman, who produced two tracks on the new album but who also wrote with them on their first album, 2007’s Chaos And Bright Lights.
“I don’t even know how we got to work with Peter Asher – we pinch ourselves every time we think about it – but that was such a huge moment, getting to work in LA with him and some amazing musicians. He just brings so much; he has such knowledge of music. At the time he was in the middle of working on music for the Oscars, and then he comes and works on three of our songs on a country record, and then he goes back to the Oscars! He sat with us and wanted to know what we wanted in an album and asked us if we wanted anything different or what we heard coming from the song.
STILL ON FIRE
Paddy Mann of Grand Salvo has made his most life-affirming album yet, discovers Doug Wallen. ew artists in Australia can move people the way Paddy Mann can. Critics and fans alike savour the organic complexity of his project Grand Salvo, and his sixth album arguably tops his previous efforts. Slay Me In My Sleep is a song cycle following a young boy and elderly woman who pine for each other romantically, but not quite in the expected form. It’s more about flux and longing than anything else, with the two characters stranded at opposite ends of the age spectrum.
think this album is a bit more honest and more in depth, you know, about our experiences the last couple of years.” Middle sister and bass player Samantha McClymont is on the line from Nashville on the eve of another US tour that proceeds their return to Australia this month to launch their new album, Two Worlds Collide, and she’s pumped about it. So, experiences; heartbreak? “I think there’s been a little of everything. And I think there are songs that are really positive and about being apart from someone you love but still making it work and knowing how perfect it is. But there’s got to be a heartbreak song, ‘cause everyone’s gone through that, and I know a couple of songs were drawn off the co-writers as well,” she laughs.
“I
while I was there. And it was a pretty good place to do that, [with] a lot of open-minded people.” Like that recorder quartet, for instance, who insisted on not taking payment for their services. They lend the songs a distinct character that veers close to the medieval. “There’s passing references to medieval sound,” agrees Mann, “but it’s all the way you write for it. I guess [with] recorders, you’re either gonna sound a bit twee or a bit medieval.” Laughing, he adds, “Actually, I fall into both. But I really enjoy writing dense counterpoint. A kind of poor man’s Bach.” Self-deprecation aside, previous albums like Death and Soil Creatures have confirmed Mann’s unique vision. And Slay Me In My Sleep fits right alongside them, with a three-act structure and scene-setting song titles that can run for several sentences. “I had to have [them] on the album, because it was just integral to it,” he says. “Instead of just writing it on some liner notes that no one would probably see anyway, I thought if I made them song titles, they were permanently attached. I thought I was gonna cop a lot of shit for it, actually.” For all the album’s narrative and textural surprises, one of the best is also one of the simplest: an electric guitar solo on track 13. “I guess there’s a reason why guitar solos have been so popular for so long… before they were abused for so long,” he reckons. “I tried to make sure it wasn’t coming across as a cynical, ironic sentiment. I was imagining myself as a guitar hero when I was doing it.” WHO: Grand Salvo WHAT: Slay Me in My Sleep (Preservation/Fuse) WHEN & WHERE: Friday 31 August, Paddington Uniting Church
t’s something I’ve been wanting to do for a while,” Jose Feliciano admits, on the line from his 270-year-old riverfront colonial home in Fairfield County, Connecticut with regards to his latest album, The King – a tribute to the music of Elvis Presley. “I don’t know of anybody that isn’t, or wasn’t let’s say, in my time an Elvis fan. Elvis was like The Beatles, or The Beatles in their own way were like Elvis. When Elvis came back [in 1968], I was climbing the charts with Light My Fire, and later, in the ‘70s, I did meet Elvis, briefly – he was playing in Nevada at the Sierra in Tahoe. “But approached this album in a different way. I didn’t do what people thought I might do, like Hound Dog, but I did do Don’t Be Cruel, All Shook Up, and then I picked songs like You Were Always On My Mind and Love Me Tender. But throughout, I wanted to reinterpret. I didn’t want to copy Elvis because I’m not Elvis Presley – I’m me – but I wanted to do something hopefully to honour his memory, and I didn’t take much from any of the guitar players that played with Elvis because, again, I wanted to produce something totally different and hopefully, the people who listen to it will enjoy it. It was a labour of love.” 44 years into an incredibly successful career that has seen Feliciano, born dirt poor and blind, one of 11 boys, in Puerto Rico and moving to New York City with his parents when he was five, release 37 English-speaking albums and 29 Spanish-speaking albums, pick up eight Grammy Awards and 45 gold and platinum awards for album and single sales, the singer and guitarist has the luxury of his own basement studio as well as his own label, so he can indulge his passion for making music pretty much all the time – and he’s still touring a good eight months of every year. On The King, as on his previous English-language record, 2007’s Soundtrack Of My Life, he played all the guitars, bass and percussion, sang everything arranged the string and horn arrangements and was the producer.
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As to those guitarists that played with Presley – James Burton, Scotty Moore and Charlie Hodge – they weren’t all that influential on Feliciano’s own playing. “I liked Scotty Moore,” he admits. “I liked what they did but no, I was more influenced by Chuck Berry, Jimi Hendrix… In the jazz realm I was influenced by Wes Montgomery, Charlie Byrd and Kenny Burrell. Guitarists of today I admire, I think Australia has a very fine guitar player in Tommy Emmanuel, who is my dear friend. “My singing, I was influenced by singers like Ray Charles, Sam Cooke… You know, I was influenced more by the black singers in America than any other singers. I mean, I enjoyed Frank Sinatra, I enjoyed Jack Jones, Vic Damone; I enjoyed all those singers, but the singers that taught me the most were the black singers, and I guess the reason why I could relate with them is because they were the sufferers of our segregation things and they were poor, they didn’t have a lot of money and neither did I. But Ray Charles and Sam Cooke were the singers that I emulated, that I followed – they taught me the most.” Feliciano had already released two albums in Latin America before he had an international hit with Light My Fire, and he admits, “I have to be honest in telling you that when Light My Fire became a hit, it caught me by surprise. I wasn’t really ready for it because I wasn’t the writer that I wish I had been in ’68.” He was 23 at the time. WHO: Jose Feliciano WHEN & WHERE: Saturday 1 September, Capitol Theatre
ONE OF A KIND
PROG SAFARI
In some ways, Maria Minerva is an indie-pop poster child for her hometown of Estonia. Anthony Carew gets the full story
A
s far as indie-pop exporters go, Estonia is a nonstarter. It may be but a ferry-ride across the Baltic from Stockholm to Tallinn, but against Sweden’s indie empire, Estonia really only has one name to have lit up the blogosphere. That said, it’s still a pretty impressive name: Maria Minerva; the plenty impressive dame who came out of nowhere to issue four records of washed-out synth soundscapes and murkey Euro-disco in 2011 alone.
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“I hear that all the time, that no one has ever heard of any other Estonian indie musicians, so I hope I’m representing my country well in some way,” offers 24-year-old Maria Juur (aka Maria Minerva), from her adopted home in London. “I don’t think people listen to my music in Estonia. I’ve gotten way more negative feedback from back home than I ever have in the international music scene. I’m one of those people who’s left to do something exciting abroad. And some people are really encouraging of that, but other people don’t get why I get all this hype.” Growing up in Tallinn’s seaside sleepiness, Juur never dreamt of making music, let alone did it. Yet, in 2010, after trying her hand at numerous pursuits —academia, music journalism, modelling, visual art— she dove into sound on a whim in her “last winter in Estonia.” “I ordered an external audio interface and a MIDI keyboard from Amazon,” Juur explains. “All of my friends told me they didn’t think I’d be doing it for more than a week. But I’m very happy to have proved all of them wrong.” Juur was incredibly nervous making her music available for others —“when I put it online my heart was pounding; I was so scared what people were going to think,” she recounts— and even more nervous when she ended up playing “four or five shows” in Tallinn thereafter. “I felt like I was at a gym class, performing exercises; just going through the motions, wanting to be anywhere else,” Juur admits. So, when she moved to London to do her PHD (in music theory), Juur planned on putting her budding
WA prog metallers Chaos Divine have given an ‘80s classic a modern spin in a bit of fun that also tips the hat, as Michael Smith discovers.
musical muse to bed. “I told myself the music thing was over,” she says. “I wasn’t convinced I could ever play live and actually enjoy it, I thought I’d never be able to get over the technical side of things, I had to focus on my studies, and I was also working part time. I just felt like I didn’t have time for making music... I was on the verge of giving up, that classic story.” Yet after six music-free months in London, she sent her demos to LA label Not Not Fun, who immediately wanted to release them; and emptied out Minerva’s back catalogue across four 2011 releases (Tallinn At Dawn, Noble Savage, Cabaret Cixous, and Sacred & Profane Love). They stoked plentiful blog buzz, and pushed Juur into making more music; the Will Happiness Find Me? LP - her first recording with actual expectations. The process of making the record was “completely different” for Juur, given there was an audience in-wait, and —after all her prior recordings had been made, literally, in her bedroom (“or in my bed,” she laughs) — a studio booked in Lisbon. When the LP’s first single, The Sound, was recently released; Juur was “terrified” —“like when I first put my music on MySpace”— but the positive reaction to it has lit up her life. “I wake up every day in a good mood,” she beams. That good mood suggests that there’s as much hope as despair in Will Happiness Find Me?’s rhetorical title. “In my life I’ve always been extremely impatient and restless; always looking for something else, always rushing things,” Juur says, of it. “I have to learn to be more patient, and more gracious; that old thing of ‘good things come to those who wait’. And that’s exactly what’s happened, with me, with my music.” WHO: Maria Minerva WHAT: Will Happiness Find Me? (Not Not Fun) WHEN & WHERE: Thursday 30 August, Goodgod Small Club
“W
hile we were doing some stuff in the studio and writing some new songs, I guess we just had an idea to tackle it and we tried to record it fairly quickly, just to kind of put something out before we obviously got too heavily involved in the writing our next CD. So yeah, I guess it was a bit of an off-the-cuff thing to do, but Toto are a band we all listen to heaps and the album that song’s on is really a cool album. I guess doing an old ‘80s song would be a good way to put our own spin on it, rather than trying to do something more recent.” The song Ryan Felton, one of the two guitarists who power Perth prog metal five-piece Chaos Divine, is talking about is the FM radio Hits & Memories staple, Africa, originally released on the album, Toto IV, in 1982, which makes their tribute something of a celebration of its 30th anniversary. Back in the day, Toto were renowned not so much for their commercial success as the fact that they were a collective of some of the finest American session musicians of their day, who originally got together to make the kind of music they personally enjoy. And in a very real sense, that’s what’s always driven Chaos Divine, which is why they’re happy to roll with the expected consternation their choice of an interim cover between albums might create within certain parts of their fanbase. “We don’t really mind if people that only want to hear heavy stuff don’t really like what we’re doing. We’ll let them go and listen to their own music. We just wanted to give the people that are into us a bit of insight into what sort of music we like, and the way that we can take songs and make them our own I guess, whether that’s a heavy song or we’ve just released an acoustic version of one of our songs as well. It’s just giving people a good insight into the fact that we’re not just a metal band.” The point, for Felton and the rest of the band, is the song, and that’s how they approach writing
and recording anything. It’s a stand that has paid off over their seven years together, from picking up the Song Of The Year gong in the Heavy Rock/ Metal category at 2008’s West Australian Music Industry Awards to touring Europe the following year to getting their second album, last year’s The Human Condition, mixed and mastered by Swedish metal guru Jens Bogren, whose credits include albums for Opeth and Katatonia. “I guess we’re the sort of band that takes a while to write songs,” Felton admits. “We put a bit more emphasis on quality than quantity so if we’ve got an idea and it’s taking a long time we’ll keep working at it before we’re ready to move on and write something new. When we get into the studio, it’s the same thing. You know, we revisit the song before we record it, and we might record a few different versions of a verse or a chorus, just so that we’re not sort of settling on something for the sake of it. So it does take a while to get them to a finished point but that’s sort of the way, I think, the sound comes out in the end; that very sort of produced sound. We try to bring a lot of different song styles into writing for a CD now. I guess after [2008 debut album] Avalon, we really found our stride in terms of getting that epic kind of sound, which is what we were going for.” WHO: Chaos Divine WHAT: Africa (Firestarter) WHEN & WHERE:Friday 31 August, The Wall; Friday 7 September, The Patch, Wollongong
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THE DRUM MEDIA • 35
CELEBRATING SILVER
THE THIN BLACK LINE
25 years of channelling the Delta blues through a Sydney state of mind, Dom Turner of The Backsliders look back and what’s been did with Michael Smith.
Chris Hayden learns from Blackchords lead singer Nick Millwright that sometimes a change in location is what’s needed to budge the old writer’s block.
T
T
here must have been a lot of people who were surprised to hear, back in 2000, that Midnight Oil drummer Rob Hirst had decided to add The Backsliders to his list of then-Oils side projects. As popular, at least within blues circles, as they might have been, The Backsliders certainly weren’t in the same league as the Oils, but there was obviously something going on that appealed to Hirst, and it all boils down to the passion and vision of one Dom Turner. “I’d been friends with Rob for a number of years through The Ghostwriters [a songwriting collaboration that included Divinyls/Hoodoo Gurus bass player Rick Grossman and singer-songwriter/guitarist Paul Greene],” Turner explains, “because I was working with them as a session musician. And this sounds like a semi-made-up story but it’s true; I was talking to him on the phone about a completely unrelated sort of thing and he was asking so I told him Pete [Burgess, drums] had left the band and he went, ‘Have you got anybody else?’ And I said, ‘Oh, there are a few people in mind,’ because I did but the first person I had in mind was Rob, but I really thought, at the time Midnight were going, that this was not going to work. And he said, ‘You haven’t asked me.’ And there was a bit of a silent moment before I said, ‘Well, actually, you’re the first person I would ask but how’s this going to work,’ And he said, ‘Don’t worry, it’ll work.’” And for the past dozen years, it certainly has, Hirst becoming not only the drummer but a solid contributor to the songwriting side of The Backsliders on the five albums – 2002’s Hanoi, 2005’s Backsliders Live, 2007’s Left Field Holler and last year’s Starvation Box – a DVD, 2003’s Live At The Basement and a compilation, 2009’s Throwbacks, they’ve released in those years. “We didn’t want someone who was a regular drummer,” Turner admits. “We wanted somebody who was into the uniqueness, who understood a kind of a blues background. I mean, Rob played in jazz bands in high school so he had that approach, so I knew he’d be perfect.”
Turner had been playing in a duo with harmonica player Rex Hill since 1981 as well as playing in a band called The Stumblers, but towards the end of 1986, he’d become disillusioned with the way the duo was being presented – stuck in a pub corner to provide “chill-out” music – particularly after a six-month sabbatical travelling through southern America. “Blues duo, put them in the corner, ignore them, give them a tiny little PA,” is how he recalls it. “We knew that this wasn’t how this music [‘20s and ‘30s Delta blues] was presented in its heyday, which was as Saturday night party music really. Having seen some Cajun and zydeco bands using acoustic instrumentation, with no bass generally, with a drummer percussionist, acoustic guitar and button accordion, it dawned on me that this could be a way of presenting the music I really love playing in a pub gig basically. The idea was to present the traditional blues but do it our own way, arranging them to a form we thought people would understand.” So he and Burgess started rehearsing around that idea, reuniting with Hill, busking around Sydney and The Backsliders were born at a 2MBS-FM event at Sydney Town Hall. Hill left after they released their debut album, 1988’s Preaching Blues, and was replaced by Jim Conway, the band becoming a fixture in the Balmain blues scene. Conway moved on not long after Hirst joined and they’ve been using two harmonica players – Broderick Smith from The Dingoes and Ian Collard from Collard Greens & Gravy – alternating on availability since. WHO: The Backsliders WHEN & WHERE: Friday 31 August, The Vanguard; Saturday 1 September, Lizotte’s Newcastle
BANGIN’ BELLES S
Okay, so that isn’t strictly true. Browne & The Bangin’ Rackettes are deeper than that. “We came together for a lot of reasons. There is always good music out there but there is not always a good show. You either get a brilliant band or an over-the-top burlesque show with not much substance. We wanted to do both.” In 2009 Clairy Browne, known as a power diva by some, and her all-girl group The Bangin’ Rackettes joined forces with a group of musicians and started rehearsing, recording and plying their trade. Things have progressed rapidly, although the power diva tag remains a mystery. Browne admits, “I do not exactly know what a Power Diva is. I think it relates to a tough woman who does not take shit. It is a compliment as I am inspired by Tina Turner, Cher and Etta James, who I consider power divas.” So Browne and her ensemble teamed up with a group of lovable rogue musicians to start rehearsing and recording music in a makeshift studio, which happened to be a barely standing ex-coffin factory in the suburbs of Melbourne. It has quickly become their musical home. “It is still where we rehearse even though half the house has fallen down and trees grow inside. It is a cool place and we bring good vibes.” They have come far in a short amount of time. They’ve toured throughout Australia, played the Big Day Out, Melbourne’s Forum Theatre and appeared at the Golden Plains and Falls Festival. They’ve also done the obligatory appearances at numerous dingy venues. Their take on music is as intriguing and original as their name suggests. Their sound, best described as hybrid 36 • THE DRUM MEDIA
Writing and recording Blackchords’ first album in Melbourne, Millwright didn’t exactly have lofty expectations for his work. In fact, immediately after finishing the self-titled effort, he decamped straight to Paris – where he remained for a year. “The first record in some respects was something that I needed to do,” he explains. “Getting out of Australia was also something that I needed. The band was in a strange place, we were going through line-up changes and at the time I just felt like the album could not happen. I just made the decision that I had to make that first record because if I didn’t, I might not ever actually make a record at all. “So when it was done I got out of Australia because I needed a fresh perspective on things,” Millwright continues. “I went across [to Paris] and played some gigs and just lived life. I really feed off the energy of Europe. It’s just an amazing place and I loved being there. After a while our manager had started pushing the record over here [Australia], which started to give it a bit of a life. So that’s when I came back and put a band back together and started trying to make it happen. It was kind of clear for Damien [Cazaly, guitar] and I especially, that being in Australia was what we had to do to make it work.” After releasing their debut to much acclaim and touring through Australia several times, the Euro-bug bit again for Millwright and co, as Blackchords set out
again for what would become almost six months of travelling and gigging. Living on couches and sleeping rough may seem like a tough slog for that amount of time, but evidently the lads had a ball. “We spent six or seven weeks the first time ‘round, and the second time it was for three or four months. We’d spent a lot of the year on the road in Australia and Europe so I look back now and think, yeah it was probably the best year of my life,” enthuses Millwright. Blackchords were personally asked by Ian Haug to open Powderfinger’s final ever Melbourne show at the Sidney Myer Music Bowl and the expectations for album number two were high. Not least from the band themselves. “We attempted to start writing it while we were on the road,” he begins. “For me it was a very strange and tough experience. The first record was something I very much did on my own – I kind of wrote it all in my bedroom, they were my songs and I didn’t have to worry about what anyone else thought.” After a considerable period where writer’s block took hold, Millwright found the right creative setting. “Finally, about the middle of last year, we hired a house out in the country and just set up in the lounge room with all our equipment. We’d wake up in the morning, drink coffee and eat food and kind of hang out in the bush and casually start playing music. A lot of the material came out of those sessions. That was really where it all happened.” WHO: Blackchords WHAT: A Thin Line (Independent) WHEN & WHERE: Friday 31 August, Yours & Owls, Wollongong; Saturday 1 September, FBi Social Club
BACK TO THE FUTURE
After the success of their most recent album, the frontlady for Clairy Browne & The Bangin’ Rackettes tells Stuart Evans the pressure is on for the followup, and she likes it that way. ome bands form over a mutual love of music, the arts and wanting to express artistic freedom. Some bands get together to make sweet, beautiful melodies with the aim of making the world a better place. Some bands think that is bollocks and get together to get smashed, get laid and get rich. Clairy Browne & The Bangin’ Rackettes formed for another reason. “We formed over our mutual love of ‘90s dance music videos and synchronised dance moves,” says fierce leading lady, Clairy Browne.
he phrase ‘ten pound pom’ was used back in the day to describe British subjects who migrated to Australia after World War Two. The idea was that Australia’s population could be increased to supply workers for our then booming industries if we offered safe passage for the cheap-as-chips price of ten pounds. Kids travelled free. One beneficiary of this wave of immigrants is Blackchords lead singer Nick Millwright, who has spent the better part of the last five years yo-yoing between Europe and Australia in the pursuit of musical and personal satisfaction.
Futuristic acid jazz leaders The Brand New Heavies are working on a new album with singer N’Dea Davenport, drummer Jan Kincaid tells Cyclone.
of doo-wop, soul, blues, rhythm and blues and ska, is their interpretation and their story – told their way. Of course, their story extends to an all-out live show that can include a marching band, often located outside a venue to play as people stream in, dancers that get jiggy with the crowd, and cameos from a raft of singers that are seated amongst the listening hordes. It is cabaret, of sorts. “We like to get people involved and get people excited about what they are seeing,” says Browne. It turns out that the audience could be in for quite the treat. “They will see sexy but not too revealing women. We want to reach different people and have a heart connection with the audience. We want to take the audience to another place. What we do is big.” The band’s 2011 debut album, Baby Caught The Bus, took two years to make and was produced by the much-commended Steve Schram (of Little Birdy and Cat Empire fame). The album was a concoction of party frenzy, soul and gut-wrenching doo-wop delivered via Browne’s big, booming, soulful voice. The album has already gained notoriety with media commentators, winning album of the year on ABC Radio National and a respectable sixth in The Age’s album of the year list. So, what’s next? “We’re working on our new album.” And because Baby Caught The Bus was such a success, the pressure is on for the follow-up. “It is a good pressure and there is more expectation. That is why we are taking our time to get it right.” WHO: Clairy Browne & The Bangin’ Rackettes WHEN & WHERE: Thursday 6 September, Mooshine Bar, Manly; Friday 7, Oxford Art Factory; Saturday 8, Clarendon Guest House, Katoomba; Sunday 9, Queens Wharf Brewery, Newcastle; Saturday 15, Transit Bar, Canberra
I
t took British acid jazz pioneers The Brand New Heavies 20 years to tour Australia. When they finally did in 2010, the response was overwhelming. The band, fronted by original singer N’Dea Davenport, sold out shows with a minimum of press. “Oh, it was great!,” enthuses drummer (and keyboardist) Jan Kincaid. “It was the first time we’d been to Australia, so it was really exciting. It was just sad we hadn’t been able to get there sooner.” What astonished The Heavies was the “energy” of the crowds. “It was like going back in time for us,” Kincaid says, “because people were really excited.” Now they’re here for an encore. Kincaid formed The Heavies with Simon Bartholomew (guitar) and Andrew Levy (bass) in the mid-’80s – to gig. The outfit would spearhead London’s acid jazz scene together with Jamiroquai. Ealing’s finest released 1990’s eponymous (and largely instrumental) debut album on Eddie Piller’s Acid Jazz Records. They then cut a second version with Davenport, the Atlanta soulstress initially signed to their US label Delicious Vinyl as a solo act. (In fact, Davenport was the band’s second vocalist, Jay Ella Ruth quitting early on.) The Heavies enjoyed their first crossover hit in Never Stop. Though media types often depict them as belonging to a retro rare groove movement, The Heavies were almost futuristic. In 1992 they offered the hybridised hip hop side-project Heavy Rhyme Experience: Vol 1, featuring Guru, Kool G Rap and The Pharcyde. But, following the UK-platinum Brother Sister, a frustrated Davenport resumed her solo career. The Heavies sought successive other divas, beginning with Siedah Garrett. Fortunately, Davenport eventually returned for 2006’s Get Used To It. “I think it’s like an open relationship, basically,” Kincaid says of The Heavies’ dynamic in 2012, “and it’s better for that… We respect that N’Dea is gonna wanna go and do things on her own, as each of us are, because that’s an important part of your journey… I think it’s only ever been a good thing that we’ve all gone off and done different things and then we come back with those experiences and bring them into what we do. It’s massively important.” The Heavies are working towards another album with Davenport. “We literally just started doing that – and
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we’ve got a little way to go,” Kincaid says. It’ll likely materialise next year, with an EP beforehand. There’s long been speculation, too, about a second volume of the cult Heavy Rhyme Experience. And, Kincaid reveals, that’s still very much on the cards. For their ‘90s set, The Heavies collaborated chiefly with US MCs. Today Britain’s urban industry is booming. Would they consider roping in homegrown rappers? “Definitely, yeah,” Kincaid affirms. “We’ll try to seek out whoever’s good and whoever we like.” He himself digs the UK’s newcomers. “I love people like Tinie Tempah and Dizzee Rascal because they bring a different energy and they bring a really UK-centric thing to hip hop.” The Heavies have a tenuous Australian connection. Their song Jump N’ Move was heard in Australian director George Miller’s Happy Feet. According to Kincaid, it was all arranged by the band’s publisher, but he figures that Miller and co were attracted to their “quirky” music. At any rate, The Heavies were “very happy” about the sync. “If someone was to phone you up and say, ‘We want your song to be used in a movie about animated penguins,’ you might think, Oh shit, really?” Nevertheless, Kincaid “totally got it”. He adds, “I’ve actually got one of the penguins that dances. They made toys and they have a penguin that you press a button and the song comes on and the penguin dances – so I’ve got one of those!” And Kincaid is familiar with Australian musicmakers, notably our leading funksters The Bamboos. “I’ve got a load of their stuff – I’m a big fan of them.” So what can The Heavies’ fans expect on this 21st anniversary tour? “There will be some new bits and pieces, there will be all the classics, and just an exciting Brand New Heavies party, really – that’s what we like to do.” WHO: The Brand New Heavies WHEN & WHERE: Saturday 8 September, Metro Theatre
AUSTRALIAN INTERNATIONAL CONSERVATORIUM OF MUSIC – BACHELOR OF MUSIC (PERFORMANCE) What can we expect to learn from this course? The Bachelor of Music merges performance and practical training with academic rigour, and provides students with an innovative, reputable and complete education in music. Students will be exposed to a diverse range of industryrelated topics, allowing them to maximise opportunities upon course completion. A strong emphasis is placed on solo, group and ensemble performance studies, along with weekly oneto-one training between student and teacher. The course has the following focus areas: jazz, contemporary, classical, music theatre, composition and production. Is there a practical component to the course? 70 per cent of all units are practical based giving students the opportunity to develop their instrument/voice and performance skills as soloists and ensemble members in a supportive environment. The academic units are integral for producing educated and articulate musicians. Electives are a combination of support studies and industry awareness. What kinds of jobs have previous graduates of this course gone on to do? Professional performers in orchestras, chamber orchestras and small ensembles, in a variety of styles and locations including concert and recital halls, recording studios, functions, pubs, clubs, dedicated live music venues, commercials and corporate videos. Singers in opera companies, music theatre productions and commercials; pianists as soloists, repetiteur/
COURSE PROFILE: INTERNATIONAL FILM SCHOOL OF SYDNEY – ADVANCED DIPLOMA OF SCREEN & MEDIA
accompanist for ballet companies, associate artists, examinations and eisteddfods; artists at cultural festivals; marketers with music distribution companies including the development and distribution of promotional materials, newsletters, audience data, program notes and sponsorship; educators including teaching/tutoring in schools, academies, universities and privately; composers, songwriters, jingle writers and arrangers. Are there any scholarships that students can apply for? The Director’s Award for talented international students, and our annual One Scholarship Competition held in July that awards one full-year scholarship to one local student.
What can we expect to learn from this course? Students can choose to focus their studies in one of two areas of filmmaking: screenwriting, directing and producing (SC&D) or cinematography. The Advanced Diploma is delivered over two years on a full-time basis. The Advanced Diploma of Screen & Media is offered to filmmakers who want to develop the skills to find a unique voice and build a flourishing career in the global film market. SC&D is designed to build skills and knowledge in the areas of screenwriting, directing and producing with complementary skills in camera, lighting, editing and post-production, sound recording and sound design. There is a strong emphasis on industry knowledge and employability skills, collaboration, team building and professionalism. Cinematography is designed to teach students how to use the camera to create emotion and continuity of visual mood; how to advance a story, how to build and maintain rhythm, how to enhance the trace of the eye and how to bring the three-dimensional world and space of action to the screen. Is there a practical component to the course? Students at the International Film School Sydney (IFSS) will learn by doing. Every course at IFSS is highly practical with students creating five to seven of their own short films over the two years and working as a crew member on the films of their peers (for both areas). This provides them with an extensive portfolio of films that they can take to prospective employers. As part of the course, students also have regular one-on-one consultations with IFSS teachers that all work in the film industry. They assist the students in developing their scripts, preparation for production, editing and much more.
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What kinds of jobs have previous graduates of this course gone on to do? The course prepares students for careers as a producer, screenwriter, director, cinematographer, camera operator and director of photography as well as careers in the technical departments of camera, sound and post production. IFSS graduates have gone on to pursue a range of careers. Adrian Powers is working full time as a director/editor at Scarlet Fire Films at Fox Studios in Sydney. He has also enjoyed immense success in the film-festival circuit with his film Scruples that he produced in his final year at IFSS, making it to the top ten finalists in Ridley Scott’s Your Film Festival this year. Jackson Mullane is working full time as a content director at TCO (the. conscience.organisation) and has also started his own production company with other IFSS graduates. Kim Ramsay has also created her own production companies whilst freelancing. Some of her jobs have included directing the documentary Kindness Revolution and the TV series IFSS Uncut.
THE DRUM MEDIA • 37
QUESTIONS FOR A PAST GRADUATE: AUSTRALIAN INSTITUTE OF MUSIC What job are you currently in and what are some of the tasks involved with this job? I am currently working as the Marketing Coordinator for Warner Brothers at Warner Music Australia. My main role is to ensure that we have all of the assets relating to the artist downloaded on our system when they come through from overseas. I am also responsible for ensuring all appropriate radio stations have the correct audio, information and artwork when a new track is released to radio. The artists I specifically work with include Kimbra, Michael Buble, Regina Spektor, Green Day and Lisa Mitchell. Recently I have been assigned as the project manager of my own artist, Lewis Watson, a 19 year-old singer/songwriter signed to Warner Brothers UK. I am responsible for shaping his Australian career, which is a very exciting opportunity. Are you enjoying this job and is it what you first expected it to be? To me, this is an ultimate dream job – from interning at Warner, I knew what the job entailed, but I was unaware of the extra perks and opportunities that came with it. When I am asked about my job, it’s hard to say anything other than “I love it, it’s my dream job,” Because, quite honestly, I have never loved going to work as much as I do now. Do you believe you would have this position without your prior education?
SAE COLLEGE – BACHELOR OF AUDIO PRODUCTION Amy Copeland With Ed Sheeran To be honest, I don’t believe I would have got anywhere near this position without my education. The reason I initially got my internship with Warner was through my degree at AIM. When you are applying for jobs in the industry, you are always up against people who specialise in specific areas, whether they want to be in the music industry or not – they are 100% committed to Marketing or PR or Law. Luckily, my degree was Entertainment Management, so it covered many of these fields. Where did you study? I completed two degrees, my first was at the University of Wollongong majoring in Production and Composition, which covered an audio engineering and composition/arranging field. Then I went on to complete a degree at the Australian Institute of Music in Entertainment Management. I do feel though, if I had not furthered my studies at AIM, I would not have the position I do now. What was your favourite aspect to this course? I would be crazy if I didn’t say that my favourite aspect of the degree was the internship program. In your last year of the BEM degree, you have to complete two different internships within the industry. AIM has connections with the biggest record labels, recording companies, publishing companies and studios. Through AIM’s internship program, I got to intern at Warner Music Australia and the Gordon Frost Organisation. It’s not every day you get to spend two full days at some of the coolest workplaces in the country as a part of completing your degree.
What can we expect to learn from this course? The Audio Production degree comprehensively prepares you with the practical skills and theoretical knowledge required for a successful career in the audio industry. Our commitment to quality and our emphasis on hands-on education guarantees you will receive vast access to our world-class audio facilities and equipment, providing you with extensive opportunity to advance your skills to a professional level and giving you a competitive edge upon graduation. Students who successfully complete the first three trimesters of the six trimester Bachelor of Audio Production degree course are eligible to receive an accredited Diploma of Audio Production qualification should they choose to exit at this point. What kinds of jobs have previous graduates of this course gone on to do? Previous students have gone to a vast array of jobs. Some land jobs in premier recording studios
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such as Studios 301, as an audio engineer in entertainment centres and also working live gigs and events industries, location recording television and advertising, post production for television, and working as part of teams on original music scores for motion pictures. Are there any scholarships that students can apply for? Students can apply for two different scholarships. Firstly, commencing students can apply for a Commencing Scholarship where they will receive free tuition for Trimester three of their first year and Trimester six of their second year. The Academic Ambassador Scholarship is awarded to a current student who has demonstrated excellence in their academic studies and who has also contributed to campus life or the quality of student experience at the campus. Applications for SAE Institute’s 15 October intake are underway now.
International Film School Sydney Why IFSS? Every school says, “We’re different”. The difference at the International Film School Sydney (IFSS) is that we live up to that promise. In two years with us, you make up to eight films and work on up to 24 other films being made by classmates. These are theatre quality films, the best of which we enter in festivals all over the world, and screen at our annual industry screening night on Thursday 18 October 2012.
Apply Now for Feb 2013
The school is run like a working professional community with what we call a holistic approach to teaching, delivered through the Advanced Diploma of Screen and Media where students can focus their studies on either Screenwriting, Directing and Producing OR Cinematography.
New to IFSS in 2013:
Cinematography Applications are open, with places filling fast. Apply now at ifss.edu.au
T: 02 9663 3789 E: info@ifss.edu.au W: www.ifss.edu.au L: 27 Rosebery Ave, Rosebery NSW 2018 International Film School Sydney Pty Ltd is a Registered Training Organisation with the Australian Skills Quality Authority (ASQA). The school awards the CUF60107 Advanced Diploma of Screen and Media. ABN 50 108 452 062. CRICOS No. 02660C. RTO Provider No: 91143.
38 • THE DRUM MEDIA
themusic.com.au
IFSS
THE DRUM MEDIA • 39
SINGLES/EPS WITH ROSS CLELLAND
ON THE RECORD
Cat Power
As ever Cat Power is making music that affects. Through Cherokee (Matador/Remote Control) she claims she ‘Never knew love, never knew pain’. Those who know her will love it, and some new converts to the cause may be recruited. An included Nicholas Jaar near-ambient remix may be even more right. Also touching some Native American imagery, but realising the only redskins in Geelong are likely in the confectionary aisle of the local 7-11, Teepee (Independent) by The Murlocs has dark twangy guitars intertwining. There’s also a cover of Psychotic Reaction in their locker, which is never a bad thing. You want to talk brave cover versions? Devotional take on X’s Don’t Cry No Tears (Independent) has a liquid distance and real feeling to it, and singer Madelaine Lucas being the daughter of X’s Steve means she’s dipping in the well at the source. The band – formerly known as A Casual End Mile, fact fans – make soft tense noise behind her, giving it an almost Loene Carmen appeal. You can also hear some of the rather too-public pain of Dee Dee’s life in The Dum Dum Girls’ Lord Knows (Sub Pop), the first focus track of her/theirs End Of Daze EP out next month. It echoes up from a deep mineshaft, getting more fragile as it gets closer. Also back after some time away, Curse Ov Dialect have apparently been breeding and doing the family thing, before giving their genuinely individual multicultural – but still quite Australian – hip-hop. Jubilee (Independent) skids about with a messy joy. They always had something more than many of those generic combos, yelling to convince themselves that Caringbah is something akin to Compton. For mine, there’s a bunch of bands who could do with having one or more members actually deported, even if not for crimes against music. Set Sail managed to get the member back through customs and after many delays release the Hey! EP (Independent). It’s folk festival tubthumping, which they seem to think is something more. They may well be found out. Geppetto was the man who breathed magic and life into Pinocchio, for those of you who’ve never seen a Disney movie. The Brisbane band of the name inhabit a theatrical cabaret area which almost screams ‘international cult following’. Perhaps oddly for such music, their choice of puppetmaster for their Into The Woods EP (MGM) is Powderfinger’s Darren Middleton, who keeps some of the excesses in check, but lets them have some melodrama when called for. Touring overseas as we speak, Dresden Dolls-style devotion seems on the cards. Where the violin is a sparing texture on that, it drives Cogel’s Felusine (Footstomp) toward a self-confessed Arcade Fire anthemic angst that ebbs and flows through without becoming too cloying or forced. That’s not a bad trick in the context of such music. Me, I liked The Pet Shops adding some Lego costumes, along with their haughty music and arch attitude, to the Olympic closing bread and circuses. Let’s call the new song Winner (Parlophone) just to ram the point home. At the end of a stainlesssteel stick from the Bauhaus school of design. 40 • THE DRUM MEDIA
RICHARD CLAPTON
JEFF THE BROTHERHOOD
Rhymesayers/Warner
MGM
Warner
No rapper bears as close a comparison to James Joyce as Aesop Rock. Both the novelist and the hip hopper have the tendency to flail around, desperately trying to get their heads above their own bullshit. But both also have the capacity for brilliance, for creating a moment of transcendence where all silly stylistic tricks are forgotten and a moment of perfection emerges. There a several such moments on Skelethon.
Considering he’s been through a marriage breakup, travels these days without a label and has endured all the usual problems artists whose careers began in the early ‘70s – poor management, problematic recording contracts and a little too much indulgence in the fun things – Richard Clapton, or Ralph to his friends, kicks off his first album of new material in eight years with a remarkably optimistic little ditty titled Sunny Side Up. The more reflective, expansive – and personal – Vapour Trails follows, with its admission that “There’s a fork in the road/And I don’t know where to go/Maybe I never will”. Yet there is the confident hand of a master songsmith evident throughout the album, so Ralph has obviously found his way back to the right fork in that road, with a little help, he admits, from his guitarist, Danny Spencer, with whom he co-wrote three of the 11 songs on Harlequin Nights.
There’ll always be a spot saved in my CD cabinet for fuzzed-out stoner rock. Sonic Youth are in there, The LIVE Velvet Underground is in there, hell, even some White Stripes and Regurgitator tunes make the cut. For the past couple of years, JEFF The Brotherhood has taken pride of place alongside these luminaries, and for good reason. Their brand of denim-clad rock’n’roll gnaws at the base of your skull like an incessant mosquito bite, inching its way into your consciousness until you take your air guitar off the rack and play all night long.
Harlequin Nights
Ruby ‘81 is a short, gripping narrative about a child and a dog, and an echo of Aesop’s now 11-year-old triumph No Regrets. The beat lends gravitas. Aesop’s delivery adds drama. His flow remains unchanged through the song; his only tool is his increasingly manic staccato. For all that, the crescendo is quiet and cathartic. It will stay with you. Ruby ‘81 is a story told the way all rappers should tell stories. Grace is either about a child not eating its greens or – in true Aesop style – it is a complicated metaphor about something completely unrelated. Either way it sounds great. Album closer Gopher Guts is the highlight. Gently foreboding and admirably withheld, it’s another wonderful enigma. The chorus is different each time but for the final line: “Then I let ‘em go... Oh.” Gopher Guts asks more questions than it answers but, then again, unanswered questions are the chief joy of the album. Aesop Rock albums have always been flabby and the same is true here. For every engaging mystery there’s a clanger. The album begins with three consecutive stumbles: Leisureforce, ZZZ Top and Cycles To Gehenna. Fatigue sets in quickly. Then – bang! – Zero Dark Thirty, the album’s biggest and most immediate tune. We waited five years for Skelethon after 2007’s None Shall Pass. Well worth it. James d’Apice
Hypnotic Nights
Blue Skies continues in the more contemplative vein – “I thought I had all the answers” – before Run Like A River pulls us back to the optimism that has pulled Clapton through to this point: “If your life’s gettin’ kinda misty/Gotta turn yourself around”. Then he gets down and dirty with Dancing With The Vampires. And so it goes, alternating between the contemplative and the celebratory, a survivor looking forward, not just looking back, keen to embrace what’s to come, not merely wallow in what’s been lost or might have been. After all, as he says in Over The Borderline, “I may be crazy but my heart is true”. And that’s all anyone can ask of any artist. You might need to have lived a little to really appreciate the deeper waters within but if you’re prepared to come aboard, there’s a lot to like about Ralph circa 2012.
not mine) has been around for over a decade, the two-piece – real life brothers Jake and Jamin Orrall – didn’t break into the alternative mainstream until the release of their fifth album, Heavy Days, in 2009. It was off the back of this frenetic record the Nashville duo toured Australia for the first time (including Meredith in 2010) and garnered a whole bunch of fans. Hypnotic Nights sees JEFF The Brotherhood take a further step into the mainstream, while balancing the fine line of impressive melody and DIY-punk ethos (Jake plays a three-stringed guitar, for God’s sake). This is helped by the brilliant Dan Auerbach, whose deft hand behind the producer’s desk has lifted another two-piece, The Black Keys, into the stratosphere in recent times. With JEFF The Brotherhood getting plenty of airplay, and the band set to play Big Day Out in 2013, Hypnotic Nights and all that comes with it is sure to recruit more fans. I’ll be having to set aside even more space in my fuzzed-out stoner rock section, methinks. Dylan Stewart
Michael Smith
OH MERCY
WHILE SHE SLEEPS
EMI
Halfcut/Shock
If you’re a fan of the acoustic-pop tunes that Oh Mercy favoured on their first two albums, and have since been salivating for album number three, then you’re in for a very big surprise. While their previous release, Great Barrier Grief, was celebrated for its summery ambiance, Deep Heat delves into a realm of silky, groovy rhythms. I’m sure a change of tune wasn’t encouraged by fans, nor necessarily required; yet it’s this unexpected shift that makes the album the timely gem that it is. Instead of producing another breezy, acoustic LP, they’ve taken a risk and surprised us all. The result is an exciting, innovative record with a huge presence.
With This Is The Six, Sheffield’s While She Sleeps have dropped one of the best metalcore releases of the year. The quintet slip into that genre, however, while employing a range of heavy styles, tackling everything from thrash and hardcore to more straightforward elements of punk and metal across the record.
Deep Heat
This Is The Six
There’s definitely an air of ‘cool’ that douses the entire album. Recorded in America with producer Burke Reid (The Drones, The Mess Hall), Deep Heat has fun with a range of sounds, from ‘80s-inspired dance in Rebel Beats, to big-band in Fever before pulling off a blend of rock and reggae in the incredibly addictive Still Making Me Pay. Despite the range of genres, the transitions are seamless between each track. Whilst the indie-funk in the title track Deep Heat varies considerably to the glossy prelim of Rebel Beats, the changeover is fluid. Singer/songwriter and the face of the four-piece Melbourne band is Alexander Gow, whose charisma is felt on this recording more than ever. There’s a playful confidence that he’s gained from recording such a theatrical album, from Elvis-inspired vocal hiccups amid the steady swaggering tune of title track Deep Heat, to momentary screams in the chorus of Fever. Whether it’s Gow’s new quirky self-assurance that completes the album, or just the refreshing sound, one thing’s for sure – they’ve taken a risk and nailed it. Madeleine O’Gorman
VDAlthough JEFF The Brotherhood (their capital letters,
D
Skelethon
D
And then there’s those bands that for whatever reason just have never done as much as they should. This may have involved the members actually having something resembling real lives. Knievel always have been and remain wonderful makers of pop music. Among its layers and flute (or maybe recorder?) solo, Through The Dark Rainbow (Alberts) is another little snowdome of delight. There’s some overlaps and a couple of degrees of separation to Community Radio. The name’s a bit naff, but the pedigree of those involved – a couple of Youth Groupers, among others – means the music is indie pop of the classic sort. Terrible History (Novella) bodes well for the present and their future. Also on that quiet and just a little awkward pop line, from Melbourne via Wagga Wagga (Why Don’t You Believe Me?) are Velcro. Essentially, Curtis Wakeling of The Ocean Party. His half-swallowed vocals almost seeming to exhale the mist of one of those cold mornings of his hometown. And how good is the label name?
AESOP ROCK
VD
In a world of too many bands going past their probable use-by dates, those that never quite achieved what they might have are maybe even more frustrating. Thus, the re-emergence of Berkfinger of the utterly splendid Philadelphia Grand Jury is welcome. He’s now operating as Feelings – splitting his time between here and a self-built recording studio in Berlin. With further members from Dappled Cities and Art Vs Science, One In A Million (Inertia) could well work out to be good odds.
Taking this flawless amalgamation, the young English quintet have released a debut LP that is impossible to slow down. The wild soloing and thick breakdowns of Sean Long and Mat Welsh are manic and possessed, while Adam Savage’s rapid-fire drumming would knock some teeth loose without the slightest hint of irony. However, the band balance the sonic violence with heart-on-sleeve confessionals, while the scattered piano found throughout provides the music with room to breathe while enveloping it all in a moody darkness that never sounds over the top or contrived. To the casual listener This Is The Six might seem like a wall of channelled aggression, but the lyrics on tracks like Our Courage, Our Cancer and Love At War show the Brits are unafraid to get deep and let go of some feeling. This is where vocalist Lawrence Taylor stars, his impassioned cry made to move mosh pits. The longhaired frontman’s vocal tone, verses and delivery make you feel like you are part of something strong and unifying, and with loads of gang choruses built around his cries the tracks all but scream for heaving chaos. Be prepared for this shit to seriously open up come Soundwave ’13. Until then, you’ll just have to be content to thrash around your livingroom some. Benny Doyle
ARIEL PINK’S HAUNTED GRAFFITI Mature Themes 4AD/Remote Control Mature Themes, the new album from Ariel Pink’s Haunted Graffiti, brings to mind Moe Szyslak’s definition of postmodern: “weird for the sake of weird”. Far stranger than rabbits hanging in harnesses, the album opens with Kinski Assassin and its repeated chorus, ‘Who sunk my battleship? I sunk my battleship” (the phrase “bring on the bogan shemales hopped up on meth” also hinting at Aussie origins), and things don’t get any less bizarre from here. Strange music and even stranger motifs abound, Is This The Best Spot repeatedly begging listeners to “step into my time warp”, before the title track and lead single Only In My Dreams drop in relatively traditionally-structured songs which sound magical amidst the madness (in the best Ween tradition), until Driftwood conjures the “bad breath of a cross-eyed goat” and things get mental again. The quizzically spiritual Early Birds Of Babylon leads into the patently pointless Schnitzel Boogie, which exists in complete contradiction to the album’s title. Symphony Of The Nymph finds Pink eulogising himself a la Rivers Cuomo, while Farewell American Primitive is all drug-addled polemic, as fun as it is confounding. They jump through dozens of eclectic ideas, both sonic and conceptual, a cacophonous melange at times as alienating as it is interesting. As with previous effort Before Today (2010), Pink has embraced the studio and the resulting sheen sounds fantastic – miles removed from his early lo-fi bedroom recordings – and it just acts to magnify the oddity of his muse. There’s method to Pink’s madness though, and there’s enough going on in the margins to keep you coming back. A wilfully weird world, but a wonderful one to visit. Steve Bell
themusic.com.au
HUGO RACE
VARIOUS ARTISTS
No But It’s True
The Sapphires: Original Motion Picture Soundtrack
Rough Velvet/MGM Hugo Race does what he wants. In his three decades in the music realm, he’s traversed blues, rock, electronica and film scores. Nevertheless, a plaintive album of covers anchored by the notion of love may catch people off guard, especially as No But It’s True is Race’s first “official” solo record. Here he explores what makes a love song stand the test of time, to the point where each track turns a light back on itself, baring its soul in the process – and Race’s intentions become clear. The album opens with No Regrets, a track made famous by the Walker Brothers, and Race’s gravelly voice echoes over his acoustic guitar, his nostalgic approach a godsend. This works particularly well on tracks such as Leon Russell’s Song For You and the iconic Cry Me A River. The standout is Bruce Springsteen’s I’m On Fire, the production dissolved so that the lyrics are laid bare – that love can throw one to the edge of the abyss, trapped within its reckless whims. His bluesy grind on the inimitable Barry White classic Never Ever Gonna Give You Up lends the song a feverish urgency that the big man could never have imagined possible.
DEER TICK
THE RUBENS
Dine Alone/Shock
Ivy League
Rhode Island reprobates Deer Tick have ditched the country-rock leanings of their first few albums and turned in a set of rock’n’roll drinking songs and tales of road debauchery which would give any sane person second thoughts about letting them crash on your sofa.
Tim Rogers once famously quipped that Jet’s Nic Cester could sing the phone book and it would still sound great. Not sure if Tim has come across The Rubens yet, but when he does it’ll be interesting to see what he thinks of Sam Margin’s set of caramel-soaked pipes. Displaying simultaneous smoothness and urgency, Margin leads his brothers (and cousin) through this, The Rubens’ much-anticipated debut with a level of bravado belying their relatively limited experience.
The Rubens
Divine Providence
Sony You can go either way with a motion picture soundtrack. One is the route of a sporadic collection of a variety of musical styles that appear in a movie, and the other goes in the direction of this album; a consistent-sounding album that could survive autonomously of the movie itself. The Sapphires soundtrack is a self-sufficient 45 minutes of toe-tapping, finger-clicking, heart-on-sleeve ‘60s soul melodies. Jessica Mauboy is the star of the soundtrack, delivering lead vocals to a whopping nine tracks and providing texture with her warm vocal grain. Ngarra Barra Ferra, a traditional Indigenous song in the Yorta Yorta language, makes a welcome, unanticipated appearance amidst recognisable soul melodies, delivering one of the many musical pillars in the album that draw you in. In The Sweet Bye And Bye is another one of these pillars, including a surprising appearance by Darren Percival (another rare salute to reality TV, this time Australia’s The Voice).
The closer is the traditional ballad Silent Night, initially a strange late inclusion until it becomes clear – love is in everything. Whether it be love as an aphrodisiac, a road to ruin or a road to redemption, Race makes it inherent in No But It’s True that love is the true constant in the world, and as he murmurs in the Lee Hazelwood classic, “It’s gonna be all right/Wait and see.”
Not so unexpected, soul classics that embrace the old school - such as I Heard It Through The Grapevine, I’ll Take You There and What A Man - are performed beautifully, and the ‘70s original performance by Creedence Clearwater Revival of Run Through The Jungle makes a welcome appearance. If there’s anything keeping this soundtrack from dominating other chart releases it is the sheer length, but the balance of modern and old makes for a great listen and a more than decent driving album.
Brendan Telford
Lynn Mc Donnell
Opening track The Bump’s refrain is like the mission statement for some delinquent version of The Monkees, all snotty boasting over a barrelling barroom stomp. Someone mutters “You fuckin’ douchebag” before the Stones-y Funny Word tries to rip apart the concept of love, and the shouty drinking anthem Let’s All Go To The Bar conjures the hedonistic bonhomie of The Replacements. Most of the songs showcase the slightly caustic worldview of frontman John McCauley, although drummer Dennis Ryan offers the country confessional Clownin’ Around, and guitarist Ian O’Neil (formerly of Titus Andronicus) slips in smooth redemption tale Walkin Out The Door and somewhat turgid country rocker Now It’s Your Turn. There are subtle keys throughout courtesy of Rob Crowell, and these become sole subtle accompaniment for the bulk of crooned lament Electric, before jaunty acoustic romp Miss K. brings things to a suitably upbeat and sleazy finale. Deer Tick proffer a beguiling swagger and punk-like happiness to subvert their own cause by fucking around, plus they have that slight whiff of danger which adds credence to their trashbag aesthetic – an unexpected new direction but one which suits them down to the gutter. Steve Bell
Plucked from relative obscurity late last year via triple j Unearthed, the Menangle boys landed on radars everywhere with slow burner, Lay It Down. Eight months later and it’s album time, but you get the sense on opener, The Best We Got, that they’re still very much transitioning. Margin spends the majority of the track riffing on the idea of finishing Year 12 with lines like “sweet 16 been and gone, 18 next year then we’re done” belying, and almost railroading, a solid attempt at an epic opening. All told, The Rubens are much more effective when they slow things down and play it all a little cooler. Never Be The Same is a brilliant piano-based lament and closer, Paddy, really nails their new-soul aesthetic. Elsewhere though, Stampy goes for a frenzied singalong that probably works great on stage but falls a little flat here and Elvis is a slab of Winehouse by way of The Black Keys that never really gets off the ground. Not to worry though, there is unlimited potential in what The Rubens do, and in Margin they possess a voice we’ll be hearing for decades to come. Chris Hayden
adventure into design THINKING | MAKING | CONNECTING
EXPERIENCE TRUE BILLY BLUE at OUR sydney campus open day september 29, 10am-1pm 171 pacific highway, north sydney RSVP at www.billyblue.edu.au/events or buzz Billy at 1300 851 245 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.
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THE DRUM MEDIA • 41
42 • THE DRUM MEDIA
FRONTROW@DRUMMEDIA.COM.AU
THIS WEEK IN
ARTS
Eugène Atget: Old Paris
TUESDAY 28
FRIDAY 31
And If We All Lived Together – a French film from directed by Stéphane Robelin about a group of friends who have known each other for 40 years. Now they are retiring together and all of a sudden becoming roommates. Their new communal lifestyle provides plenty of surprises and challenges as memories and secrets from the past inevitably surface. Chuavel Cinemas, 4.30pm and 9.20pm
Conversation Piece – Choreographer Lucy Guerin’s new work brings together three actors and three dancers in a unique encounter between these performing arts. Each night a different conversation between the performers will occur on stage. Belvoir Upstairs, 8pm until 16 September
Contemporary Woman – a world premiere of four new works from Australian choreographers. Dream Lucid by Melburnian Stephanie Lake, Adelaide’s Larissa McGowan with Fanatic, Desire by Brisbanebased Lisa Wilson and yield by Sydney Dance Company’s Emily Amisano. Part of the Spring Dance Festival. Opening night, Sydney Opera House: Playhouse, 7.30pm; until 1 September.
WEDNESDAY 29 Correrira/Agwa – performed by 11 Brazilian dancers from the slums of Rio de Janeiro, it celebrates with two dance works Correria (Running) and Agwa (Water) Compagnie. Spring Dance Artistic Director Mourad Merzouki discovered the Brazilians at the Lyon Dance Biennale in 2006 and immediately saw how they could fuse hip hop, circus and martial arts. Street Dance. Part of the Spring Dance Festival. Sydney Opera House: Drama Theatre, 5pm and 8pm.
THURSDAY 30 Moonrise Kingdom – Wes Anderson’s new film has screened at four sell-out sessions at both SIF and MIFF. In the words of Anthony Carew this film is, “one of the most beautiful films I’ve ever witnessed; and one of cinema’s greatest-ever depictions of young love.” Opening in cinemas today.
Moonrise Kingdom
SATURDAY 1 The Dreamers Markets – a new craft market, with over 40 independent stallholders. Riverside Theatres Courtyard, Parramatta, 10am–3pm. The Hiding Place – directed by Kai Raisbeck, a new Australian play from 22 year old Kendall Feaver. Wrought from the pages of fairy tales and modern-day newspaper reports, the play explores the line between accepted creed and childhood fable. The playwright took part in a three-month creative script development with Lachlan Philpott through Griffin Theatre Company. Opening night, 8pm, The Wharf: Studio 1, until 15 September
MOONRISE MEMORIES
Always a very personal filmmaker, Moonrise Kingdom may be Wes Anderson’s most intimate yet. He chats to Anthony Carew ahead of its release today. Wes Anderson’s Moonrise Kingdom is the singular stylist’s greatest film, a portrait of star-cross’d pre-teen runaways, fleeing into a shared romantic fantasy in which their imaginary world stands as a perfect symbol for Anderson’s aesthetic. It also plays as his most personal picture, dedicated to his girlfriend, the writer Juman Malouf. “I wanted to make a movie that was from the point-of-view of children –
SUNDAY 2
That sense of desper desperation is carried over into his two ma main characters, who want their runaw runaway fantasies to be real so intently that they think little of the repercuss repercussions of their actions and how it w will affect the adults charged with ttheir care. “The children in this story, they know what they want, and they don’t think beyond it. They don’t think past the next step, of the con consequences of their actions, but they are very clear about what they want to happen right now. And the adults really aren’t; they’re clouded by their own failures and problems. So the children have a much clearer experience.” When the would-be lovers retreat to an isolated cove that they dub Moonrise Kingdom and haul record players, pet cats and assorted trinkets along with them, it totally suggests Anderson’s own art-design-centric approach to movie-making, the way he uses the same typefaces throughout (“I love that typeface!” he gleams, when I mention Futura), and ensures everything is styled just so.
GRIN VENDER
Here We Are – curated by Caroline Jones, an group exhibition that features contemporary art from the likes of Brett Chan, Elizabeth Corkery, Louisa Dawson, Samuel Hodge, Finn Lafcadio O’Hanlon, Zoe MacDonnell and Kyle Montgomery. Closing day, MiCK the Gallery, Paddington, 12–6pm. Eugène Atget: Old Paris – for the first time in Australia, the work of this influential photographer is showcased in a major exhibition of over 200 original prints. Eugene Atget is known for his documentation of the streets of old Paris, in a time of rapid transformation. The Art Gallery of NSW until 4 November.
but not necessarily a children’s film – about two twelve-year-olds who fall in love and take it very seriously,” the 43-year-old, Texan-born filmmaker explains. “I was hoping if we could make this relationship feel authentic, have these scenes feel like they were really happening, that maybe people would see something they haven’t seen in too many movies but that they recognise from their own lives. I was trying to see if I could recreate my own memories.”
Anderson has specific memories from when he was 12: his obsession with Supertramp’s Breakfast In America LP; the hugely-influential spell cast by Susan Cooper’s young-adult book series, The Dark Is Rising, and the Mardi Gras beads he caught, on a family holiday to New Orleans, that he thought had talismanic, magical powers. He also remembers an ‘atmosphere’, an enveloping fantasy life that tinged his existence, and how he felt desperately lovelorn for the idea of love. “The The ide idea of a romantic fantasy seemed almo almost magical,” he recalls. “I rememb remember how much I wanted these fantas fantasies to be real.”
About to tour his new show, Qualmpeddler, peddler, hats in Australia, comedian Bill Bailey chats with Sam Hobson about the origins of his new material and comedy as his first love. “It’s a sunny day in London,” comedian Bill Bailey proclaims warmly, as we start our conversation. “The sun’s shining, the birds are singing, and it’s not freezing rain. Today, I’m off to find a sitar, which is somewhere in my lock-up.” Bill Bailey, of Hot Fuzz fame, of Black Books fame, of all those fantastic things that invariably spot your Best Of list, is a busy, multi-talented man. His days, when not filled with Whitmanesque nature-gazing and trips to find dusty sitars, are spent
furiously writing new material. Outside of that, he’s touring, or he’s making an appearance on a local talk show, or he’s working on a sitcom, or he’s starring in a new film. “I think that one thing does win out, though, and that’s live comedy,” he explains. “I think live comedy is something I’ve realised I love doing, and I can’t see a time when I wouldn’t do it. You know, those other things that I do I enjoy very much, they’re just great ways of punctuating the times [between] when I’m touring or writing.”
And that old adage about the unparalleled rush of performing to a live audience, insists Bailey, is completely true. “Individually, [the other work] is great extra credits. But I think [live] comedy is something which really involves a bit of everything I do – a bit of performance, a bit of acting, a bit of writing, a bit of travel, and music: all the elements that I try and include in everything I do. I’m yet to find something [else] that will adequately satisfy all those crazy needs.” And of course, Bailey too originally foresaw himself as a travelling rockstar. He laughs: “Yeah, I always thought I’d be in a band. I wanted to play keyboards with Talking Heads, but it turns out they had a keyboard player already, which was annoying.
“I like to try and create a world for the story to take place in that’s not quite reality,” he explains. “It’s a place that I hope the audience has not been to before. And all those little details, to me, they’re the ingredients of what this world is made of.” Anderson claims his singularity of style is decided not just in months of pre-production planning, but during the shoot itself, on a “moment to moment basis”. “I’m constantly faced with these decisions where there’s two ways to go about it: I can do it the way I want to do it, or I can do it the way everyone else seems to think is going to work better. It’d probably be smarter to listen to all my collaborators and advisors, but I have a general rule to always do my movies the way I want to do them. If I make the ‘wrong’ decision, I’d rather see my attempt fail, rather than concede failure before ever even attempting [it].” While Anderson’s singular style has made for a run of remarkable, memorable movies – including Rushmore, The Royal Tenenbaums, The Darjeeling Limited and Fantastic Mr. Fox – and granted him sainted status with a rabid cult following, he also has plenty of detractors. “To engage too much with what people are saying about your films, or about you, or about their idea of you, is to take you away from your own ideas.” WHAT: Moonrise Kingdom WHEN & WHERE: Opens nationally Thursday 30 August
“But in a way,” he quips, “I’m glad I didn’t do that. What comedy allows you to do is exercise both the disciplines of music – the music itself, and spoken word. And I love the spoken word. It’s fascinating; it’s endlessly unpredictable – I never quite know what’s going to work with an audience and what isn’t. That’s one of the great joys about it; it’s not a known science.” Encompassing all of that and more, Bailey’s new show, Qualmpeddler, represents a new height for his multi-faceted style. “My shows intensive, have become quite labour intensive but I’m all the better for it,” he explains. “I [recently] travelled to China and I realised that [the material] I was [writing] about was coming out of that trip, hence the tour poster [as] a parody of one of their propaganda posters. [They’re] these beautiful hand-painted works of art, but it’s all about oppression, it’s all about misery and despair. They’ve this strange duality about them, which I just find fascinating. And that’s a lot about what the show’s title is, it’s about people that are selling the stuff.” Cheekily, it’s put to Bailey that comedians are in fact a form of Qualmpeddler, too. “I suppose we are,” he laughs. “We’re all anxiety mongers, hawkers of concerns!” WHAT: Qualmpeddler WHEN & WHERE: Wednesday 5 September to Wednesday 19, State Theatre
THE DRUM MEDIA • 43
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REVIEWS
C U LT U R A L
LOVE FILM
HOLY MOTORS FILM Holy Motors is French film director Leos Carax’s first release in 13 years. It was met with a standing ovation on its screening at the Cannes film festival, immediately setting the Twittersphere on fire. It is easy to see why. Starring the distinctively chiselled Denis Lavant (the lead actor in all but one of Lavant’s films), the movie follows ‘Mr Oscar’ as he is driven from ‘appointment’ to ‘appointment’ through the wanderlust-inducing streets of Paris. Each appointment finds him adopting a new character and situation. Sewer-rat ‘Merde’ from Carax’s 2007 film Tokyo! is a
Young astronaut Lee Miller is sent on a mission to the International Space Station. Life on the ISS is predictably solitary and Miller manages his time maintaining the aging spacecraft and reflecting on his lonely existence. Miller receives word that trouble back home means plans to bring him home are being shelved and that communications are being terminated. The news propels him into a rage-depression cycle before discovering solace in the journal of an American Civil War survivor stashed away on the vessel. The soldier, sent on a lonely mission, provides Miller with a historic kindred spirit.
and was funded completely by the Tom DeLonge-led supergroup Angels & Airwaves. The film examines the cataclysmic darkness of the ‘Human Condition’ and the loneliness the lack of interaction can cause. The film itself was shot beautifully by Eubank in a set he created himself and is a remarkable solo effort, demonstrating in practical terms the capability of a man with an idea. Whilst the film skirts the frustrating line of ambiguity the vision remains clear. The stunning soundscapes from the A&A group reinforce the emotions felt throughout providing a remarkable cinematic experience and prompting extensive post-film reflection.
Love is the directorial debut from cinematographer William Eubank
In cinemas from August 30
highlight. If you have ever wanted to see Eva Mendes kidnapped by a finger-eating troll, then your prayers have been answered.
Andrew Upton has been appointed Artistic Director Of Sydney Theatre Company from January despite sharing the role with wife Cate Blanchett for the past five years. Current General Manager Patrick McIntyre will be appointed Executive Director and join the board.
22 at the City Recital Hall. The annual event raises money for the Arrow Bone Marrow Transplant Foundation. About to tread the musical stage in Legally Blonde, Mills is best known for his twoyear stint as Fiyero in Wicked, and recently hosting Channel 10’s Young Talent Time. He’ll co-host with music therapist Jan van de Stool. Light The Night is inspired by Matthew Rennie, who fought a three-year battle against Leukemia but died just before the 2007 concert. It was created by his brothers, musical theatre performers Shaun and Adam Rennie, and friends Monica and Greg Smith. One of the shows at the upcoming Sydney Fringe is being staged in the under-utilised Italian Forum in Norton Street Leichhardt. The forum is a great space but most shops in it are empty and trade at its restaurants has dwindled over the years. Frank Christie Frank Clarke by Peter Fleming and Allan McFadden is the half-true story of a con-man. The production’s being directed by theatre legend Aarne Neeme. Sad news last week was the death of filmmaker Tony Scott, who committed suicide in Los Angeles. The 68-year-old apparently had brain cancer that couldn’t be cured. Scott became famous in the mid-1980s when he directed Top Gun starring Tom Cruise. His other movies include Enemy Of The State, Beverly Hills Cop II and Crimson Tide. He was the younger brother of film director Ridley Scott, the maker of movies such as Gladiator and recent Alien (non) prequel Prometheus.
Melissa Coci In cinemas now
The troupe’s performance of Tchaikovsky was characterised by sumptuous sets and costumes and of course, pieces of the composer’s stunning music, as it gracefully told the tale of an artist trying to reconcile his inner passions with
44 • THE DRUM MEDIA
A six-week Victorian season of Death Of A Salesman starring Colin Friels has been postponed due to the actor’s poor health. The play was due to open at Geelong Performing Arts Centre but he collapsed last week during a performance at Sydney’s Belvoir St Theatre. Organisers say he had the flu in the lead-up to the show. The actor’s performance as Willy Loman is of course central to the play. There is no understudy and he’s needed on stage for two-and-a-half hours each night. Belvoir’s sell-out season of the classic play by Arthur Miller has had rave reviews and is set to transfer to Sydney’s Theatre Royal in October.
Actor Rob Mills will co-host the Light The Night concert on October
Until two weeks ago Australia had never seen Russia’s Eifman Ballet perform on local stages but what a stunning introduction. Choosing two very Russian stories, Anna Karenina, and a work about the famous Russian composer, Tchaikovsky, to bring here for their first visit the troupe will certainly head home with a lot of new fans. And not just because of the quality of their dancing.
Damian Griffin’ and Clare Spillman’s set – with its clinical white, its porcelain throne as focal point, its emptiness – suggests a sickness, the illness that these brothers never quite discuss, skirting the issue with quibbles, sibling rivalry and nostalgia, all deftly wrought by playwright Mark Rogers into what is an impressive debut. A text-heavy production, it darts back and forth fluidly between an emaciated Wade Briggs as Adam and Alexander Millwood as elder brother Michael – both giving strong performances and an engrossing depiction of sibling interaction; the familiarity,
WITH JAMELLE WELLS
John Waters has been brilliantly cast as Gomez in next year’s Australian premiere of The Addams Family at the Capitol theatre. Chloe Dallimore will play his wife Morticia. The shows Australian producer, Rodney Rigby, says the Broadway musical presents Gomez and Morticia’s parental nightmare when their daughter Wednesday has a “normal” boyfriend. Upon discovering the romance, Gomez is forced to keep his first secret from Morticia, a development that turns the Addams house upside down.
Bizarre, captivating, thoughtprovoking and just downright confusing, Holy Motors is the perfect antidote to the slew of brain-numbing Hollywood blockbusters that normally hog the silver screen. The film captures a sense of cinema that is often lost – a purely sensory experience that suspends reality and transcends convention. A friendly word of advice: do not make any attempt whatsoever to understand this film. Just let yourself be immersed in it. Otherwise all the magical, cinematic fun will be lost.
EIFMAN BALLET’S TCHAIKOVSKY DANCE
BLOOD PRESSURE THEATRE
Simon Holland
CRINGE
the quirks and the weight of a shared history – under Sanja Simic’s deft direction. Family bonds are as thick as blood, but extend beyond even that, and on the evening of Michael’s piano recital, the brothers follow the trail and finally their circling of the issue closes in on itself. Emotionally charged and tautly presented, Blood Pressure is a deceptively unassuming, but very moving look at what makes us who we are, and what we’re made from – family and idiosyncrasies, what doesn’t kill us just as much as what does. Dave Drayton Running until Saturday 1 September at the Old Fitz
a world he didn’t seem to fit into. As Tchaikovsky, Oleg Markov had incredible poise and expression and seemed to particularly excel in the moments when he shared the stage with his ‘inner-self’, danced appropriately enough by another Oleg, Oleg Gabyshev.
ART S TA R T E R
Dancing as Tchaikovsky’s wife, Natalia Povoroznyuk had a fluidity that at times seemed to make her an extension of Markov’s lithe body. It’s clear this is a pair well used to working with each other. Choreographer Boris Eifman has won plaudits around the world and it’s easy to see why. Fast-paced and telling a story that is poetically beautiful and that looked visually stunning, Tchaikovsky was a wonderful way to introduce his company to a new audience. Danielle O’Donohue
Five minutes with
ADAM HAYES, WHO PLAYS ROXIE HART IN CHICAGO What inspires you artistically? Seeing and working with people who are passionate about what they are doing but have so much fun every time they’re doing it. What’s the most cringeworthy thing you’ve seen on stage? Watching someone who doesn’t respect the audience and cast members. Without the audience you’re nothing. What makes you laugh? Talking about all the stupid stuff that myself and my friends have done. If you can look back and laugh at yourself, you’ll have no problem with people laughing at you. What’s your favorite song? Creep by Radiohead is definitely a favourite but there are so
many songs that have meant something to me. I like songs that make you feel something from their lyrics What’s your favorite movie? Again there are quite a few movies that I love. Thirteen, The Prestige, Uptown Girls. A whole range of movies really. If someone was going to play you in a movie who would it be? I’d like to say Jarrod Leto or Jake Gyllenhaal. But I’ve been told Topher Grace What can we expect if we pop down to The Imperial over the weekend? A cast of dedicated performers who all love what they are doing and do it well. WHAT: Chicago WHEN & WHERE: Friday 31 August to Friday 14 September. The Imperial Hotel
FRONTROW@DRUMMEDIA.COM.AU
TRAILER
TRASH
WITH GUY DAVIS The film geek category is a large and inclusive one, allowing for many different subsets within it. So allow me to introduce you to a dirty, deformed and defective bunch of folks who pledge allegiance to a certain kind of movie: the successful flop. We’re the people who dig Ang Lee’s Hulk, who prefer Soderbergh’s Ocean’s Twelve to the others in that franchise, who give it up for Bryan Singer’s Superman Returns, who willingly revisit Peter Jackson’s King Kong. (To name just a few.) And yes, we’re well aware that Hulk has its pretentious aspects, that Ocean’s Twelve can come across like an excuse for Clooney and company to have a European vacation, that Superman Returns transforms the Man Of Steel into an emo stalker type and that Kong is basically a great 100-minute monster movie trapped in three hours of self-indulgence. But we’re willing to overlook these flaws because these movies also contain ingenuity, invention, passion and ambition, and that’s the kind of thing often lacking from other blockbusters of their ilk. And while these and other films didn’t exactly die at the box office, they didn’t set the world ablaze either. So they’re not exactly underdogs but they’re not exactly champions either… they’re misunderstood, shall we say. Maybe that’s why some of us hold them in such high regard. Because, hey, we’re misunderstood too. (Excuse me while I go weep in the bathtub.) Is there any movie this year that may join this distinguished company? Some people are whispering that Ridley Scott’s Prometheus is a misjudged masterpiece that’ll eventually be viewed the same way as the director’s Blade Runner, which was widely disparaged
declares the similarities between Private Lives and Stoppard’s Rough Crossing too strong to ignore, too helpful in this preparation to dismiss.
on its initial release. But the people saying that are idiots, and you’d do well to avoid them. No, the successful flop of 2012 is most definitely John Carter, Andrew Stanton’s big-budget, high-tech but defiantly oldschool adaptation of Edgar Rice Burroughs’ pulp-fiction yarns. It’s ill-advised to praise a filmmaker’s intentions rather than the outcome of their work – hell, McG probably had the desire to make a witty, action-packed romantic comedy when he rolled camera on This Means War, little knowing that he’d instead conjure up the cinematic equivalent of Cthulhu – but the movie that Stanton wanted to make is evident in every frame of John Carter. He wanted to make a rollicking, rip-roaring science fiction melodrama, an Indiana Jones with fantasy elements. And he clearly wanted to respectfully transpose Burroughs’ worlds from the page to the screen. Noble intentions, for sure, but like many filmmakers before him he was so enamoured of his source material that he lost sight of what the audience might want or need. Without wishing to sound naff, he gave too much. There are other flaws in John Carter – the action sometimes lacks verve and velocity; the fanciful terminology and lingo can seem a little cumbersome; Friday Night Lights star Taylor Kitsch, who has definite leading-man potential, does well but isn’t quite the right fit for the title role (two words: Hugh Jackman) – but co-existing with those flaws are its virtues: it’s truly immersive in its world-building and its gallery of races and characters, and it vividly evokes wonder and excitement and romance and heartbreak. In many, many ways, the ways that truly count in the long run, it’s a success, even if the initial box-office returns don’t say as such.
TOM & TOBY
Toby Schmitz tells Dave Drayton why he was too awkward to sleep with Tom Stoppard… When I meet Toby Schmitz – actor, playwright and director – to discuss his new play, I Want To Sleep With Tom Stoppard, he is in the midst of rehearsals for the Ralph Myer’s Belvoir production of Noël Coward’s 1930 comedy of manners,
Private Lives. A lovingly-worn and discernibly thumbed-through copy of Stoppard’s Rough Crossing, a comedy written in 1984 that freely adapted Ferenc Molnár’s The Play At The Castle, sits on the table in the middle of the room. Schmitz
It’s not just Stoppard though, or Coward. Throughout this conversation Schmitz will excitedly name-check Joanna Murray Smith, David Williamson, David Hare, Sarah Kane – the list goes on. This is a man who lives and breathes theatre, who has written a play about its place in our world. Naff? Maybe – but Schmitz has plenty of ammo for both sides of the argument that plays out on stage, framed by the story of a young actor bringing home his older girlfriend, also an actor, to meet the family, concerned parents with a ccertain disdain for the theatrical arts. ““When I started writing it five or six yyears ago I’d seen a lot of plays that were lacking an obvious metaphor w – some of them very good, some oof them very bad – that were just nnaked issues on stage. So I thought maybe I should write a play where m tthere is a naked issue on stage and I thought, ‘Well, what do I actually ccare about?’ And it’s not who gets tthe Whitley’s, or the end of the Howard era or anything, I just really H ddon’t care enough about that, but what I do care about is theatre. “Then I thought the issue could be theatre, and that reminded me that some of my favourite plays or films are about exactly that; The Libertine, or Stage Doors with Catherine Hepburn,” Schmitz cuts himself short, though you get the feeling the list is significantly longer. “There used to be a time when it
was totally cool to talk about it, and it wasn’t naff. I suspect some part of it is about the dwindling of theatre being that relevant in our lives any more as it was to say forty or fifty years ago when you had far more of these plays about plays on. I also suspect it’s a very Australian thing; that talking about art at all, in any format, is seen as a wank. Every cab driver and most adults I’ve ever met, and contemporaries even, or schoolmates feel that way; ‘But it’s not a real job’,” he teases himself in the voice of the naysayers. It seems Stoppard too is grounded enough to know there’s a crowd that just don’t ‘get’ theatre, and a chance meeting between Schmitz and the playwright led to some brilliantly witty self-deprecation from the great. “I met Tom Stoppard when I first started to write the play about five years ago, and he was very charming, and he said, ‘I’m just glad it’s not called I Want To Sleep During Tom Stoppard.’ I laughed and went red and that’s all I got out. Someone had told him I was writing a play, I didn’t even bring it up myself, so I had the double whammy of him being very witty and funny and me reeling from the fact that he knew I was writing a play called that anyway, and then my head going, ‘Does he think I’ve got the hots for him? Do I?!’ There’s one man…” WHAT: I Want To Sleep With Tom Stoppard WHEN & WHERE: Wednesday 29 August to Saturday 22 September, Bondi Pavilion
composed, and what it would look like, and how to actually achieve it.
AN INTERRUPTED TRAGEDY
Magic Mike
Director Katee Gaul talks to Dave ut The Lunch Hour. Drayton about Chris Aronsten’s new comedy, The Lunch Hour, takes as its premise a gaggle of co-workers writing a play about their unpopular boss in an attempt to win a playwriting competition. Their boss is also writing a play, one about the dysfunctional staff he watches over. It seems all the world’s a stage, or at least it is in this slice of nine-to-five, and every worker’s a writer. They say you should write what you know, and this office-space opus definitely has a dose of the autobiographical. The director for The Lunch Hour, Kate Gaul, brought Aronsten’s
There’s more Front Row
on the iPad
previous work, Human Resources, to life on stage in 2006, though their relationship – recreational and professional – extends back even further, and has a setting not dissimilar to that of Aronsten’s latest script. “Around about 1998, 1999, something like that, we met working in a call centre – it was actually a theatrical box office,” Gaul recalls, “I’m not going to tell you which one – but we did then work together in a number of different box offices, different arts organisations and I guess playwrights and directors find themselves attracted to each other,
so that’s how it all started. I found with a lot of those little part-time jobs I made very strong professional relationships relationships, but also quite strong friendships as well. I never underestimate any sort of situation you’re in. I guess that’s the lesson to take away from that.” It’s good advice, it seems, as Gaul clearly likes the challenge of Aronsten’s work, and their prior collaborations allow her a special insight into this new play – its perils and potential. “It’s a very ambitious play – a full-length play in two acts. It plays with form quite significantly; it’s a black comedy – and comedy is a very unusual genre in new Australian writing – and it’s got lots of good theatrical challenges for me as the director in terms of how the scenes are
“He has sophisticated use of language, themes of control and isolation, his theatricality and sense of theatre – it’s so witty – and I find his world view is qquite shocking, but there is a lot of humanity humani in there as well. The use of time tim as well, wordplay, the use of repetition, r the tempo and the punctuation punctua of every scene is quite rhythmic rhyt in the writing, and it can be quite as hard to embody those on stage s you’re trying to figure out who w these people are, so it’s a nice challenge ch for the director to be challenging challe the process between what they can see in the script and what w the to it.” three-dimensional actor brings bri The autobiographical – the struggles of the artist – again rears its it head when you get to the heart of the play, to the odd comedy that so appealed ap Gaul: “A comedy is an interrupted inter tragedy,” she reasons “Everybody in the play is yearning to achieve something – in this case in their artistic life – but there are lots and lots of obstacles that they have to overcome. The comedy comes out of the ways they try to overcome their obstacles and how they are thwarted and essentially then the human frailty that just gets in the way basically of people achieving their dreams.” WHAT: The Lunch Hour WHEN & WHERE: Friday 7 September to Sunday 7 October, Darlinghurst Theatre
46 • THE DRUM MEDIA
FEATURE TOUR
THE LAURELS Sydney sensations The Laurels have the release of their debut album, Plains, to celebrate and the quartet request the pleasure of your company to help them do so in true style. Being their first headline tour in a year, punters are bound to be frothing for the chance to clap them on and perhaps call out encouraging words during their set at The Annandale on Saturday 1 September. Hey, that’s also the first day of spring so there’s another excuse to get loose and show some flesh. But wait, there’s more! Not a free set of steak knives, but Witch Hats and East River in support making it well worth heading down to the venue early to secure some prime gig-viewing real estate!
FRONTLASH SILVER SCREEN SEDUCTION Moonrise Kingdom. See it at least once. That is all.
NOT MAKING SENSE The first taste of David Byrne’s collaboration with St Vincent comes by way of first single Who. Bodes well for the album (out next week), but why does the lovely lady look like she’s swallowed her toothbrush in the album artwork?
THE PITTS Slash @ Sydney Entertainment Centre pic by Josh Groom
Rose Tattoo @ Sydney Entertainment Centre pic by Josh Groom
SLASH FEAT MYLES KENNEDY & THE
CONSPIRATORS, ROSE TATTOO SYDNEY ENTERTAINMENT CENTRE: 25/08/12
Angry Anderson seems indecisive about the direction of his much-touted political career, but even after 35-plus years and a tragic thinning of the ranks, there’s nothing uncertain about Rose Tattoo’s delivery. Given their significance within Guns N’ Roses history, the headliner obviously played a role in their selection. Their loud, distinctly Australian bluesy rock was always a warmly
received soundtrack to a few brews. Even now a packed, sweaty pub is the most appropriate venue to witness them, but as Anderson vigorously swigged wine and engaged in political and rock-themed sermons, a brief tour of their history (Rock ‘N’ Roll Outlaw, closing We Can’t Be Beaten/Bad Boy For Love) ensued. Despite creating a minor stir after the list of questions journalists aren’t allowed to ask him anymore leaked online, said request is further indication of Slash’s desire to focus on the present and upcoming plans rather than dwell on the past. Now, with incredibly versatile vocalist Myles Kennedy and an efficient group of players at his disposal, the top hat-sporting one’s future seems assured. That said, intelligently, this twohour set had one scuffed-up cowboy boot in Slash’s history and the other in his solo career; anything less and the rabid, full room would have felt cheated. This straddling of eras was exhibited by opening salvo of new cut Halo, Guns’ Nightrain and Ghost from his star-studded 2010 solo endeavour, Kennedy ably substituting for Ian Astbury. Reaching heights Axl
never could and armed with the confidence to tackle crowd-pleasing anthems like My Michelle and Sweet Child O’ Mine (or material from Velvet Revolver’s oftoverlooked debut) without merely performing them by rote, Kennedy displayed his rapidly growing status as arena rock frontman, aided by his guitar-slinging partner-in-crime’s sizeable swagger. Kennedy also cleverly let others take centre stage, livewire bassist Todd Kerns handling lead vocals on Out Ta Get Me and Doctor Alibi, or during the extended guitar solo spots and jams. The latter fractionally tested the patience, and a Slash’s Snakepit song had younger punters scratching their heads. Many were more than willing to allow him the indulgence though, even when hitting the odd bum note, especially as, as expected, they closed with mass singalong Paradise City. Latest disc, Apocalyptic Love, was inconsistent, but if Slash keeps this band intact and fulfils their obvious potential, the press may eventually have little reason to ask about what’s been before and instead eagerly anticipate what’s next.
Brad Pitt’s brother Doug on Sunrise? Celebro-ty at its most baffling thanks to Virgin Mobile Australia’s latest creative campaign.
BACKLASH MY GENERATION
The following ageist lyrics from Iconopop’s summer anthem I Love It: “You’re from the ‘70s, but I’m a ‘90s bitch!”
YOU’RE FIRED They’ve axed the US version of The Office after eight seasons. Remember how much we all wanted to hate it? Now we can’t live without it. But at least Rainn Wilson and Mindy Kaling get their own shows now.
THE PITS Warning: Using hair removal cream under your armpits may result in chemical burns.
Brendan Crabb
themusic.com.au
THE DRUM MEDIA • 47
BABAGANOUJ, ROYAL BLOOD, THE GUPPIES
Die! Die! Die! @ The Standard pic by Josh Groom
THE WORLD BAR: 24/08/12
Friday nights at The World Bar are these huge, rambling, rock’n’roll affairs that start late and go on until the early morning. Touted as “the womb of the Sydney live music scene”, it’s the kind of place to which you can go to see one band and leave as a die-hard fan of about ten more. The Guppies are a wild, exuberant Newcastle band. This band played a relatively early set on the downstairs stage and drew rather less of a crowd than they deserved. Nonetheless, the band went through their “last set before the HSC” (as frontman Lachlan Morris announced with a wry smile) with admirable energy, generating plenty of dancing with their youth-in-revoltthemed tracks Bad Blood and Never Liked Mondays. This band is full of mad energy, excitement and fun, and no doubt have an incredibly bright future ahead of them. Royal Blood make these incredibly slick, heavy rock’n’roll tunes. Despite being just a two-piece, their sound is huge, with guitar and drum lines that seem to complement each other perfectly, the two sections working together to create a sound that seems rough, ragged and legitimately rock’n’roll. In contrast with some of the other acts reviewed here, this band have a kind of dark, ‘90s-rock edge to them - there’s definitely some Jack White in their vocals and lyrics. This band just exudes this dark, dangerous air - watching them is, as I’ve suggested, much like travelling back to the rock scene of the 1990s.
DIE! DIE! DIE!, THE GO ROLL YOUR BONES, SWEET TEETH THE STANDARD: 23/08/12
Thursday nights are always pretty quiet at The Standard, but this week we rocked up expecting noise. Initially disappointed by the relatively empty room, I had to remind myself that 8:30pm might have been a tad early to expect quality rioting. Eager to see headliners Die! Die! Die! at their second show in Australian promoting the new album, Harmony, we made our way across the room where we found a table close to the stage and settled in (and got excited) for some loud beats, heavy drums, muddy guitar and blaring vocals. Proving that a hot chick can drum just as well as the next guy, Sweet Teeth opened up the show to a scattered but keyed-up audience, delivering some quality garage pop rock and a few songs that may need some moral justification. After a short but sweet (teeth) set, Sydney band, The Go Roll Your Bones took over and several minutes of sound checking later asked the crowd to be “a bit more like family”, shuffling them closer to the stage. This was to the congregation’s benefit as the attractive foursome belted out raw rock’n’roll that lingered through psychedelic and pleased both the boys and girls in the crowd with Geordie Cargill’s beautifully sinister vocals. DIE! DIE! DIE! hit the stage promptly at 10:45pm, by which time the room was more or less full, bustling with an animated and surprisingly unisex crowd, proving that the New Zealand punk rockers dissuade no gender (or that Sydney chicks are just damn rad). The trio, with their minimalistic setup - Michael Prain on drums, Andrew Wilson on guitar and newby Michael Logie on bass - got straight into it playing through the first two songs without a break, as the crowd slowly edged nearer to the front of the stage until they were finally head-banging as the punk lords intended. Wilson exclaimed, “We haven’t played Sydney in such a long time and it’s our favourite fucking place! And that’s the truth!” before diving into the third song from their new album. Wilson spent the set jumping between the dancefloor and the stage, whipping his mic around and after a while lassoing the crowd together, much to their content. Their stripped-back, simplistic punk rock style was perfectly displayed in their performance of Harmony - to which the crowd formed a solid mosh with some amped-up girls throwing themselves into the mix with no fear. Thanking the fans for “putting up with us for a million years”, Wilson set his mic stand in the centre of the dancefloor and, dripping with sweat, bellowed from the ground for (what was planned to be) their last song. The crowd assembled around him, forming a moshing circle of sorts, taking turns singing into his mic and excitedly throwing themselves around. Thanking the crowd, Wilson returned to the stage in preparation for an exit, but the fans had other ideas. Taking the mic from the floor, one guy spoke into it exclaiming “one more!”. Seconds later another yelled out “two more!” then another “twelve more!” until the band conceded saying “alright thanks for having us” and played through another two songs. Moshing reached its most intense with a couple of girls 48 • THE DRUM MEDIA
knocked straight to the ground, but, the troopers that they were, bounced straight back up and back in. Wilson utilised the rest of the stage for the last songs, attempting to climb a speaker but not getting very far with a short cord. The band came together once more on stage, Prain looking like a wet zombie and Logie excitedly dishevelled, finished the roaring set and thanked their fans. The sweat-covered crowd, quite pleased with themselves and the band’s performance, dispersed rapidly into the corners of the room, amped up but exhausted, not quite ready to face a Friday. Hazal Alkac
BITCH PREFECT, SARAH MARY CHADWICK, RAW PRAWN, CONVENT THE RED RATTLER: 26/08/12
Tucked away in the industrial precinct of Marrickville, The Red Rattler has a knack for putting on nights dedicated to fringe artists, along with being one of the few venues unique for having a bar run by volunteers and a five-year environmental sustainability plan. The organisers of the night’s gig managed to snag a talented bunch that featured Convent first up, made up of three of the girls from Village Of The Damned, who have grown up to form an ensemble that takes inspiration from the book of Naked On The Vague. Although their set suffered somewhat from a lack of, um, rehearsal, there was something way cool about their nonchalant take on monotone, three-chord music. Raw Prawn provided the audience, which was sizeable by the time they hit the stage, with fast garage-punk, downward playing suburban drawl. Made up of other local acts (one of which is Holy Balm), their anti-pop wouldn’t have been as ironic if it wasn’t so catchy. I Like It was a standout moment and it was only a few songs into the set that they got the people up the front dancing and attracted some serious nodding from the people up the back. Sarah Mary Chadwick’s performance, the score to the most sorrowful breakup ever, was memorable not only because she looked pretty lonely on the stage with nothing but her Strat and voice for company, but also because the scattered audience didn’t seem to be paying her much attention either. This lent itself to some very poignant moments and despite the talk going on, there were a few people taking note as she swept through songs off her latest album, Eating For Two, telling stories of loneliness and heartache washed down with a shot of melancholy. The crowd ran for the stage as Bitch Prefect started playing without warning. The distinct Aussie barbequepunk sound of the three lads from Adelaide is a reminder that despite being broke and disenchanted and unemployed, you can still have fun, and it’s okay to be upbeat despite being down. Their sense of fun and cynicism on display, the band’s simple setup showed they have that intangible something that lots of bands, despite having good tunes, lack. Despite some lax guitar tuning for the closing song (I believe it was Bad Decisions) put a dampener on the set, it somehow added to their overall charm on the night and showed that you can fuck up but things will still be okay. Adam Wilding
Babaganouj make vibrant pop rock music. Despite the fact that much of the press about them seems to be mostly about guitarist Chuck Sales’ ill-fated art rock project, Yves Klein Blue, Babaganouj actually have little in common with their frontman’s old band. They’re sunny and unpretentious, with fuzzy, lo-fi arrangements and romantic boy-girl harmonies. Their lyrics are spectacular in a cute and irreverent kind of way - “Every time I say ‘hey’, you’ve got something bad to say”, or “Hold me in your hands/like a cigarette”. The epic, vintage electric guitar lines of Yves Klein Blue do however resurface (thank God) within Babaganouj’s pop/rock gems. Friday night at The World Bar is a place to discover some of the tightest, most exciting performing bands in the country. It’s a long, wild night full of music of all genres — from fuzzy pop rock to slick rock’n’roll, and all things in between. Jessie Hunt
SOMETHING FOR KATE, GEORGI KAY ANNANDALE HOTEL: 20/08/12
Georgi Kay kicks off proceedings with a short set utilising only an acoustic guitar and her fragile yet sweet voice. Her song, Lionheart, is a definite standout. Something For Kate grace the stage to the welcoming roars of the sold-out crowd and launch straight into a rockin’ version of Three Dimensions. New songs from the band’s upcoming sixth album, Leave Your Soul To Science, are thrown into the set, such as Eureka, The Kids Will Get The Money and The Fireball At The End Of Everything, which Paul Dempsey calls a fairly cheery song. The new songs are well received by the crowd and see the band take new directions and expand on their sound. Clint Hyndman’s drumming takes on a more spacious approach and he even uses an electric drum in the aforementioned The Fireball… Latest single, Survival Expert, is dedicated to The Annandale, where the band played their first Sydney show, with Dempsey remarking he’s glad the venue persevered to still be standing today. Classic songs Jerry Stand Up, Down The Garden Path, Anchorman, Monsters and Whatever You Want are greeted with much enthusiasm from the audience, who provide echoing backing vocals. The evening’s shenanigans are closed out with the legendary fan favourite, Pinstripe. A big highlight is when touring member Pip Branson joins the band onstage for an amazing version of Déjà Vu, playing guitar and switching to violin as the song reaches its crescendo. Dempsey provides another standout moment when he takes up his acoustic guitar and covers Sam Brown’s Stop!, becoming hauntingly beautiful as he flexes his vocal prowess.
LOON LAKE, GLASS TOWERS, CUB SCOUTS THE PATCH: 23/08/12
Cub Scouts have improved in leaps and bounds since this reviewer last caught them. Rather than empty, vacuous pop tunes, this set seemed to have some genuine emotion in it. Cub Scouts have a collection of new tracks that seem to have significantly more emotion and strength behind them. Unlike other shows they’ve played, this time the band — particularly frontman Tim Nelson — seemed to be genuinely thrilling in performing, which added to their performance. With gorgeous, wellorchestrated boy-girl harmonies and indulgent indie-pop keys, this band are irresistible for any pop junkie, and many in the audience were disappointed by the set being cut short by Nelson progressively losing his voice. Glass Towers kicked off their set in a dramatic fashion — with a rapid-fire drumbeat and flashing strobes going off before the intro had begun. The band has a tight, indie rock arrangement, featuring gorgeous and warm bass lines. Because of the rhythm-driven nature of the tracks and the poor sound engineering going on, the band’s vocals were largely indistinguishable for the set’s first few tracks. Their set was energetic, with the hall marks of indie rock — jumping, nodding and sweating. Though the band are neat and tight, they have a tendency to predictability; whilst tracks like Gloom and Jimunji were really enjoyable, others seemed quite formulaic. In true Loon Lake fashion, the Wollongong stop of their Thirty Three tour was straight-up, no-bullshit indie rock, with a rough, rootsy edge. The crowd seemed to swell and, after two sets of people mostly sitting down, seeing the whole crowd surge forward to make a kind of mosh was interesting. Again, it seemed to take a few songs for the venue’s sound crew to adjust the band’s vocals to an audible level, but once they did, the band sounded incredible, with upbeat, melody-driven tracks like Into The Office getting everyone dancing. This band is a study in good stage banter; with a casual demeanour and a gravelly smoker’s voice, frontman Sam told off girls texting in the front row, gave a loud appraisal of surf conditions — “We got here just in time for a surf, and it was about half a foot...fucking sick.” — and gave Wollongong a loud, warm shout-out: “How ya’ doing, Wollongong?” This band is incredibly underrated. They battled issues with sound and a fairly lethargic audience, but eventually, everyone seemed to wake up. From the addictive indie pop of Cub Scouts to the down-to-earth indie rock of Loon Lake, this show was certainly a mixed bag. Jessie Hunt
ZOOBOMBS, MESA COSA, SMASHEDDYBASH THE PATCH: 24/08/12
It was a miserable turn out for such a great lineup but Smasheddybash got the crowd warmed up by channelling Amanda Fucking Palmer sans eyebrows. They spread the good word on Tacos and delivered a surftastic three-chord grunge that wound its way through Cramps-style grooves to land at screamo 666 thrash. Mesa Cosa have a very clear ethos of “weirdcore 4 lyf”, and they play a brand of jungle punk, ear juice that lives up to it. A six-piece, with a sax, double guitars and double vocals, they produce layered melodic goodness. The vocals could do with a little more contrast at times, but their B-52’s meets System Of A Down vibe landed somewhere near a matured Bleeding Knees Club, which isn’t a bad thing. Extended groove-noodling jams splayed out to crazy clown land before winding back into a nice tight knit. Extra kudos to the lads for having a saxamaphone and staying entirely away from a single hint of ska.
The band quickly return to the stage for a blistering version of Electricity for their encore, with Dempsey remarking, “You guys are awesome. We should hang out every Monday.” Something For Kate’s long-awaited return to Sydney yields an incredibly memorable show full of classic songs, new favourites and plenty of laughs.
The 21st century schizoid men (and woman) of the Zoobombs may not have had any new releases, or have been on the road in years, but they still have that ethereal magic on stage. The glorious sight of a singer throwing a full windmill in total abandon was fucking great to experience. Quintessentially Japanese, their love for the performance turned what looked liked a ragged bunch of sleep-deprived schleps into a machine of noise exploration and wonder. From pop to punk to prog to passé, they covered all sounds possible, providing an opportunity for the crowd to get their spaz on, smooth groove, mosh like their hair was on fire, and gave us a funk awakening to climax on. The saxtastic squawks added to the already jangled mess, while the keys provided a depth that had been missing from the evening. It was also hilarious to hear a thick Tokyo accent say “Thank you, Wollongong.” The Zoobombs are one of only a handful of bands from the ‘90s that will one day be looked upon as cult classics.
Shayen De Silva
Kristy Wandmaker
It wouldn’t be a Something For Kate show without Dempsey’s trademark banter. “You wouldn’t really think it was a Monday,” he says between songs. “Thank you all for coming out to see us, I’m sure you’re missing out on something. What’s on now, The Voice?” When an audience member calls out to let Dempsey know Big Brother is on, he replies “Really? How did that come back? Actually, how did we come back?” He turns to his bandmates, who chuckle by way of reply.
themusic.com.au
MUSICAL THERAPY
What sort of music do you rely on to lift you up when you’re feeling down? Eric Grothe (vocals/guitar, Shinobi): I love listening to anything that’s from the heart in dark times. Very clichéd and we all know this, but it’s true! Music is therapy. Whether it be something with a positive punch like Downset’s Do We Speak A Dead Language? or, at the other end of the spectrum, something like The Sundays’ Static And The Silence. If it’s written from the heart, then it’ll reach the hearts of others. Though there’s nothing like a riffy, crunchy mongrel of a song to make you feel like the master of your domain again.
Ahead of Ratfest, a gig to the memory of the late Rod ‘Itchy Rat’ Hore and also raising funds for the Black Dog Institute, we caught up with representatives from some of bands on the bill to share their memories of the great man and also find out how loose this event’s gonna get.
RT: I can always rely on anything from The Clash or Crown Of Thornz. SM: Punk, hardcore, hip hop – anything from the street, anything that you know the person singing the lyrics has been through the same shit as you. Anything from the heart. KM: I like listening to music that I was into when I was a teenager, because it always puts a smile on my face - everything from Biggie to Pennywise to Naughty By Nature. But the one album that always lifts my mood would have to be Chili Peppers’ Blood Sugar Sex Magik! Rick Taylor (Restraint) & Kid Mac Share with us a fond memory you have of Rod ‘Itchy Rat’ Hore. Rick Taylor (bass, Restraint): I knew Rod for a long time. The kid always made me laugh and always had a new plan. As for a fond memory of Rod, it was every time I saw or spoke to him. I knew he was always going to bring a smile to my face. Scott Mac (vocals, Toe To Toe): Basically hanging out at shows in the early days or organising a car to go and pick everyone up so we could head to a show in Newcastle or down the coast – stories, laughs and payouts all round. Hanging out at the old Resist store. One big happy Sydney hardcore family.
Kid Mac: I have a few funny memories of Rod that are mainly funny nights out at the Coogee Bay Hotel, but the fondest memory would have to be Australia Day 2011. I had just got out of hospital from knee reconstruction surgery a few days before and both me and my neighbour, Nick Nass, had friends over for a BBQ. People were going back and forth between our houses and, because I wasn’t too mobile, Rod came and chilled with me on my balcony overlooking Lurline Bay in Maroubra. We listened to the triple j Hottest 100 countdown all the way from thirty down to one and so there were plenty of yarns in between that time. It wasn’t long after that we lost Rod, so that day will always stick with me. There was nothing but smiles that day.
Were you in attendance at last year’s Ratfest? If so, tell us about some of the fun stuff that happened. If not, where the bloody hell were you? EG: I have no idea where I was last August... Bloody good question. Pumped to be a part of Ratfest this year. Heard it’s a ball-tearer of a night and will be there for the long haul. RT: Unfortunately I could not make it to Ratfest last year as I was living in Canada at the time and could not make it back home. SM: Was there. Awesome night and a celebration of a true champion. Such a good vibe at the show and can’t wait for this year. KM: Unfortunately I missed Ratfest last year. I was touring in the US with Mickey Avalon at the time.
Have you played with any of the other bands on the Ratfest lineup before? Who are you most looking forward to catching on the night and what sort of crazy antics can the punters expect to be part of? EG: It’ll be great to see the Toe To Toe legends. I used to be in a band called Downtime and Billy Hughes (RIP) had previously been a guitarist for TTT. RT: I’m looking forward to seeing all the bands. It’s amazing that the bands have given up their time to support a great cause and remember the one known as Itchy Rat. No antics, just a whole lot of people having fun on a special night. Regardless of whether or not you knew Rod, come out and support the Black Dog Institute. Millions of people struggle with depression and we have to do the best to support the people in our community. SM: Don’t think TTT have played with these bands before. Looking forward to Kid Mac, keen to get my groove on and some of the SHC crew have got the moves. The dancefloor was on fire after the bands last year. Just looking forward to getting together with a good crew to remember a great friend and raise money for a great cause and take it from there. I would say there could be some shenanigans in the mix. KM: Never. I’m looking forward to it especially because it is such an eclectic bunch of bands all there for the same reason. Selina’s is going to be packed with hundreds of ours and Rod’s friends and everyone is there for a good time. It is a celebration of a friend’s life and also to raise awareness for an important thing so I think it is going to be a great party vibe. Knowing some of the guys in the other bands and myself, I would say there will be a lot of fun chaos going on on the dancefloor, backstage, onstage and anywhere else we may end up! WHAT: Ratfest WHEN & WHERE: Friday 31 August, Selina’s, Coogee Bay Hotel
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METAL AND HARD ROCK WITH CHRIS MARIC at St Marys. There will be six hours of metal from seven bands headlined by Perth’s finest, Voyager! Also appearing on the day are Katabasis, Rise Of Avernus, Hemina, Starforge, Not Another Sequel Just Another Prequel and The Blackened Beneath. That’s pretty damn impressive!
THURSDAY I have written this before the Save The Sando march so I don’t know its outcome yet. What I do know is that today is Johnathan Devoy’s final show there after sitting on that chair for over three years. What better way to bow out than with the launch of his solo record on the night. Film crews will be recording for a prosperity DVD so wear your nice clothes.
Hat Fitz & Cara Robinson Okay I promised a couple of weeks ago that I’d get back to you once I’d had a chance to smash through Wiley Ways, the new record from Hat Fitz & Cara Robinson a few times and this week seems as good a time as any to air my thoughts on ot. Well, firstly, it’s very good. I will admit, sheepishly, that I wasn’t exactly excited when I heard a few years back that Fitz was now performing with an Irish woman whose predominant musical input was going to be playing the tin whistle. Don’t get me wrong, the tin whistle is a great instrument, but alongside Fitzy’s gruff voice and gutsy guitar work, it seemed like it might be a little too incongruent. Or, more frankly, it sounded like maybe Hat Fitz was going to be settling down. Now most people who have seen the duo know that this is a fear that can be dispelled, and Wiley Ways proves it further. Fitz sounds exactly like he always has; his songs are slightly better and his guitar playing a little more pronounced, but the most striking thing now is how well Robinson complements Fitz; the sweetness in her voice isn’t too at odds with the harshness in Fitz’s, her blazing tin whistle has its place but doesn’t outstay its welcome and she just seems to lift these songs. The work of Jeff Lang in the producer’s chair shouldn’t be glossed over either; he’s made these songs shine beautifully in the most natural of ways. Hat Fitz has always been just about as good as Aussie blues gets for me, and Wiley Ways seems like another leap forward for the inveterate performer and his missus after their first foray together a couple of years’ back. Great stuff. Also, Fitz and Robinson have announced extensive tour dates in support of the release and rest assured plenty of them are happening in and around the greater Sydney region. Catch them at Lizotte’s, Dee Why Thursday 11 October; Camelot Lounge, Marrickville Friday 12; Katoomba RSL Saturday 13; Lizotte’s, Newcastle Sunday 14; The Keller, Harmonie German Club Canberra Thursday 25; Kidgeeridge Festival, Lake Conjola Friday 26; Illawarra Builders Club, Wollongong Saturday 27; Sydney Blues Festival Windsor Sunday 28 (2pm) and Lizotte’s, Kincumber later that evening. The biggest sell-outs in the history of boogie rock are coming back to Australia, thanks to a large supermarket chain who are presenting their tour and using it as a platform to advertise their low, low prices. Look, Status Quo probably totally suck now anyway (I’ve never seen them), despite the fact that they were once a pretty fucking great band, but I just don’t think I can support a tour backed by a supermarket chain; it just feels wrong. If you’re willing to take the risk, you can see Status Quo at the Hordern Pavilion on Wednesday 27 March, a date that is suspiciously close to Bluesfest 2013… I will say no more. I have early details of another Folk Uke tour that ought to be coming through Australia early in the New Year. If you’re not familiar with them, this act is the duo comprised of Cathy Guthrie (daughter of Arlo, granddaughter of Woody) and Amy Nelson (daughter of Willie), who perform irreverent tunes like Motherfucker Got Fucked Up, Shit Makes The Flowers Grow and I Miss My Boyfriend (look it up). The only date I can confirm at the moment sees the ladies playing The Basement in Circular Quay on Friday 4 January, but I’m sure there are plenty more to come. Jen Cloher has been pretty quiet of late, but she’s back in action with a national tour set for this November. She has a new record in the works – this tour will be in celebration of the first single from it – but more details on that when they come to hand. You can catch her with support from Courtney Barnett in the Front Gallery, Canberra on Thursday 1 November and The Vanguard Friday 2. 50 • THE DRUM MEDIA
FRIDAY
High On Fire With vocals that sound like a piece of steel dragged across concrete, Germany’s Cock & Ball Torture are masters of pitch-shifted porno goregrind and they’re bringing their rancid sound to our land for the first time in their 15-year career. Check ‘em out after you’ve sobered up from New Year’s on Friday 4 January at the Stag along with The Day Everything Became Nothing, Tortured and Festering Drippage, or at The Basement in Canberra the next day with the same lineup. Riffage kings High On Fire are on the way back for a lightning quick tour. If you like both Motorhead and Kyuss, then be at The Manning Bar on Saturday 29 September. Pencil Sunday 4 November in your rock diary as Westfest will be rocking the Lucky Australian out
Whoever thought Apocalyptica would get 20 years out of their cello metal? What started as an awesome tribute to Metallica has brought them seven albums down the line into a symphonic metal force all of their own. Tonight, pretend you’re a sophisticated European and head to the Hi-Fi for a dose of Finnish culture. Rise Of Avernus get the job of entertaining you first. Metal Evilution begin their monthly residency and promise to bring the best heavy metal out to the west at The Lucky Australian Tavern in St. Marys. Headlining are the mighty groove thrash experts Nekrofeist, who launch their awesome debut, Without Reserve Or Regret. Queensland melodic metallers Gorefield make their southern debut, death/doom titans Myraeth bring the atmosphere and Metreya bring their Sodom/Sacred Reich thrash attack. All this for just ten bucks and it’s all ages too! Club Fuck, well, if you’re lucky, is hosting their Hollywood Sleaze Ball tonight with The Prophets Of Addiction dropping in direct from Sunset Strip. With a pedigree that includes punk legends Total Chaos, Pretty Boy Floyd and Marky Ramone, they are more than qualified to lead the evening into
debauchery. Adding to the micro-environment fuelled by mascara and hairspray are Sunset Riot, Neon Heart, Sylvain and Pleasure Overload. Black Wire Records are hosting a sort of farewell show for Melbourne’s stoner punks Dead, who are heading off to tour Japan next month. Joining them are sludge rockers Battle Pope, No Art and Fat Guy Wears Mystic Wolf Shirt. It’s ten bucks, starts at 7pm, is all ages and BYO (if you’re old enough). Perth’s other prog heroes, Chaos Divine, play their first Sydney show tonight at The Stag. Apparently their beefed up version of Toto’s Africa is stunning so expect to see Andy from Lord down the front, hehe. Oh, and check out Smitty’s interview back a few pages.
SATURDAY Firearms, Life and Limb and Epics hit the Roxbury tonight. Album launches all round. The Levitation Hex are a pretty rad all-star effort featuring Adam Agius (Alchemist), Mark Palfreyman and Scott Young (Alarum), and Ben Hocking (Aeon of Horus). That should be enough to get you down to the Stag to check ‘em out. If not, hopefully seeing Anno Domini, The Seer and Starforge on the same stage will. Venom’s live offerings tonight include Dollarosa, Dirty Dezire, Graveyard Rockstars and Blackbreaks, who feature members of MM9, Insurge, Vae Victis and The Rumjacks. The Patch down at Fairy Meadow is putting on a massive album launch for hometown boys Nekrofeist. I’ve seen them destroy the stage there before so you’re in for a good night. Launching their EP alongside the guys will be Tensions Arise and support from the front comes from the mighty Red Bee and Canberra’s Shadows In Ruin, who kick things off at 7.30pm.
WAKE THE DEAD PUNK AND HARDCORE WITH SARAH PETCHELL Such Gold
OK hardcore fans! If there is one show that you CANNOT miss next week it’s the final Phantoms show on Sunday 2 September at the Bald Faced Stag. It is one of the best final show lineups that I have ever seen because not only are Phantoms headlining, but you also get to see Hopeless play with their new singer Mark “Mawds” Bawden, Forever Haggard (I have a feeling this is a supergroup of sorts which may possibly feature members of I Exist), Relentless, Warbrain, Endless Heights and Outsiders Code. The lineup is massive, it’s a Sunday afternoon, it’s cheap and it will be a show that will be talked about for a long time to come. Tickets are available now through Oztix, and it’s all ages. So that’s the big show you need to get to this week. Onto new releases, and there are HEAPS of them. In first place, Rochester, NY-based melodic punk band Such Gold are getting ready to drop their debut full-length and Shock have announced that they’ll be distributing it. Called Misadventures, this is the start of a massive trip for the band that have already gained a legion of Australian fans after touring with No Trigger last year. In fact their popularity has earned them a spot on the 2013 Soundwave lineup. Pick up the album when it’s released September 14 through Razor & Tie/Shock.
August is a real big month for Melbourne-based label Midnight Funeral Records. They celebrated their third anniversary this month and as a result the last week has seen them release a whole bunch of awesome records from a few of my favourite Australian bands. First up, there’s the highly anticipated follow-up to a stellar demo debut from Sydney’s Milhouse. The band have been hard at work and the result is a 7” titled Thrillhouse. To be honest, not much has changed. The first track is an excellent little ditty titled Cereal and that pretty much sets the tone for the rest of the release. Four tracks, 300 copies (though the limited solid yellow colour sold out pretty much straightaway) and heaps of positivity.
Chords, were pioneers in creating the now world famous “Fat Wreck Sound”, and have influenced hundreds of thousands of kids around the world to pick up an instrument and make some noise. Moreover this is a tour where it’s guaranteed that the band will only be playing the classics! Add to the mix the support of The Smith Street Band (who just seem to be everywhere at the moment) and this could be one of the best punk shows of the year. Catch the tour on Friday 30 November when it arrives at the Cambridge in Newcastle; on Saturday 1 December at Manning Bar in Sydney, or on Sunday 2 at UniBar in Wollongong. Tickets are on sale now.
The second takes music to the completely other end of the spectrum with a newly rejuvenated Ghost Town back on the scene. The Gold Coast quartet are releasing a 7” of their own through the label. It’s called Burning Skies, features three brand new tracks, and is up for pre-order now through the Midnight Funeral webstore, with all orders expected to ship in the second week of October. Did I mention that Dwid Hellion (Integrity, Irons, the dark lord himself) did the artwork? That in itself makes it a must own.
August 21 would have been the 60th birthday of Joe Strummer. And in order to celebrate the extraordinary life and career of this exceptional musician, Hellcat Records have unleashed a digital release titled Joe Strummer & The Mescaleros: The Hellcat Years. The album came out on his birthday in the US and a few days later locally. But as well as this digital release, the label will also be re-releasing Rock Art & The X-Ray Style, Global A Go-Go and Streetcore on September 28. These albums are from a period in Strummer’s career where he was undergoing an undeniable creative resurgence. If you’re thinking about getting the digital release, here’s what will tip you over. The digital release features three tracks from 2002 (right before Strummer passed away) where he teams up once more with The Clash’s Mick Jones for a benefit concert. Backed by the Mescaleros, the pair roar through The Clash classics Bank Robber, White Riot and London’s Burning. Definitely worthwhile checking out.
Also in new release news, Hobbeldehoy records have announced that they will be releasing the latest from Brisbane’s Arrows. The band have taken Australian and international underground audiences by storm with their honesty earning them a dedicated fanbase. Now, the band are teaming up with their US contemporaries, Empire! Empire! (I Was A Lonely Estate) for a split record that according to reports has been years in the making. The record is streaming now over on the Alternative Press website, and you can pre-order it domestically through the Hobbeldehoy webstore. Otherwise, the split will be unleashed on all good record stores as of September 14. Lagwagon are getting “back on the wagon” (as the press release so punnily says) and are heading back to Australia for a bunch of shows this November/ December. Here are some fun facts about Lagwagon: they were the first band ever signed to Fat Wreck
themusic.com.au
And last but not least for this week, if you were planning on buying a ticket to Soundwave 2013 in Sydney, sorry but it has completely sold out. And the third announcement hasn’t even been made yet! Though there was a tiny leak during the week that Gallows will be joining the lineup, which will be Australia’s first chance to catch the band with new vocalist Wade Macneil.
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URBAN AND R&B NEWS BY CYCLONE
ALL AGES WITH DAVE DRAYTON
Drake
Spit Syndicate Does it show our age (super old) if we reminisce about Who Framed Roger Rabbit? We think it does. Eloquently. To be clear: we are old enough to be reminiscing about a movie that was released in 1988. That means that when we refer to our boyfriends Spit Syndicate as “young”, you should remember everything’s relative. Fact is: The One Dayers are well into their 20s now and, indeed, well into their careers as rap musicians. Their peak, aside from their excellent debut Towards The Light, was comfortably 2011’s free mixtape Best Intentions Part 1. First: it sounded good. Second: it went places none of us expected. It was apologetic, a little pessimistic. It looked backwards. It was a little aimless. But all of these things were balanced against Nick and Jimmy’s natural presence and charisma. It was revealing, sure, but our hosts left with their reputations intact; indeed, their reputations enhanced. So it’s exciting to be able to talk about Best Intentions Part 2 that will be with us before the year is out. Then in 2013: a new album. Does it show our age if we’re surprised this album will be their third? We know you. Sometimes you drink a little more than you should. Social situations cause you mild anxiety but – all things considered – you can handle it. Your hips are too wide for your frame. You are prone to procrastination. You still read street press. We know you. This means that we also know, of course, how frustrating you find Nicki Minaj. She may well be one of the best rappers we have on the planet right now. Few are capable of reaching the heights she can on the mic. Her verses can be monstrous; album highlights on other people’s albums, raisons d’etre for her own. But – but! – her inclination to do some silly singing always gets in the way. Either that, or some other singer comes in and interrupts. Argh! It means that we have to sit through a million Starships just to get to Come On A Cone. Tiring. Don’t despair. Help is at hand: Vladislav Delay and AGF (the most famous producers in the world?) have put together 55 minutes of end-to-end Nicki verses. Just the verses. It’s relentless. It’s incredible. We’re still coming down. Odd Future… You can almost say it with a sigh, can’t you? (Perhaps we’re just showing our age again?) Maybe, though, our fatigue is misplaced. Yes, there are few people more boring than Tyler but there have been some triumphs this year. The Internet was one; it was a chance for those of us who don’t follow the crew closely to get a real taste of Syd Tha Kid. The OF Tape No 2 was solid. Of course, Frank Ocean remains the best. If last year was the beginning of the postOFWGKTA age, perhaps we are now entering the post-post-OFWGKTA age? Hm. If we are then, of course, we should book a plane to Los Angeles (for, like, 20 cents? Hello, carbon footprint!) and purchase some tickets (for, like, 20 cents? Hello, exchange rate!) to the Camp Flog Gnaw Carnival. The Wolf Gangers will be playing live, and the food provided will have all been chosen personally by your hosts. Maybe we should go? Before the post-post-post-OFWGKTA age catches up with us? The Avalanches have returned as internet pranksters. It’s been an exciting (irritating) journey trying to figure out whether there’s a new release and, if so, when it’s out (It’s only been 12 years and four Olympics – what’s a few months of messing around?). Anyway, we finally have a new demo: A Cowboy Overflow Of The Heart. You can download it from The Avalanches’ website. Skryptcha has a new clip out for the single Dance. It is not a good clip. There are jokes a plenty, and the main character is played by a television personality best known for reviewing video games. Happily, the album Mindful remains worth your time. Check it.
Canada’s multicultural urban scene, centred on Toronto, is so hot right now with Drake, who initially experienced fame as a kid actor in Degrassi: The Next Generation, and The Weeknd. For a big star, Drake – signed to Lil Wayne’s Young Money Entertainment – is awesomely avant-garde, even collaborating with The xx’s Jamie Smith. Admittedly The Weeknd, who unleashed a superb trilogy of mixtapes last year, has been quiet recently – or touring. But then there are the illwave producers in Drake’s clique, chief among them his bestie Noah “40” Shebib. One of Shebib’s illest songs? Jamie Foxx’s chilly Drake-featuring ballad, Fall For Your Type. Also in Drake’s crew are Boi-1da and T-Minus, both similarly making their mark independently. Now Canadian R&B superstar (and one-time folkstress) Nelly Furtado is mounting a comeback six years after her trailblazing Loose, which encompassed some of Timbaland’s finest work. Let’s hope she can, because the lead single, Big Hoops (Bigger The Better), didn’t exactly ignite. For The Spirit Indestructible, out next month, Furtado hired Rodney “Darkchild” Jerkins and Salaam Remi (Nas cameos on his Something). Indeed, though Furtado is affiliated with Canadian rappers like k-os, she’s shunned the T Dot’s happening studio talent. Canada’s urban acts have struggled to find success in the US. Drake beat the odds. The ‘90s rapper/singer/producer Saukrates (it’s a play on Socrates) floundered – despite an alliance with Redman - being signed and dropped by labels. Yet Canadian urban types are versatile. The SomalianCanadian MC/singer/muso/activist K’naan has a role as a corpse in David Cronenberg’s extraordinary film adaptation of Don DeLillo’s 2003 novel, Cosmopolis,
which presaged the GFC and Occupy movement. Robert Pattinson compellingly portrays Eric Packer, a swaggerin’ billionaire asset manager (or capitalist bloodsucker) who’s unravelling. Packer spends a day travelling across a congested NYC to his old barber in a stretch limo. He belatedly learns that his favourite rapper, the Sufi Brother Fez (K’naan), has died suddenly from a genetic heart condition, the funeral procession partially causing that traffic snarl. Packer is asked sardonically if he’s disappointed that Fez wasn’t shot. The rapper’s record company sees the event as a marketing opp. It’s a symbolic twist to a film about a powerful man disconnected from reality; one who abstracts, and speculates, but doesn’t feel. Packer can’t ‘keep it real’, only surreal. Drake, that King Of Existentialist Rap, would get it. The dude has celebrity, and money, but he’s miserable. Meanwhile, the underrated K’naan, best known for his hit, Wavin’ Flag (and appearing on Distant Relatives alongside Nas and Damian Marley), is due to shortly deliver Country, God Or The Girl. Guests include Nas, Bono and The Rolling Stones’ Keith Richards. There’s input, too, from Ryan Tedder. Ironically, Drake is co-producing a posthumous Aaliyah album for her manager/uncle Barry Hankerson’s Blackground Records. The emo MC has identified the Detroit soulstress, who perished in an air crash over a decade ago, as a major influence on his melodic rap-singing style, admiring her ‘gangsta’ edge. He has sampled her, and has Aaliyah tattoos. Drake raps on the newly-circulated Aaliyah number, Enough Said, helmed by Shebib, from the LP. Controversially, Drake opportunistically disses Chris Brown, with whom he allegedly brawled in a NY nightclub over Rihanna, mocking the relatively low sales of Brown’s Fortune. It is unfeeling, and Aaliyah’s fans think it’s in poor taste. The singer’s immediate family, as well as her seminal producers Timbaland and Missy Elliott, have distanced themselves from Blackground’s enterprise – and it does all sound suspiciously 2Pac-y, considering it’s about recycling, or contemporising, old demos. Entrepreneurialism gone wrong.
THE BREAKDOWN POP CULTURE THERAPY WITH ADAM CURLEY
No Zu Side by side, the new albums from Cat Power and Melbourne’s NO ZU appear as a countertop display in some trinket shop tucked into the NSW coastline. On a toilet stop off the highway, you’d browse glittered fairy statues and books on accessing tranquillity before coming to the pastel pink and purple records. Cat Power’s Sun, out this Friday through Matador/Remote Control, features a pixelated image of Chan Marshall transposed over a rainbow through a lavender sky. The cover of NO ZU’s Life, also out this Friday through Sensory Projects, is a gaudy collage, its marbled peach and pink backdrop resembling a sample of kitchen laminate, on top of which sits a square of pool-water pattern, the midsection of a bikini-clad body, a plastic bag, a sliver of an upside-down globe. Sun and Life: each is surely promising a metaphysical purpose and a whole lot of pan flute. The albums, however, do not come from a ribbon-flanked tourist stop but from metropolitan record labels dealing in the subcultural in Australia and America. That one of the promises above is made good (guess which) by each album, then, could come as some surprise. Both acts have an interest in exploring something outside of the physical and the individual, in looking for some collective peace or understanding. The real surprise is that, despite the surface similarities of their records, they are able to come to this search by opposing methods. NO ZU’s Life is the work of percussionist Nicolaas Oogjes along with a now core band drawn from Melbourne’s Rat Vs Possum, Oogjes’ former TTT bandmate Adrian Vecino, and additional collaborators. Anyone familiar with TTT and Rat Vs Possum can draw lines between the members and the record’s use of post-punk and no-wave percussion, shuddering and yelped vocals, funk rhythms and a ritualistic approach to
song structure. It’s a bombardment of the senses: music that is so much about the body but has so many parts – interweaving melodies, hyper-detailed percussion, the sheer volume of instruments including synths and sax – that it’s tempting to constantly be deciphering what’s taking place. The challenge here is to let that go. With repeated listens it becomes apparent the intention of Life is to explore what is universally shared. By grabbing often disparate sounds and images from recent history and throwing them together, melding them, turning them into a rhythmic meditation, the music transcends its many individual parts. Even listening to the record alone it’s impossible not to imagine yourself in a moving mass. The suburban images on the cover arranged as a ‘new-age’ collage is to imagine the same possibility for everything to transcend its origin. Marshall’s Sun is very much about the individual. She recorded and produced the album herself and played all instruments. Though the recordings are dense, built with piano and acoustic guitar and electronic beats, the songs are centred on Marshall as a singer and a lyricist, a focus that has not been maintained through the Atlanta-born performer’s career. In promotional material for the record, She even describes it as a “rebirth” and about “personal power and fulfilment”. Yet by concentrating on the self, Marshall comes to some place where the self means the universe. She views her life always through a prism of natural things outside herself: time and earthly things and “people just like you, people just like me”. Through the record Marshall layers her voice to the point where there is often no apparent base vocal track; she is not centred but everywhere. She interrupts herself, most notably on Always On My Own, when in its final moments she sings, “I want to live my way of living,” over herself multiple times. The album’s cover then, depicting a transparent Marshall gazing outwards – at both the rainbow and the world beyond the physical album – is also about transcendence. And so we’re back to the point where both albums are on the counter of a hippie stop-off, nestled amongst the dolphin posters and hemp purses. Then again, what was ever so funny ‘bout peace, love and understanding? Other than the pan flute.
themusic.com.au
Sleepmakeswaves The lovely folks over at Chatswood Youth Centre have lined up another ridiculously large night of heavy music for this Friday. Running from 6-10pm the gig features sets from Hold Your Own, Queenslanders Never Lose Sight, Hearts Like Wolves, Tear Down The Skies and Final Frontier. Entry is 12 bones. While we’re on the topic of loud interstate bands playing alongside awesome local bands on Friday night (see what I did there?) Victorian punks Dead are playing at Black Wire Records this Friday, and they’re joined by the crème de la crème of Sydney’s alt. scene, with Battle Pope, No Art and my personal favourites Fat Guy Wears Mystic Wolf Shirt all playing in support. Lastly, with what is sure to be a huge all ages show at Black Wire this Sunday from 3pm, we lined up Tim Adderley, drummer of instrumental rock behemoths sleepmakeswaves, who will be drowning the venue in their huge walls of sound, for a few questions. For the uninitiated, how would you describe sleepmakeswaves? Dark, moody, dynamic, powerful, explosive, delicate, emotional, sweaty… and that’s just Alex, Otto and Kid! The band plays instrumental post-rock music. Check us out on Facebook or sleepmakeswaves.com. You guys have been touring quite a lot this last year or so. How does the Australian all ages music scene compare to that overseas? The few all ages shows we did abroad were great and probably had better turnouts than at home. I’m surprised at how few all ages shows there seem to be these days, though I know it’s difficult for licensed venues to put them on. It’d be great to see more of them happening in larger venues more often. We’re always up for having AA shows on SMW tours here and overseas. Why do you think it’s important to play all ages shows? For me, they’re important to play because when I was 13 to 17 years old, they were the only gigs I could go to without forking out big money to see the larger touring bands. I used to flip through these very pages in Drum Media desperately looking for shows I could get into. I think it’s important to get exposed to a good live scene when you’re younger if you want to get into music. AA shows also gave me my first opportunities to play live before I could play in pubs. It’s arguably where most bands first get hooked on music and begin honing their chops. I think it’s an important scene to encourage and be a part of. What’s the best all ages show you attended as a young’n? When I was 13 I saw Tumbleweed supported by Powderfinger, Sidewinder and Henry’s Anger at the ANU Bar Canberra, back in 1995. This was the first show I ever attended. My brother worked at the venue. I got in for free, hung out backstage and met Tumbleweed after the show – it blew my mind. I still have my signed poster! The floor is yours, sell us Sunday’s show at Black Wire… 1. Watching Serious Beak alone is worth the $10 as it is. Seriously. 2. Watching Tim from Serious Beak play guitar is also worth $10. 3. I Am The Agent will probably destroy the shop if they don’t destroy themselves first… in a good way. 4. I haven’t seen 10k Free Men & Their Families, but I hear good things. Anyone remember Gameboy? 5. This is a killer lineup! Get down early and stay late! Support Black Wire Records so they keep putting on AA shows! Pick up some cool records and come say hi as well! Any tips for young musos? Be open to and influenced by all styles of music. Be professional and courteous to everyone you work with. Practice hard, work hard, play hard and have fun! allages@drummedia.com.au THE DRUM MEDIA • 51
GOOD OR SHIT?
BLOW
DANCE MOVES
QUALITY CONTROL WITH LIZ GALINOVIC
JAZZ/WORLD WITH MICHAEL SMITH
NEW CURRENTS WITH TIM FINNEY
WEDNESDAY 29
Alister Spence Trio – 505 The Universal Thump – Blue Beat Tim Stocker with Paul Derricott, Carl Morgan & Ben Waples – Studio Impermanent, Rozelle The Klezmer Divas
Delilah One of the great things about Googling shit is the way one search leads to another. The way Google’s somewhat spooky omnipresence takes into account (quite literally) everything you search and then proceeds to suggest things you may be interested in. The way you start at looking up True Blood and end at ‘vampire porn’. It’s a great big cyber adventure – travel in your chair. I don’t remember what I was searching for 12 months ago when YouTube suggested I might like a UK singer/songwriter going by the name Delilah. The track, Go, was a reworking of Rufus and Chaka Khan’s hit Ain’t Nobody. By reworking I mean that part of the original has been reworked with newly self-written material over music that traverses soul and dubstep. It’s slow, it’s sexy, and it’s dangerous. Thanks, YouTube, loved it. Naturally I wanted more and I proceeded to follow the artist, downloading two EPs and a mixtape as they were dribbled throughout the year on iTunes and, in the case of the mixtape, as a free download from her website. I actually signed to her mailing list so I could get whatever she dished out to her fans for my greedy little ears. Finally the album was released (in the UK, not quite sure how I managed to get it) and while I was disappointed to find that all the previous EP tracks were on there, she did offer a discount to those who had bought the EPs, which I thought was very civilised, and it did nothing to stop me enjoying every single track. Delilah was born in France as Paloma Stoecker and raised in London’s Hackney – this alone could be seen to explain how she is as refined as she is rough cut. Stunningly beautiful, fashionably alternative, fierce female, vulnerable young woman; it’s all there, in her look and her sound. This is pop music but not of the standard we are becoming used to, where everything seems to be either a kind of lightweight techno or R&B ballads that are hard to discern from each other, or a mixture of both. This is dubstep, drum‘n’bass, R&B, soul and acoustic. There are dancefloor burners and there are tunes to weep to and there is the occasional happy-love-time song that would sit perfectly on the soundtrack to a movie with Jennifer Aniston in it – and probably best played right about the time she realises she’s loved Owen Wilson all along. And Go is not the only impressive reworking of another musician’s song (FYI apparently Khan has heard this track and loves it), Love You So is a re-imagining of Finley Quaye’s Even After All (there’s a great Joe Goddard remix of this tune on Delilah mixtape 2-4 am) and there is an intense cover of Minnie Riperton’s Inside My Love. Perhaps what stands out about Delilah’s re-creations is that she makes them her own – they don’t sound like the originals. Chase & Status fans will already know Delilah. She’s accompanied them on most of their recent tours and collaborated with them on track Time – a song which did very little for me. But I doubt it will be long before everyone catches on to this young woman. I recently found myself in a situation where I was surrounded by people whose music tastes ranged from the hip hop-obsessive to the cheesy pop-monger. I produced Delilah’s debut album From The Roots Up and everyone was blown away. They all went off to start Googling her. I wonder where they ended up... 52 • THE DRUM MEDIA
Thursday night at 505 in Surry Hills, Sydney pianist and composer Jackson Harrison will be joined by New York City-based musicians saxophonist and composer Jacam Manricks, with whom Harrison has regularly performed since first visiting the Big Apple in 2004; bassist Desmond White and drummer Jochen Rueckert in quartet mode.
THURSDAY 30
Albare iTD – The Basement Phil Stack Trio – Spice Cellar Martin Place Anikiko & The Edge – The Rose Hotel Chippendale Ben Jones/John Harkins/Brendan Clarke/ Andrew Dickeson – Dome Bar Afro Nomad – Camelot Lounge The Alcohotlicks – CIT Music, Woden, ACT
This year’s winner of the Jann Rutherford Memorial Award, trumpeter, composer and band leader Ellen Kirkwood takes her ensemble, featuring Paul Cutlan on reeds, Adam Ponting on piano, New Zealander Tom Botting on bass and Alon Ilsat on drums, into the Sound Lounge in the Seymour Centre to present a work based on the classical Greek tale of Theseus and the minotaur, narrated by Ketan Joshi.
FRIDAY 31
The Klezmer Divas – singer Fay Sussman, violinists singer Lara Goodridge and Daniel Weltlinger, clarinetist Eddie Bronson, accordionist Phillippe Wittwer and Mark Harris on double bass – launch their debut album, Deep Is The Night (Tif Vi Di Nakht), a collection of Yiddish ballads, tangos and dance tunes through the prism of ‘30s swing era jazz, at Blue Beat in Double Bay, Sunday night.
SATURDAY 1
TUESDAY 28
AustraLYSIS – Sound Lounge Michael Griffin Quintet – Norton’s On Norton The Tango Saloon + Chaika – Camelot Lounge Martinez Akoustica with Rosie Henshaw – 505 Vince Jones – Lizotte’s Newcastle
Cameron Undy Trio Plus – 505 Caroline Nin: Hymne A Piaf – Riverside Theatres Parramatta The Universal Thump – Camelot Lounge John & Yuki – Well Connected Café Leichhardt Vince Jones – Lizotte’s Dee Why
SUNDAY 2
Mike Rivett Quartet + King Neptune – 505
Six Degrees – Mr Big Stuff Café Maroubra Greg Poppleton & His Bakelite Broadcasters – Concrete Blonde Kings Cross Vince Jones – Lizotte’s Kincumber blow@drummedia.com.au
James Valentine Quartet + Katie Wighton – Golden Sheaf Gadjo Guitars – Camelot Lounge Paul Sun Trio – Jazushi
THE SWAMP SHACK ROCKABILLY/PSYCOBILLY/ALT.COUNTRY WITH CHRIS RUHLE
WEDNESDAY
Don Hopkins is solo at the Cosmopolitan Café in Double Bay from 7pm while the Musos Club Jam Night hosted by Al Britton is unstoppable at the Bald Faced Stag Hotel from 8pm. The Velvet Set The Gangsters’ Ball is an event franchise that has become an institution in Sydney, Melbourne and Brisbane and is soon to go global with shows planned in Europe, Asia and America, including Casino dates in Las Vegas and Atlantic City. It’s a chance to step back into the classic fashion, style and humour of the 1930s and ‘40s and as such dress code is strictly ‘20s to ‘50s, that means Gangsters, Flappers, Molls, Burlesque, Vintage Glamour, Dance Hall Swing and Rockabilly. While there’s much attention as to what everybody is wearing there’s also lots of onstage entertainment with music from The Velvet Set and a cavalcade of cabaret, sideshow and vaudeville performers. Add to this DJs, a gambling den, merchandise stalls, cocktail bars and a vintage-themed photo booth and you have the ultimate flashback experience. The Gangsters’ Ball takes over the Metro this Saturday. Earlier this year Texas soulster and bluesman Eugene “Hideaway’ Bridges played to a sell-out and most enthusiastic crowd at Sydney’s Basement with his tribute to Sam Cooke show. A longtime admirer of Cooke and his extensive songbook, Eugene has been gifted with a gospel-flavoured voice that sounds remarkably like his hero. Back in Australia (it’s his 29th tour since 1999!) for the Gypmie Muster, Eugene will take his Sam Cooke show to Lizotte’s at Kincumber this Friday, the Basement this Saturday and the Brass Monkey on Sunday. Look out for a rare free performance from the much loved Handsome Young Strangers this Sunday at the Botany View Hotel from 6.30pm. The colonial bush punkers will be performing two sets with their special guests Grand Banks playing a spot in the middle.
THURSDAY
The Dubious Blues Trio jam like crazy at the Exchange Hotel in Balmain while the HP Coronados featuring Adam Pringle and Matt Morrison do likewise at the Harold Park Hotel.
FRIDAY
Muma Jane’s Blues Band host the Brackets & Jam at the Mountain Kiosk in Kincumber from 7pm. Johnny G & The E Types unleash some Memphis-style soul at the Schwartz Brewery Hotel (The Mac) in Surry Hills while the Sally King Trio get soulful at the Merton Hotel in Rozelle The Steve Edmonds Band play the Lakes Hotel at The Entrance and the The Backsliders with Reg and Pete from Dog Trumpet combine at the Vanguard. Stormcellar journey to the Orana Hotel in Newcastle.
SATURDAY
The Steve Edmonds Band go harbour cruising on the Rocks Rhythmboat, departing 11.45am from Pyrmont Bay Wharf with bookings essential on 0458080553. The Brooks Point Blues Band play the Raby Tavern from 8pm and there’s a Masterclass for guitar lovers at the Vanguard with Ray Beadle, Peter Northcote and Stu French. The Backsliders play Lizotte’s in Newcastle and The Bellhops rock the Collingwood in Liverpool.
SUNDAY
Finn rock the Bull & Bush in Baulkham Hills from 3pm while Adam Pringle Band headlines the Towradgi Beach Hotel from 3.30pm. Squeezebox Boogaloo unleash some classic zydeco at the Blue Plate Bar & Grill in Neutral Bay from 4pm. The Little Blues Festival featuring the Roller Coaster Blues Band takes over the Toukley Golf Club from 5pm.
themusic.com.au
Popcaan Last year I wrote about how, after half a decade of paying scant attention, I was surprised to discover that dancehall was hot again – energetic, theatrical and sonically bracing like it hadn’t been since the glory days circa 2003. Since then dancehall’s re-embrace of up-tempo electronic globalism has, if anything, only tightened, with a torrent of sonically thrilling riddims aimed squarely at the dancefloor while retaining dancehall’s habitual eccentricity. Here’s a sample of what’s been floating my boat. No current tune sounds more like 2003 than Popcaan’s Coolie Gal, riding the riddim of the same name: all sitar flash and fake Bollywood diva moans, and a frenzied, palsied back’n’forth eightbar structure perfect for building hype. At first I found Popcaan’s strained sing-songy choruses a bit weak, but his switches between high-pitched plaintive appeal (for sex, duh) and the thick, glottal menace of the verses, like the music, creates a tremendous sense of friction. Coolie Gal is joined by a brace of maximalist riddims matching early00s ethnodelic filigree with more 2012-like ravey synth work, from the urgent, frenetic Cranberry Riddim (check Mavado’s In This World) to the clanging factory works of Kling Klang Riddim (see Tifa’s Champion Bubbler). Often the best voicings of such grooves are those which swim against the tide of hyped-up insurgency – on the dizzyingly detailed and pounding Poolside Riddim the best performance is actually AiAsha’s sweet, R&B-inflected Si Mi Love Ya, narrowly edging out Tifa’s Hold On for the finest collision of rough and smooth. Not that Tifa should care given she’s had such an amazing year: check Ex-Man on the Love Bug Riddim, where she promises to teach the sex tips she’s learnt from a former lover (“You got di goods but you no know how fi use it/Come let me show you how fi batter and bruise it”). Cheeky seduction is always a good look for dancehall. With some exceptions, undisputed dancehall king Vybz Kartel is weakest when giving in to Auto-Tuned sing-songy flimsiness, and strongest when playing the sly lothario. On the excellent Lip Gloss he offers such pearls as “Lick ya lip like a modeling chick/Wind ya waist like ya wan’ broke ya hip” and reciting his favourite female make-up brands with a gangsta’s murderous seriousness. Di Genius’ TNS Riddim is a perfect foil, constantly darting between ominously pulsing electro and disorienting melodic and sonic effects. Di Genius’ other big tune, Bassline Riddim, is thrillingly kinetic, all bullfrog bass warbles and knocking snares, but oddly my favourite voicing is Gyptian’s relatively soft, sensual I Like It, toning down the sonic high jinks in favour of hypnotically soft synth pads. Not that there’s a lack of steroidal exuberance in dancehall this year, from the threatening (Mavado’s scorching Action Pak on the eponymously named riddim) to the effusive (Konshen’s truly marvelous Bun Satan, on the military drum bonanza of the Drum Corps Riddim). But the Caribbean summer is also a time for unambiguous summer riddims – uplifting beach vibes and exhortations to forget your worries and party. This approach can yield mixed results but I’ve fallen in love with a few examples, from Mr Vegas’ widescreen, carnivalesque Bubble (on Mercury Riddim) to Christopher Martin’s tearyeyed Give Thanks, a charming hymn of celebration over the Sun Hot Riddim’s gooey, sentimental synth chords. And sometimes dancehall can forge a connection in spite of itself: I’d found the Summer Wave Riddim a bit too obvious in its sunshine nutrasweetness, until I heard Beenie Man’s mammoth Jamaican Celebration, a near-insurgent call to arms culminating in a grand singalong chorus “BAP BAP BADAP BAP BADAP BAP BAP BAP BAP!” Only dancehall can walk the line between ridicule and brilliance so confidently; long may it tread the tightrope.
Tuesday August 28
www.fbisocial.com
FIRST LOOK SCREENING:
BAD ASS L2 Kings Cross Hotel 6pm // RSVP at firstlook@fbiradio.com for a free double pass
Saturday September 1
BLACKCHORDS Wednesday August 29
+ DRAWN FROM BEES
CLUB CAB SAV 8:30pm // $10 at the door
Thursday August 30
+ COLONIES 8pm // $10 at the door
THE FIGHTING LEAGUE
HANDS UP!
+CANNON
DJS STAGGMAN AND
+BEEF JERK
CLOCKWERK
+ KING TEARS MORTUARY FREE from 11:30pm 8pm // $10 at the door THE DRUM MEDIA • 53
HAVE YOU HEARD
COGEL Your music? An offshoot of whatever it is that people are calling indie these days. Which acts inspired you to produce your own music and why? The five of us come from very different musical backgrounds and it all gets thrown into the pot. Our violinist is classically trained but listens to a lot of Aussie hip hop. Our singer was born and raised in Belgium and he grew up on a lot of that smart slacker ‘90s pop like Pavement and The Lemonheads. Some of us love electronic music and post-rock. You get the idea. What’s your wildest ambition for your music? Play the first-ever gig under the sea. Or failing that, to actually make a buck out of music. Why should we come and see you? I heard our bassist Lloyd will be giving free haircuts after the set. No refunds. How do you find the local live scene? There’s plenty of variety, a heap of bands that have genuinely prosperous futures ahead of them such as Bearhug, Valar and The Rescue Ships. We’ve also been privileged enough to be involved in The Smallest Gig, a fantastic DIY gig initiative. What’s your greatest rock’n’roll moment? Playing to a room full of clowns, complete with unicycles, squirting flowers and novelty balloons. No word of a lie. Next available at: Jurassic Lounge Opening Night, Tuesday 28 August, Australian Museum; EP Launch Friday 2 November, Upstairs at the Beresford.
HAVE YOU HEARD
HEAVY HAUG My longtime buddy and former bullshitter of this here column, the one and only Andrew Haug has used his downtime after finishing his ten-year run as the host of triple j’s The Racket to put together Australia’s first-ever dedicated 24/7 rock and metal online radio station. Test streaming is now live on AndrewHaug.com and on the FB page too. He’s even got it on the TuneIn App should you wanna listen on your mobile device. The official launch date isn’t far away but check it out now for a taste.
SIXX & OUT It’s been a little while so it’s time to give you the latest on what Snake Sixx has been up to in the lead-up to the ridiculously highly anticipated, Itz All About The Riff mega album, which has unfortunately been delayed ‘til the end of the year. In the meantime, Sixx has officially released his first EP, Dethroned Emperor, which in fact sold 50 copies in the first ten minutes of it being available online! Said EP features four tracks, with guests including original Hellhammer/Celtic Frost sticksman Steve Priestly, Marc Grewe from Morgoth, the elsewhere-mentioned Ms Madden and a who’s who of the local scene such as Jamie Ludbrook (Damaged), Zoran Mrakic, Alchemist/ Levitation Hex mainman Adam Agius and the great Henry Fucking Rollins! Snake has his axe tuned to a bowel-releasing Drop A on this one so it’s heavy as fukk as he would say! Grab it via the lads from Quarterpipe Records or SnakeSixx.com.
After some seriously problematic years recently it’s good to see one of the countries most successful yet underrated rock bands, Grinspoon, shake off the cobwebs and get out there again. Their new album, Black Rabbits, is their seventh and first since 2009’s Six To Midnight. It will hit the streets on September 28 and is apparently lighter and more melodic. Phil’s obviously feeling a lot better these days. Good to see.
ARMED AND CHAMPIONS To celebrate the release of their first album, Animal VS Man, Brisbane’s Army Of Champions are meeting up with friends and playing some shows outside of their hometown in September. They’re heading to Sydney first up this Saturday for a quicky with good pals Firearms, who will be promoting their new 10” at the Roxbury Hotel. Also joining them will be Life + Limb and Epics.
Any shows coming up we should know about? Yep! We’re playing Hermann’s Bar Friday 31 August with Black Lakes and James Davies. 54 • THE DRUM MEDIA
SURE THING
Freshly signed to Ivy League Records with a hot little EP fresh out of the oven, everyone wants a piece of Sures and you can get your fix tomorrow (Wednesday) in the Rex Room at the Beach Road Hotel. They could be described as dream pop meets lo-fi surf rock with solid beats and reverb aplenty. Slicing up the stage with Sures on the night will be Battleships, a Sydney four-piece with evocative vocals matched with layered instrumentals. Also in support are Will & The Indians, a bunch of unlikely lads climbing the live scene ladder at a mighty speed.
ROCK THE BOAT This Saturday afternoon, the Steve Edmonds Band plays house band for the Rocks Rhythm Boat. Join the band for some civilised and rocking fun as the boat takes you on a cruise of Sydney Harbour. Steve Edmonds band will also be playing the Lakes Hotel, The Entrance this Friday.
What’s your wildest ambition for your music? Touring outside Australia would be wild. Also, to be the theme music for Network Ten’s upcoming series, Lara Bingle’s Masterchef Dance Rescue.
What’s your greatest rock’n’roll moment? The rare occasions we get a rider make us feel pretty rock’n’roll, but nothing beats threats of physical violence from ego-inflated club owners in regional towns (we’re looking at you Wagga)
Leadfinger have a fourth album in the bag and ready for release later this year. The selfproduced sessions found the band exploring the beauty of 12-string guitars and pushing their songwriting and production to the next level. To dust off the cobwebs and return to the real-world spontaneity of live music they’re playing two free gigs this weekend with The Delta Lions, this Saturday night at the Great Northern Hotel, Newcastle and Sunday afternoon at the sadly endangered Sando, Newtown.
Underground LA musician Steve Aoki has collaborated with some of music’s biggest names including Kid Cudi, Will.I.Am and LMFAO. His latest album, Wonderland, has been described as “a force to be reckoned with”, and since Aoki’s performances at Future Music Festival in 2010, Australians have been waiting for another opportunity to catch this guy. He’ll be launching Wonderland at the Oxford Art Factory Thursday night, supported by Melbourne’s The Getaway Plan.
Which acts inspired you to produce your own music and why? The National, Death Cab For Cutie, Arcade Fire, Charge Group, Sigur Ros, M83; all bands with originality, a unique vision and strong songwriting.
How do you find the local live scene? There are some great bands around at the moment but sadly not enough (small to midsize) venues so competition is fierce.
HEAVY DIGITS
AOKI IN WONDERLAND
Ambre Hammond invites you all on a journey as she presents music that can move you to tears and at the same time take your breath away, with her combination of fiery technical prowess on the piano and a unique approach to melody. Expect a platter of music from the classical repertoire, plus a few sides of contemporary, arranged compositions with a surprise guest or two in the second set, all combining forces to guarantee a night of explosive creation Monday 3 September at 505 in Surry Hills.
Your music is… Melodic, moody, energetic, dreamy indie pop/rock.
Why should we come and see you? We put a lot of time and effort into our live show and like to think we give people their money’s worth. Plus we are all very attractive.
To celebrate the release of her debut single, Shoestring, Dune will be playing a very special single launch at the Beresford Hotel this Friday. Shoestring is a track lashed with colour. Conjuring up images of bright feathers and war paint, Dune’s driving vocals soar over textured tribal beats creating an expansive, futuristic sonic vista laced with mythology and a post-apocalyptic vision. Dune is the new incarnation of Jade MacRae. Now, you’ve read the review, check her out in the flesh.
SOMETHING TO GRIN ABOUT
HAMMOND OF THE GODS
FOUND AT SEA
ON A BUDGET
FROSTY RECEPTION DRESS UPS
Sydney’s inaugural Dress Up Attack! is happening this Saturday. A newly-developed, not-for-profit, music and arts festival for children, Dress Up Attack! will provide a memorable day of family-friendly entertainment for children and parents. MC’d by Robbie Buck and with a musical lineup that boasts performances from Holly Throsby, local legends Spurs For Jesus, punk/nu-wave teddy bear band Teddy Rock and every kid’s fantasy dad, Spod. Dress Up Attack! will also host music-based workshops and activities throughout the day. Ticket prices start at $10. Pass-outs are available. Dressing up in costume on the day (adults feel free to don a costume too!) is encouraged but not required.
It’s refreshing to encounter an artist who meets the tenets of her genre as easily as Ruby Frost. From the sequins she adorns to her heartquenching tunes, Frost is a pop talent who looks to the likes of Björk and Kate Bush for inspiration, one whose natural ability has allowed her to ignore the formula. Frost plays as part of Movement this Friday at the Beach Road Hotel, supported on the night by Mrs Bishop (with full band).
THE YOUNG AND THE STRANGERS Handsome Young Strangers bring their colonial bush/punk tunes back to the Botany View Hotel, Newtown for a rare, free show this Sunday. They’ll be performing two sets with Grand Banks performing a set in between. The music kicks off at 6.30pm.
themusic.com.au
JOLLY ROGERS
Tim Rogers is the man with the tunes, chutzpah, style and stage ownership. The man we know, respect and love as the lead singer of You Am I. He’s well off from the dock with a new record, Rogers Plays Rogerstein and national tour, supported by alt.country and roots singer-songwriter Catherine Britt. The tour comes to the Factory Theatre in Marrickville Friday and the Abbey in Canberra Saturday.
SOUND OF SIRENS
Indie-folk darlings, Julia & The Deep Sea Sirens have resurfaced and are set to release their enchanting new single, Little Surprises, lifted from their forthcoming debut album, Family Pets, which is set for a formal release later this year. Known for her intimate and dynamic live performances, Julia has been compared to Sarah Blasko and Joni Mitchell. Little Surprises saw the outfit Unearthed through national youth broadcaster triple j, scoring an exclusive masterclass with Gotye and Adalita as part of the inaugural Sound Summit 2012. They play the Standard this Thursday with Jack Colwell, The Owls and Brendan Maclean. Entry is $10.
GUDU PREVIEWS
They may have been quiet for a while but that’s because the Chris Gudu Band have been busy in the studios working on their next album. Big news for Sydneysiders, you can catch a sneak preview of the new album at a one-off night at the Macquarie Hotel this Saturday. The music starts at 9pm.
RUNNING RINGS
THEORY OF EVILUTION
Metal Evilution start their monthly residency and promise to bring the best heavy metal out to the Lucky Australian Tavern, St Marys in Sydney’s west this Friday. Headlining are the mighty Nekrofeist launching brand new album, Without Reserve Or Regret. Queensland melodic metal act Gorefield come with big raps. Death/doom titans Myraeth bring the dark atmospheres and haunting melodies for the night, and kicking things off is the thrash attack of Wollongong’s Metreya. This is all for $10. Get down and get behind this event as they have many more great lineups coming up, but need your support to keep bringing the quality metal.
The World Bar presents Jam Tuesdays tonight with free entry from 8pm. Pablo Calamari headlines the night with his eclectic electronic music, while Andy & Mike and Speed Quizzing will also appear.
GLOVE STEP
The World Bar hosts a night of dubstep tomorrow (Wednesday), various DJs lighting up the night until late, including Glovecats and Smokin’ Joe Makhale. Entry is $5 from 9pm.
URBAN PROPAGANDA
It’s Propaganda time again this Thursday at the World Bar. Urby, Gillex, Dan Bombings and Jack Shit will all appear. It’s $5 entry from 8pm with free entry for students.
THRILL OF THE ORA
MUM’S THE WORLD
This Friday at the World Bar is MUM. A whole bunch of indie bands will be lining up to play including Royal Blood, Little Napier, Babahanouj, The Guppies, Flwrgn, Kilter, Wolfden DJs, Helmut Uhlmann and the MUM resident DJs. It’s $10 entry from 8-10pm and $15 after 10pm.
Chasing ORA, one of London’s most successful independent bands, have reformed in Sydney and are inviting us to join them for their debut Australian show at the Annandale Hotel on Sunday 9 September. Chasing ORA’s music is best described as hardhitting, female-fronted rock with a definite UK-indie influence. In celebration of their Annandale show, they are giving away free copies of their latest EP, titled Fair Ninjas Shoot, which is a fan-funded EP dedicated to their former member Joanna Jones.
ICING ON THE WEEK
Saturday at the World Bar is the clubilicious Cake, featuring a whole heap of DJs. This week’s lineup features Spenda C, D Funk, Paul Master, Daigo, Rubio, E-Cats, Bentley, T-Bo, Mike Hyper, Jo Gadget, Mars Monero, Neemo and Deckhead. It’s $15 from 8-10pm and $20 after 10pm.
There is a pretty handy lineup assembled for the FBi Social Club this Thursday. The Fighting League play a unique form of tropical punk not found anywhere else other than the nation’s capital. Cannon come from Queensland in order to bring garage/slopdog/popdog/punk/ friendship music to the Harbour City. And right from your own backyard are Beef Jerk and King Tears Mortuary, representing a rich vein of local music and the Sydney tradition of lending a helping hand to out-of-towners. Doors open at 8pm and entry is $10.
ANGRY CHUCK Mad Charlie will be returning to the Lansdowne Hotel this Saturday, along with Release The Hounds, RoadKill and Bellistik. The boys are gearing up for the release of a new EP, due early November, and they are spreading the word by handing out free copies of a sample CD with two songs from the new record. Get along to the Lansdowne on Saturday, grab yourself a copy and see what all the fuss is about.
LEGS AS WEAPONS
NINE AND FINE
FBi Radio launched way back in 2003. Pretty sure you had a giant emo fringe at the time. And now, they’re almost nine. Come along to the FBi Social this Friday and help them commemorate the highs, the lows and the other highs that have made the station what it is today. They’re throwing a party over three levels of the Kings Cross Hotel and the lineup is enormous, featuring among others Catcall, Fishing, Sures and a very secret headliner, so get your tickets for $15+BF through eventfinder and head to the Social from 8pm this Friday.
Name of person answering questions and instrument you play: Ricky Kradolfer – Lead vocals/guitar. Song title: Wait For You. What’s the song about? It’s based around the idea of stepping outside of yourself and analysing what exactly you’re doing and why, with a romantically nostalgic take on running away to some imaginary place in the search for something greater.
How long did it take to write/record? I never spend any more than a couple of hours if that ‘writing’ a song. I’ll usually know in the first ten mins if we’ve got something or not. Although, recording always takes longer than expected. Bass, drums and percussion on this track were the crucial elements as Wait For You is very much about the groove, so it took a little time to get that right. Once those bass and percussive elements were tight, the remainder of the song just slotted in around them. In all, recording Wait For You was probably a two-day adventure with some late nights.
The Soup Kitchen is open this Sunday at the World Bar. It’s an evening of house, disco and actual soup! What kind? You’ll have to front up to find out. The lineup this week features Manjazz, Deli, Junior & Ethan Winzer and Coutlette. It’s free entry from 7pm.
Unearthed favourites Bayonets For Legs headline the Oxford Art Factory this Saturday. The Sydney locals won a mountain of followers on the back of a sold-out national tour last year for their EP, Coloured Air. Their new material will be taken on the road with a national tour planned for December. Catch the four-piece warm up for the tour with this free show where you can witness the rare, natural stage presence they exude. They’ll be supported by fellow triple j Unearthed acts The Goldhearted and Braden Evans.
CITY RIOTS
Is this track from a forthcoming/ existing release? It’s the first single from our debut album, Sea Of Bright Lights, out October 26.
SOUPER DUPER
LEAGUE OF EXTRAORDINARY MUSIC
SINGLE FOCUS
OWLS TO CELEBRATE
Settling itself into the local business and arts district, Yours & Owls has, against all odds, has reached its second birthday and finally begun to grow up. With two years of art, music, coffee and wine under its belt, the time has come to celebrate. There’ll be live visual art, exhibitions, outdoor digital projections and, of course, a bit of rock’n’roll to get the party started Friday night, across three venues - Yours & Owls, Town Hall and Bluenote - featuring Step Panther, Alotta Presha, The Walking Who, Totally Unicorn, Let Me Down Jungleman, The Owls, Blackchords, My Little Underground, This Mess, Doc Holliday Takes The Shotgun and more.
What was inspiring you during the song’s writing and recording? Basically, anything out of Manchester from the ‘80s and ‘90s. There are also elements of my general fascination with guitar layers and reverbs and double-tracked vocals. We’ll like this song if we like… Dreamy, reverb-drenched guitars and layered, wet vocals. Do you play it differently live? Not really. We just try to play it how it was written and how it appears on the recording. Will you be launching it? The Wait For You tour kicks off Friday 31 August at World Bar! For more info see: www.facebook.com/cityriots.
SONGS AT THE SANDO Tonight (Tuesday) at the Sandringham Hotel, the guitar-led Adam Pringle & Friends bring their form of funky blues from 8pm. Tomorrow, Sisken River and Minnie Marks rock the Sando from 8pm. Both are free events.
SLOW MOTION This Friday, country-punks The Slowdowns will play some tunes and down some beers at the Petersham Bowling Club. Think five-part harmonies, gravelly vocals, tasty guitar picking and banjo bashing propelled by a bruising rhythm section. It’s $6 entry from 8-11pm.
STORM IN THE BASEMENT The Orana Hotel, Newcastle will be throbbing to the countrified boogie of Stormcellar as they make their return this Friday night. The band’s brand of roots and blues takes in influences from the mountains to the steamboats to the big city. The music starts at 8pm.
STRIKE A CHORD
To coincide with the release of the brand new single, Dance Dance Dance, Melbourne band Blackchords have hit the road showcasing songs from their forthcoming second album, due for release in November. The tour comes to Wollongong this Friday, with a show at Your & Owls as part of the venue’s huge second birthday celebrations. They play the FBi Social Club this Saturday with support from Drawn From Bees and Colonies.
KIDS IN SYDNEY Sex In Mexico make their return to Newtown’s Town Hall Hotel for Free Entry Selections Number Two, this Saturday. They are due to hit the stage around 10pm and will be preceded and followed by a bunch of other great local musicians. So get there early as the night kicks off at 7pm and stay late. It’s free entry.
themusic.com.au
REGULAR RADIO
It’s been three years since we last heard from Regular John, but they’re back with a new album and giving a special sneak preview at 2SER’s Live at The Loft. You’ll hear tunes from Regular John’s upcoming Strange Flowers album this Thursday from 5pm, and if you can’t be there, you can tune into 107.3FM and hear the whole thing broadcast live on your radio. THE DRUM MEDIA • 55
THU 30
TOUR GUIDE
PRESENTS
CHILDREN COLLIDE: Thursday 30 August, Entrance Leagues; Friday 31, Fitzroy Hotel; Saturday 1 September, Wollongong Uni Bar; Sunday 2, University Of Canberra; Thursday 5, The Crow Bar; Friday 6, The G (CSU UNi), Albury
THE LAURELS: Sep 1 Annandale Hotel XAVIER RUDD: Sep 6 Newcastle Civic Theatre, Sep 7 Waves Hotel, Sep 8 Enmore Theatre JULIA STONE: Sep 12 The Abbey, Sep 13 Lizotte’s Newcastle, Sep 15 The Metro THE MEDICS: Sep 12 Spectrum, Sep 27 Transit Bar, Sep 28 The Patch, Sep 29 Cambridge Hotel FAT AS BUTTER: Sep 22 Camp Shortland CLARE BOWDITCH: Sep 27 Lizotte’s Dee Why, Sep 28 The Factory TIM & ERIC: Oct 2 The Metro, Oct 3 Enmore Theatre MUMFORD & SONS: Oct 18 Sydney Entertainment Centre, Oct 26 Canberra Royal Theatre SYDNEY BLUES & ROOTS: Oct 25 – 28 Windsor
NATIONAL
THE SIDE-TRACKED FIASCO: Aug 28 Old Manly Boatshed ALPINE: Aug 29 The Patch, Aug 31 Oxford Art Factory, Sep 1 Cambridge Hotel, Sep 2 Transit Bar THE MEDICS: Aug 29 Station (Jindabyne), Sep 12 Spectrum, Sep 27 Transit Bar, Sep 28 The Patch, Sep 29 Cambridge Hotel, Oct 5 Great Northern ALBARE: Aug 30 The Basement CHILDREN COLLIDE: Aug 30 Entrance Leagues, Aug 31 Fitzroy Hotel, Sep 1 Wollongong Uni Bar, Sep 2 University Of Canberra THE BEAUTIFUL GIRLS: Aug 30 The Hellenic Club, Aug 31 The Metro, Sep 1 Entrance Leagues Club, Sep 13 Bar On The Hill, Sep 27 & 29 Great Northern, 5 Oct Metro, Oct 6 Anita’s (Wollongong), Oct 12 & 13 Mona Vale Hotel DON WALKER: Aug 30 Brass Monkey, Aug 31 The Vault, Sep 1 Notes JOE CREIGHTON: Aug 30 Lizotte’s Dee Why, Aug 31 Panthers Penrith, Sep 1 Blue Beat Bar & Grill Double Bay, Sep 2 Lizotte’s Newcastle SLEEPMAKESWAVES: Aug 30 The Patch, Sep 7 The Standard, Sep 8 Cambridge Hotel URTHBOY: Aug 30 Gearin Hotel, Sep 21 Oxford Art Factory PAUL GREENE: Aug 30 Lizotte’s Kincumber, Aug 31 Heritage Hotel, Sep 2 Front Gallery & Café MONKS OF MELLONWAH: Aug 31 The Patch 1927: Aug 31 Enmore Theatre TIM ROGERS: Aug 31 The Factory, Sep 1 The Abbey CITY RIOTS: Aug 31 World Bar FAIRCHILD REPUBLIC: Aug 31 The Northern Star Hotel, Sep 1 Spectrum, Sep 16 Sunday Safari BLACKCHORDS: Aug 31 Yours & Owls (Wollongong), Sep 1 FBi Social DREAM ON DREAMER: Sep 1 The Hi-Fi, Sep 2 Oasis Youth Centre, Sep 4 The Basement Canberra THE MCCLYMONTS: Sep 1 Enmore Theatre, Sep 22 Vikings, Sep 29 Evan Theatre, Oct 5 Newcastle Civic Theatre THE LAURELS: Sep 1 Annandale Hotel KING CANNONS: Sep 5 The Patch, Sep 6 Transit Bar, Sep 7 Annandale Hotel, Sep 8 Great Northern Newcastle GREENTHIEF: Sep 5 Cambridge Hotel (Newcastle), Sep 6 Yours & Owls (Wollongong), Sep 7 Lansdowne Hotel, Sep 8 Bald Faced Stag TIM HART: Sep 5 Front Bar & Gallery, Sep 19 Lizotte’s Kincumber, Sep 20 Lizotte’s Newcastle, Sep 21 The Vanguard, Sep 22 Yours & Owls, Sep 23 Clarendon Guesthouse NIKKO: Sep 6 The Phoenix, Sep 7 Lass O’Gowrie, Sep 8 King’s Cross Hotel XAVIER RUDD: Sep 6 Newcastle Civic Theatre, Sep 7 Waves Hotel, Sep 8 Enmore Theatre LANIE LANE: Sep 6 Lizotte’s Newcastle, Sep 7 Clarendon Guesthouse, Sep 8 Heritage Hotel, Sep 9 Brass Monkey, Sep 14 Milton Theatre, Sep 15 Canberra Street Theatre SEEKAE: Sep 6 & 7 The Basement Sydney LITTLE SCOUT: Sep 7 FBI Social STARLING: Sep 7 The Sando THE SMITH STREET BAND: Sep 7 Great Northern Newcastle, Sep 8 Annandale Hotel, Sep 9 Phoenix Lounge NAT COL & THE KINGS: Sep 7 The Vanguard, Sep 8 Fitzroy Hotel, Sep 14 Grand Junction Hotel, Sep 15 Heritage Hotel BABY ET LULU: Sep 8 Camelot Lounge BRUCE MATHISKE: Sep 9 Canberra Street Theatre JULIA STONE: Sep 12 The Abbey, Sep 13 56 • THE DRUM MEDIA
Lizotte’s Newcastle, Sep 15 The Metro FRONT END LOADER: Sep 13 Sandringham Hotel BIG TOUR Feat TUKA, DAILY MEDS and more: Sep 14 Oxford Art Factory, Oct 5 Cambridge Hotel, Oct 6 Hotel Gearin EMPERORS: Sep 14 Goodgod THE RED PAINTINGS: Sep 14 The Standard MIA DYSON: Sep 14 Lizotte’s Newcastle, Sep 15 Notes, Sep 16 The Abbey, Oct 6 Lizotte’s Central Coast VOLTAIRE TWINS: Sep 15 Spectrum BRITISH INDIA: Sep 15 Cambridge Hotel, Oct 26 the Patch (Wollongong), Oct 27 Fitzroy Hotel (Windsor), Nov 2 Manly Fisho’s, Nov 3 Standard FEELINGS: Sep 19 Beach Road Hotel, Sep 21 Goodgod POND: Sep 20 The Metro SASKWATCH*: Sep 20 Goodgod, Sep 21 Stoke Factory (Wollongong), Sep 22 Transit Bar (Canberra) THE RUBENS: Sep 20 Uni Bar, Sep 21 Metro, Oct 10 Hoey Moey (Coffs Harbour), Oct 13 Great Northern (Byron) SOUND OF SEASONS: Sep 20 Yours & Owls (Wollongong), Sep 22 Basement (Canberra), Sep 23 The Lair, Sep 26 Cambridge Hotel (Newcastle), Sep 27 Port Macquarie Hotel CHARLIE MAYFAIR*: Sep 21 Brighton Up Bar THE ANGELS: Sep 21 & 22 Bridge Hotel (Rozelle) CHICKS WHO LOVE GUNS: Sep 21 Standard, Sep 29 Yours & Owls (Wollongong) HEY GERONIMO: Sep 21 FBi Social, Sep 23 Hoey Moey (Coffs Harbour) DEERREPUBLIC: Sep 21 Oxford Art Factory, Aug 26 Yours & Owls POLO CLUB: Sep 21 World Bar THE PRETTY LITTLES: Sep 22 Annandale, Oct 18 Phoenix (Canberra) OH MERCY: Sep 26 Heritage Hotel, Sep 27 Cambridge Hotel, Sep 28 ANU Bar, Sep 29 The Standard, Sep 30 Clarendon Guesthouse CLARE BOWDITCH: Sep 27 Lizotte’s Dee Why, Sep 28 The Factory MATT WALKER: Sep 28 Candelo Town Hall, Sep 29 Heritage Hotel (Bulli), Sep 30 Notes THE BEARDS: Sep 28 Beach Hotel (Byron), Oct 24 Bar On The Hill (Newcastle), Oct 25 Wollongong UniBar, Oct 26 Baroque Bar (Katoomba), Oct 27 Beachcomber Hotel, Nov 2 Metro THE AMITY AFFLICTION: Sep 28 Newcastle Panthers, Sep 29 Big Top Luna Park, Oct 2 University Of Canberra REGURGITATOR: Sep 29 The Hi-Fi, Sep 30 Cambridge Hotel, Oct 4 Zierholz, Oct 5 Wollongong UniBar REGULAR JOHN*: Sep 29 Northern (Byron Bay), Oct 5 the Patch (Wollongong), Oct 12 Great Nothern Hotel (Newcastle), Oct 13 Annadale KARISE EDEN: Oct 3 & 4 St Stephen’s Uniting Church, Oct 6 Christ Church Cathedral Newcastle DAMIEN LEITH: Oct 6 State Theatre JERICCO: Oct 6 Annandale ICEHOUSE: Oct 10 Waves, Oct 11 Wyong Leagues Club, Oct 16 & 17 Dee Why RSL, Oct 30 Southern Cross Club, Oct 31 Rooty Hill RSL, Nov 2 Revesby Workers Club, Nov 3 Enmore Theatre PONY FACE: Oct 11 Junkyard (Maitland), Oct 12 Greenroom, Oct 13 Yours And Owls KATIE NOONAN & KARIN SCHAUPP: Oct 11 Lizotte’s Newcastle, Oct 12 Laycock Street Theatre, Oct 13 & 14 Street Theatre Canberra, Oct 26 Illawarra P.A.C., Oct 27 City Recital Hall SETH SENTRY: Oct 19 The Factory, Oct 20 Transit Bar
BASTARDFEST: Nov 9 & 10 The Basement Canberra, Nov 17 Sandringham Hotel
TUE 28 ABBY SMITH, GANG OF BROTHERS, DARREN JACK: The Basement - Circular Quay MANDI JARRY DUO: Maloneys Hotel - Sydney MICHAEL SCOTT, LANCE WHEAR, LAURA BISHOP, JASMINE BETH, LINCOLN DAVIS, + MORE: Harbour View Hotel - The Rocks PAUL MCGOWAN, RUSSELL NEAL: Merton Estate Hotel - Rozelle PAUL SUN, GRAHAM CONLON, ALEX COMPTON: Jazushi - Surry Hills ROB HENRY: Observer Hotel - The Rocks SAM MCCOOL, DAVE JORY + GUESTS: Harold Park Hotel - Glebe WED 29 ALEX GIBSON, GENE FEHLBERG: The Basement - Circular Quay ALPINE, CLUBFEET, GEORGI KAY: The Patch - Fairy Meadow ANDREW WISHART: Brass Monkey - Cronulla ANDY MAMMERS DUO: Maloneys Hotel - Sydney BENJAMIN LAM, DAVID MOULDER, HELMUT UHLMANN: UTS Loft Bar, UTS - Broadway
EYE ON YOU, INICIATE, SECOND NATION: Valve Bar & Venue - Tempe GAVIN FITZGERALD, DAMIEN CHAN, BETHIA THOMAS, TAOS: Coach & Horses Hotel - Randwick GIN WIGMORE: Heritage Hotel - Bulli JAMIE LINDSAY: Northies, Sports Bar - Cronulla JESS DUNBAR: Summer Hill Hotel - Summer Hill JOSH MCIVOR: Mean Fiddler Hotel - Rouse Hill KATE LEAHY, GREG SITA: Cat & Fiddle Hotel - Balmain MISS PIA, PAT CAPOCCI COMBO, THE ASTON MARTINIS, DJ BRIAN: Rock Lily - The Star - Pyrmont PETER HEAD: Harbour View Hotel - The Rocks ROLAND K SMITH & THE SINNERS, THE GREEN MOHAIR SUITS, EMMA SWIFT, ADAM YOUNG: Sandringham Hotel, upstairs - Newtown SURES, BATTLESHIPS, WILL & THE INDIANS: Beach Road Hotel, Rex Room - Bondi TEXAS IN JULY, OR ALL ETERNITY, PARADISE FOUND, ALLAY THE SEA: The Loft Youth Centre - Newcastle
DREAM ON DREAMER: Saturday 1 September, The Hi-Fi; Sunday 2, Oasis Youth Centre (all ages); Tuesday 4, The Basement, Canberra
BRAD MYERS, LUKE ROBINSON, JASMINE BETH, RUSSELL NEAL: Cookies Lounge & Bar - North Strathfield CARL FIDLER: Observer Hotel - The Rocks DAN SPILLANE: Coogee Bay Hotel, Beach Bar - Coogee DAVE SEASIDE: Artichoke Gallery Café - Manly DRESSED TO CHILL, AIMEE FRANCIS, DAVE SATTOUT: The Vanguard - Newtown
themusic.com.au
THE BEAUTIFUL GIRLS, THE MEDICS: Station Resort - Jindabyne THE UNIVERSAL THUMP: Blue Beat Bar - Double Bay TIM HILL, ALLON SILOVE, JACOB PEARSON, BEN & THE SEA: Lizottes, Newcastle - New Lambton
AFRO NOMADS: Camelot Lounge - Marrickville ALBARE: The Basement - Circular Quay ALPINE, CLUBFEET, GEORGI KAY: Oxford Art Factory, Gallery Bar - Darlinghurst ART OF SLEEPING, TIGERTOWN: Yours and Owls - Wollongong CALLING ALL CARS, THE LAYZ’S, HAILER: Rock Lily - The Star - Pyrmont CELLAR JAZZ JAM Feat. PHIL STACK: The Spice Cellar - Sydney CHILDREN COLLIDE: The Entrance Leagues Club - Bateau Bay COBY AND THE REMEDY, 3 SPEED DOG BOX, SABRE: Valve Bar & Venue - Tempe COL FINLEY: Lizottes, Newcastle - New Lambton DON WALKER, ROY PAYNE: Brass Monkey - Cronulla ELEVATE: Scruffy Murphys - Sydney EVA-MARIA HESS, DAN CRESTANI, HELMUT UHLMANN: Mars Hill Café - Parramatta FANNY LUMSDEN, JACKSON MCLAREN, LILY SO: Hellen Rose Schauersberger Lab - Surry Hills GOODNIGHT DYNAMITE: O’Malleys Hotel - Kings Cross INTO THE MYSTIC THE MUSIC OF VAN MORRISION feat, JOE CREIGHTON: Lizottes, Sydney - Dee Why JOHNATHAN DEVOY, + SPECIAL GUESTS: Sandringham Hotel, downstairs - Newtown JOSH PYKE, + SPECIAL GUESTS: Annandale Hotel - Annandale KRISHNA JONES: Marlborough Hotel - Newtown MARCELO D’AVILA: Artichoke Gallery Café - Manly MARIA MINERVA: GoodGod - Sydney MATT JONES TRIO: 3 Wise Monkeys - Sydney MEN WITH DAY JOBS, EMAD YOUNAN, DARREN PAUL, OLIVER GOSS, MICHAEL SCOTT, RUSSELL NEAL: King Street Brewhouse - City MIKE MATHIESON DUO, CHRIS ALEXANDER: Bankstown Sports Club - Bankstown NICK DOMENICOS, SPENCER MCCULLUM, RICHARD MURPHY, TAOS: Kogarah Hotel - Kogarah NICKY KURTA: Harbord Beach Hotel - Harbord PAUL GREENE & THE OTHER COLOURS: Lizottes, Central Coast - Kincumber PETER HEAD: Harbour View Hotel - The Rocks REGULAR JOHN: The Loft, UTS - Broadway RESTLESS LEG, DEATH MATTEL, ALPHABET CITIES: Lansdowne Hotel - Chippendale
RUBY FROST, MRS BISHOP: Beach Road Hotel, Rex Room - Bondi SHADY LANE, PLAYWRITES, COLOUR CODING, MARCH OF THE REAL FLY, BELLE & THE BONE PEOPLE: Oxford Art Factory - Darlinghurst SONS OF MERCURY: Bull & Bush Baulkham Hills STARBOARD CANNONS, FRANK SULTANA, JOHNSONG: The Vanguard - Newtown STEVE TONGE: Observer Hotel - The Rocks TEXAS IN JULY, FOR ALL ETERNITY, BENEATH THE CROWN, NEVER LOSE SIGHT: Vegas Lounge - Darlinghurst THE BEACH BOYS: Allphones Arena - Homebush THE BEAUTIFUL GIRLS: Hellenic Club - Woden, ACT THE DRIFTING, HALFWAY HOME BUOY, 2 PICKS, NO STICKS, HIDDENACE: Sandringham Hotel, upstairs - Newtown TIM ROGERS, CATHERINE BRITT: Milton Theatre - Milton
FRI 31 1927, SPY V SPY: Enmore Theatre - Enmore ABBY DOBSON, ELLIOTT THE BULL: Lizottes, Sydney - Dee Why ALPHA MAMA: The Mac (late) - Surry Hills ALPINE, CLUBFEET, GEORGI KAY: Oxford Art Factory - Darlinghurst APOCALYPTICA, RISE OF AVERNUS: The Hi Fi, Entertainment Quarter - Moore Park ARMCHAIR TRAVELLERS DUO: Coogee Bay Hotel, Beach Bar - Coogee ART OF SLEEPING, TIGERTOWN: Clarendon Guest House - Katoomba AUSTRALYSIS, SANDY EVANS, GREG WHITE: Sound Lounge, Seymour Centre - Chippendale BNO ROCK SHOW: Crows Nest Hotel (late) - Crows Nest BRIAN MANNIX, SCOTT CARNE, DALE RYDER: North Sydney Leagues Club - Cammeray CARL FIDLER: Observer Hotel - The Rocks CATCALL, FISHING, SURES, BON CHAT, BON RAT, CHARGE GROUP, ALBATROSS, + MORE: Kings Cross Hotel - Kings Cross CHAOS DIVINE, DATURA’S CURSE, AVARIN, HEMINA: The Wall, The Bald Faced Stag - Leichhardt CHILDREN COLLIDE, DUNE RATS, BAD DREEMS: Fitzroy Hotel - Windsor
CITY RIOTS: World Bar - Kings Cross DENNIS DEMELLO: Oasis on Beamish Hotel - Campsie DON WALKER: Vault 146 - Windsor DOUBLE BARREL: East Hills Hotel - East Hills DUNE, PHEBE STARR, JORDAN MILLAR, DJ HANSOM: Upstairs Beresford - Surry Hills ELEVATE: Stacks Taverna - Darling Harbour EUGENE HIDEAWAY BRIDGES: Lizottes, Central Coast Kincumber FIONA LEIGH-JONES DUO: Harbord Beach Hotel - Harbord FOLLOW ME DJs: The Forbes Hotel, Level 3 - Sydney FRESHLY SQUEEZED, OZI BATLA, SKY’HIGH, P.SMURF: Annandale Hotel - Annandale GREEN DAY SHOW: Towradgi Beach Hotel - Towradgi HELLO CLEVELAND: Quakers Inn Quakers Hill HOT AUGUST NIGHT - 40 YEARS ON: The Basement - Circular Quay JOHNNY G & THE E-TYPES: The Mac - Surry Hills KINGSWELL, DJ URBY: Rock Lily - The Star - Pyrmont LAST STAND - COLD CHISEL SHOW: Ettamogah Hotel - Rouse Hill LEAH MENCEL, GIRLTHING DJs, ASTRIX, + MORE: Candy’s Apartment - Potts Point LIVING CHAIR: Bull & Bush - Baulkham Hills MARK DA COSTA & THE BLACK LIST: Miranda Hotel - Miranda MARTY STEWART: Abbotts Hotel - Waterloo MATT JONES DUO: Hillside Hotel - Castle Hill MATT PRICE DUO: Revesby Workers - Revesby MEN WITH DAY JOBS, TWO SCREWS LOOSE, WHITE OCEAN AVENUE, SEJON IM, BITY BOOKER, RUSSELL NEAL: Cat & Fiddle Hotel - Balmain MENTAL AS ANYTHING, THE VIEW: Brass Monkey - Cronulla MIKE MATHIESON DUO, CHRIS ALEXANDER: Sutherland United Services Club - Sutherland NEKROFEIST, GOREFIELD, MYRAETH, METREYA: Lucky Australian Tavern - St Marys PAT CAPOCCI COMBO: Town Hall Hotel - Newtown PEACEMEAL, THE PATRIOTS, WHITE SABRE, BLUE POWER PARROT: The Loft Youth Centre - Newcastle PHOTEK, DAMIEN OSBOURNE, NICK ROBBINS: Chinese Laundry - Sydney RADIATORS, CHOSEN FEW: O’Donoghues - Emu Plains RENAE STONE: Customs House Bar - Circular Quay
ROADCASE: North Richmond Hotel North Richmond SALLY KING & SAMETRIBE: Merton Estate Hotel - Rozelle SAM & HEATH TRIO: Kirribilli Hotel - Kirribilli SIMON CALDWELL: The Spice Cellar - Sydney SPLIT SECONDS: The Standard - Darlinghurst STEP PANTHER, THE WALKING WHO, ALOTTA PRESHA, FAIT ACCOMPLI, LET ME DOWN JUNGLEMAN + MORE: Yours and Owls - Wollongong STEVE EDMONDS BAND: Lakes Hotel - The Entrance THE BACKSLIDERS, REG AND PETE (DOG TRUMPET): The Vanguard - Newtown THE BEAUTIFUL GIRLS: Metro Theatre - Sydney THE CIVILLIANS, DHARMA SUTRA, JAMES BLOWS: Oxford Art Factory, Gallery Bar - Darlinghurst THE GOOD STUFF: Scruffy Murphys - Sydney THE NEW CHRISTS, HITS!, BRUCE!: Sandringham Hotel, upstairs - Newtown THE ROCK-A-HOLICS: Club Engadine - Engadine THE SLOWDOWNS: Petersham Bowling Club - Petersham THE TANGO SALOON, CHAIKA: Camelot Lounge - Marrickville THE VILLAINS: Heathcote Hotel - Heathcote TIM ROGERS, CATHERINE BRITT: Factory Theatre - Enmore TONGUE AND GROOVE: Marlborough Hotel - Newtown TROLDHAUGEN, DEMON FOETAL HARVEST, SARALISSE, BLATHERSKITE: Valve Bar & Venue - Tempe TROY CASSAR DALEY, HARMONY JAMES: Belmont 16’s - Belmont TRU LIES: Warners at the Bay - Warners Bay VINCE JONES: Lizottes, Newcastle - New Lambton WE ROB BANKS, BREAKWAY, SABOTAGE DJs: The Forbes Hotel - Sydney
SAT 01 ABBY DOBSON, ELLIOTT THE BULL: Lizottes, Central Coast - Kincumber ALFREDO MALABELLO: King Street Brewhouse - City ALPINE, CLUBFEET, GEORGI KAY: Cambridge Hotel - Newcastle ARCHIE & FRIENDS: Merton Estate Hotel - Rozelle ART OF SLEEPING, TIGERTOWN: GoodGod - Sydney BACKSLIDERS, DOG TRUMPET: Lizottes, Newcastle - New Lambton BAYONETS FOR LEGS, THE GOLDHEARTED, BRADEN EVANS: Oxford Art Factory, Gallery Bar - Darlinghurst
BDON, SPIRAL CONSPIRACY, MONCHICHI: The Forbes Hotel - Sydney BEARS WITH GUNS, EDEMA RUH, LIAM GALE & THE PONYTAILS, OLIVER THORPE QUARTET: Gaelic Club, 1st Floor - Surry Hills BEATNIX: Blacktown RSL. Celebrity Room - Blacktown BOOGIE FEVER: Beach Palace Hotel, Cider Room - Coogee CAMERON UNDY TRIO: 505 - Surry Hills CHILDREN COLLIDE, DUNE RATS, BAD DREEMS: Uni Bar, Wollongong University - Wollongong CHRIS GUDU BAND: The Mac - Surry Hills COVER NOTES DUO: Riverwood Inn -Riverwood CREEDENCE & FRIENDS: Jewells Tavern - Newcastle DAN BEAZLEY: The Mark Hotel - Newcastle DAVE TICE & MARK EVANS: Sandringham Hotel, downstairs (arvo) - Newtown DAVID CAMPBELL: Revesby Workers, Whitlam Theatre - Revesby
JEREMY EDWARDS & THE DUST RADIO BAND, GLENY RAE VIRUS & THE TAMWORTH PLAYBOYS: Katoomba RSL -Katoomba JOHN MELLENCAMP & BRYAN ADAMS SHOW: Bull & Bush - Baulkham Hills KAFE KOOL: Fairfield RSL, Supper Club - Fairfield LEADFINGER, THE DELTA LIONS: Great Northern Hotel - Newcastle LUNAR MODULE, POM POM, KORO, INERTIA: The Square - Haymarket MAD CHARLIE: Lansdowne Hotel - Chippendale MAD COW: Campbelltown Catholic Club, Club Lounge - Campbelltown MARK SEYMOUR: Brass Monkey - Cronulla MARTINI CLUB: Crows Nest Hotel (late) - Crows Nest MASKETTA FALL, SET IN MOTION, WE SAVED THE PARTY: Factory Theatre (afternoon) - Enmore MASTERCLASS feat., PETER NORTHCOTE, RAY BEADLE, STUEY FRENCH: The Vanguard - Newtown
FAIRCHILD REPUBLIC: Friday 31 August, The Northern Star Hotel; Saturday 1 September, Spectrum; Sunday 16, Sunday Safari
DELOREAN TIDE, EMPRA, SMOKIN MIRRORS, THRUSH: Sandringham Hotel, upstairs - Newtown DON WALKER: Notes Live - Enmore DREAM ON DREAMER, LIKE MOTHS TO FLAMES + MORE: The Hi Fi, Entertainment Quarter - Moore Park ELLEN KIRKWOOD BAND: Sound Lounge, Seymour Centre - Chippendale EMPIRE RISING, COSMIC KING, HIGH NOON, STONE ARC: Valve Bar & Venue - Tempe EUGENE HIDEAWAY BRIDGES: The Basement - Circular Quay FUNKSTAR: Marlborough Hotel - Newtown FURNACE & THE FUNDAMENTALS, SOSUEME DJ’S, JOYRIDE, MRS BISHOP, DEVOLA + MORE: Upstairs Beresford - Surry Hills GEOFF RANA, STEVE TONGE: Observer Hotel (afternoon) - The Rocks INTO THE MYSTIC: THE MUSIC OF VAN MORRISON: Blue Beat Bar - Double Bay JASMINE BETH: Artichoke Gallery Café - Manly
MATT JONES: Northies, Sports Bar - Cronulla MICHAEL KNIGHT: Kirribilli Hotel - Kirribilli MIKE MATHIESON DUO, CHRIS ALEXANDER: Revesby Workers - Revesby NEILL BOURKE: Sir Joseph Banks Hotel - Botany NICKY KURTA: Northies, Northies Bar - Cronulla NO BREAKS: Oatley Hotel - Oatley OLLIE BROWN: Mars Hill Café - Parramatta ONE HIT WONDERS: Tracks, Epping Hotel - Epping PANORAMA: 3 Wise Monkeys - Sydney PETER HEAD: Harbour View Hotel - The Rocks PHONIC TRIO: The Stag & Hunter Hotel - Mayfield POP FICTION: Canterbury Hurlstone Park RSL - Hurlstone Park ROB HENRY: Harbord Beach Hotel - Harbord RUBICON: Exchange Hotel - Newcastle RUSSELL NELSON: Helensburgh Workers Club - Helensburgh SAM & JAMIE DUO: Mean Fiddler Hotel - Rouse Hill SATURDAY NIGHT DIVAS: Penrith RSL, Castle Lounge - Penrith SHERLOCK BONES, ROBUST, PRETTY YOUNG THINGS, + MORE: Candy’s Apartment - Potts Point
TOUR GUIDE LAST DINOSAURS: Oct 20 The Metro RAY BEADLE & JILL BARBER*: Oct 24 Clarendon Guesthouse (Katoomba), Oct 25 Brass Monkey (Cronulla), Oct 26 Heritage Hotel (Bulli), Oct 27 & 28 Sydney Blues & Roots Festival, Oct 31 The Basement, Nov 1 The Abbey (Canberra) DIAFRIX: Oct 26 Great Northern Newcastle, Oct 27 Goodgod KASEY CHAMBERS & SHANE NICHOLSON: Oct 30 Civic Theatre, Nov 1 Shoalhaven Entertainment Centre, Nov 2 Seymour Centre DELTA GOODREM: Oct 31 & Nov 2 State Theatre ANGUS STONE: Nov 1 Enmore Theatre, Nov 2 Newcastle Leagues Club, Nov 3 Waves, Nov 7 Great Northern THUNDAMENTALS: Nov 9 Oxford Art Factory THE LIVING END: Nov 21 – 27 The Hi-Fi DEEP SEA ARCADE*: Nov 30 Metro PARKWAY DRIVE: Dec 13 High School (Byron Bay), Dec 15 Hordern Pavilion, Dec 17 Panthers (Newcastle) GOTYE: Dec 14 Sydney Entertainment Centre KEITH URBAN: Jan 30 & 31 Allphones Arena
INTERNATIONAL
GIN WIGMORE: Aug 29 Heritage Hotel (Wollongong) THE BEACH BOYS: Aug 30 Allphones Arena MARIA MINERVA: Aug 30 Goodgod THE REMBRANDTS: Aug 31 Enmore Theatre APOCALYPTICA: Aug 31 The Hi-Fi JOHN 00 FLEMING: Aug 31 The Academy, Sep 1 Chinese Laundry JOSE FELICIANO: Sep 1 Capitol Theatre PITBULL: Sep 1 Allphones Arena NITIN SAWHNEY: Sep 4 Sydney Opera House Concert Hall JONAH MATRANGA’S ONELINEDRAWING: Sep 6 Sandringham Hotel, Sep 7 Cambridge Hotel CARTEL: Sep 7 Bald Faced Stag, Sep 8 Entrance Leagues Club, Sep 9 Cambridge Hotel, Sep 12 Manly Fisho’s RICK ROSS: Sep 7 Big Top Luna Park SHIHAD: Sep 7 The Metro THE BRAND NEW HEAVIES: Sep 8 The Metro PATRICK WOLF: Sep 8 & 9 The Studio Sydney Opera House RUFUS WAINWRIGHT: Sep 8 Canberra Theatre, Sep 9 Sydney Opera House Concert Hall AMERICA: Sep 9 Canberra Theatre, Sep 10 Enmore Theatre, Sep 14 WIN Entertainment Centre BARRY ADAMSON: Sep 12 The Factory GOOD CHARLOTTE: Sep 12 Big Top SIX60: Sep 12 ANU Bar Canberra, Sep 14 Enmore EARTH: Sep 13 The Hi-Fi JASON BONHAM: Sep 13 Enmore Theatre SOLA ROSA: September 13 Standard HOWARD JONES: Sep 13 Castle Hill RSL, Sep 14 The Factory, Sep 15 Bankstown Sports Club, Sep 16 Fairfield RSL Club IMPENDING DOOM: Sep 14 & 15 Cambridge Hotel, Sep 16 Big Exo Day SUBHUMANS: Sep 14 Sandringham Hotel
themusic.com.au
URTHBOY: Thursday 30 August, Gearin Hotel; Friday 21 September, Oxford Art Factory
INGRID MICHAELSON: Sep 14 The Metro JONATHAN WILSON: Sep 15 LUKE FAIR: Sep 15 HANSON: Sep 15 The Hi-Fi, Sep 16 Enmore Theatre JONATHAN WILSON: Sep 15 The Standard BONE THUGS-N-HARMONY: Sep 16 Waves, Sep 21 UC Refectory Canberra, Sep 22 Cambridge Hotel, Sep 23 The Venue, Sep 25 The Metro MACY GRAY: Sep 16 Sydney Opera House Concert Hall THE TOASTERS: Sep 16 Transit Bar, Sep 19 The Patch, Sep 20 Cambridge Hotel, Sep 21 Annandale Hotel NEWTON FAULKNER: Sep 17 Oxford Art Factory RIVAL SCHOOLS: Sep 19 Annandale Hotel FUTURE ISLANDS: Sep 20 Oxford Art Factory ENTER SHIKARI: Sep 21 UNSW Roundhouse WHEATUS: Sep 21 The Hi-Fi FERRY CORSTEN, ZOO BRAZIL and SHOGUN: Sep 22 The Hi-Fi YELLOWCARD: Sep 22 UNSW Roundhouse
FESTIVALS
FAT AS BUTTER: Sep 22 Camp Shortland PARKLIFE: Sep 30 Centennial Park DOOMSDAY*: Oct 12 Sandringham Hotel, Oct 13 ANU (Canberra) WHIPLASH: Oct 20 Sandringham Hotel, Oct 26 Cambridge Hotel, Oct 27 ANU Bar SYDNEY BLUES & ROOTS: Oct 25 – 28 Windsor SURRY HILLS FESTIVAL: Oct 27 Prince Alfred Park STEEL ASSASSINS: Nov 2 – 3 Sandringham Hotel BASTARDFEST: Nov 9 & 10 The Basement Canberra, Nov 17 Sandringham Hotel A DAY ON THE GREEN: Nov 10 Bimbadgen Winery (Hunter Valley) NEWTOWN FESTIVAL: Nov 11 Camperdown Memorial Rest Park HARVEST: Nov 17 Parramatta Park MULLUM MUSIC FESTIVAL*: Nov 22-25 Mullumbimby STEREOSONIC: Nov 24 Sydney Showgrounds PEATS RIDGE: Dec 29 – Jan 1 Glenworth Valley BIG DAY OUT: Jan 18 Sydney Showgrounds SOUNDWAVE: Feb 24 TBA * indicates new or amended listing this week
THE DRUM MEDIA • 57
SINGLED OUT: Orient Hotel - The Rocks SKYSCRAPER: Engadine Tavern - Engadine SLOPPY JOE, PSYCH THE PASSENGER, CURTIS C, EARELEVANT, BANZY, + MORE: Brighton Up Bar - Darlinghurst SMOKING PONIES: Beach Road Hotel, Rex Room - Bondi SOULGANIC: Mounties - Mt Pritchard SUITE AZ: Castle Hill RSL, Cocktail Lounge - Castle Hill SWINGSHIFT - COLD CHISEL SHOW: Emu Plains Sport & Rec Club - Emu Plains TED NASH: Picton Hotel - Picton TEMPLE OF TUNE, BRETT FRANKE, NOTHING RHYMES WITH DAVID + MORE: Valve Bar & Venue (afternoon) - Tempe THE BEAUTIFUL GIRLS: Entrance Leagues - Bateau Bay THE GROOVEMASTERS: Belfield RSL - Belfield THE HITMIX: Macarthur Tavern - Campbelltown THE JUNGLE KINGS: Warners at the Bay - Warners Bay THE LAURELS, WITCH HATS, EAST RIVER: Annandale Hotel - Annandale
58 • THE DRUM MEDIA
THE LEVITATION HEX: The Wall, The Bald Faced Stag - Leichhardt THE LONELY BOYS: Mercantile Hotel - The Rocks THE NEVILLES: Ettamogah Hotel - Rouse Hill THE UNIVERSAL THUMP: Camelot Lounge - Marrickville THE YELLOW CANVAS: Cookies Lounge & Bar - North Strathfield THOMPSON GUNNERS: Carousel Inn - Rooty Hill TIM ROGERS, CATHERINE BRITT: The Abbey - Canberra, ACT TROY CASSAR DALEY, HARMONY JAMES: Smithfield RSL - Smithfield TWO GOOD REASONS: Duke of Wellington Hotel - New Lambton VINCE JONES: Lizottes, Sydney - Dee Why WILDCATZ: Scruffy Murphys - Sydney ZOLTAN: Stacks Taverna - Darling Harbour
SUN 02 ALPINE, CLUBFEET, GEORGI KAY: Transit Bar - Canberra ACT AM 2 PM: Coogee Bay Hotel, Beach Bar - Coogee ANDY MAMMERS DUO: Orient Hotel - The Rocks
GIG OF THE WEEK
SLEEPMAKESWAVES
You’d be hard pressed to find any description of Sydney four-piece Sleepmakeswaves without a comparison to the earth shattering Explosions In The Sky. So we decided to do that as well. Something you most definitely won’t be doing at a Sleepmakeswaves gig is sleeping – more like swaying or thrashing. They’re playing loads of shows across the state and so there really is no reason to miss out: Friday 31 August, The Patch; Sunday 2 September, Black Wire Records from 3pm (all ages); Friday 7, The Standard; Saturday 8, Cambridge Hotel; Thursday 13, Macquarie Hotel, Port Macquarie. BENN GUNN: Northbridge Hotel - Northbridge BOBBY C: Nelson Bay Diggers - Nelson Bay BOBBY SINGH: Camelot Lounge - Marrickville CARL FIDLER: Observer Hotel - The Rocks CHILDREN COLLIDE: Zierholz @ UC Canberra ACT CHRIS TURNER & THE CAVEMEN: Bald Rock Hotel - Rozelle
CRAIG THOMMO: Parramatta Leagues - Parramatta DAVE PHILLIPS: Harbord Beach Hotel - Harbord DAVE WHITE DUO: Northies, Northies Bar - Cronulla DAVID AGIUS DUO: Ettamogah Hotel - Rouse Hill
DJ 7 SYD, TRASH CABARET, EEVEE NICOLE, LANI THE PROCASTINATOR, LO CREATION + MORE: Valve Bar & Venue (afternoon) - Tempe DREAM ON DREAMER, LIKE MOTHS TO A FLAME, HAND OF MERCY, IN HEARTS WAKE, LYCANTHROPE: Oasis Youth Centre - Wyong
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EUGENE HIDEAWAY BRIDGES: Brass Monkey - Cronulla HANDSOME YOUNG STRANGERS, GRAND BANKS: Botany View Hotel - Newtown JESS DUNBAR: Mill Hill Hotel - Bondi Junction KIRK BURGESS: Moorebank Hotel - Moorebank KRISHNA JONES: Harlequinn Inn - Pyrmont
LEADFINGER, THE DELTA LIONS: Sandringham Hotel, downstairs (arvo) - Newtown LOVE THAT HAT: The Mark Hotel - Newcastle LUCKY LUKE & HIS SHOOTING STARS: Annandale Hotel (afternoon) - Annandale MANDI JARRY: Mona Vale Hotel - Mona Vale MARK HOPPER: Artichoke Gallery Café - Manly MATT JONES DUO: Paragon Hotel Circular Quay MIKE MATHIESON DUO, CHRIS ALEXANDER: Harbord Bowling Club - Harbord NTO THE MYSTIC THE MUSIC OF VAN MORRISION feat, JOE CREIGHTON: Lizottes, Newcastle - New Lambton PANA DUO: Bar Petite - Newcastle PETER HEAD TRIO: Harbour View Hotel - The Rocks PETER NORTHCOTE, PAUL GRAY: Bridge Hotel - Rozelle ROB HENRY, NEILL BOURKE: Observer Hotel (afternoon) - The Rocks RUSSELL NEAL, + GUESTS: Salisbury Hotel - Stanmore SHINDIG DUO: Mean Fiddler Hotel - Rouse Hill
STEPHEN R CHENEY: Belmont 16’s - Belmont THE MERCHANTS OF MENACE: Merton Estate Hotel - Rozelle TOM TRELAWNY: Oscars Hotel - Pyrmont VINCE JONES: Lizottes, Central Coast - Kincumber WHISPERING JACK-FARNHAM SHOW: Mounties - Mt Pritchard WHITE BROS: O’Donoghues Emu Plains YUKI KUMAGAI, JOHN MACKIE, LEE HUTCHINGS, JOHN SMITH: Illawarra Builders Club (afternoon) - Wollongong ZOLTAN: Northies, Sports Bar - Cronulla
MON 03 AMBRE HAMMOND: 505 - Surry Hills BERNIE: Observer Hotel - The Rocks LEANNE PARIS DUO, DAMIEN ROBISON, ROD CRUNDWELL DUO, GEOFF CARTWRIGHT, JULIE NELSON: Camelia Grove Hotel - Alexandria
BTL - BEHIND THE LINES
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PRINTING 100 SRA3 gloss @ $80incGST 500 SRA3 gloss @ $300incGST ph: 9550 3977 zenrock@zenstudios.com.au www.zenstudios.com.au
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Experienced original rock band looking to play with other established gigging bands. Will return favour with dates in Sydney venues such as The Wall, Valve Bar, Town & Country. RemmosK@gmail.com
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Guitarist wanted for Sydney folk/rock act Kasandra. Must be willing to learn original songs and interested in playing gigs. Contact kasandra.music@gmail.com iFlogID: 19437
KEYBOARD PLAYER WANTED!!
Keyboard player wanted for inner west based quirky folk band. EP recorded and released last June. Must be willing to rehearse weekly and be available for gigs and festivals. Ability to sing backing vocal harmonies is desirable but not essential. Please contact Susie at
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So if you want get some rad shots of your gig, email me anytime at admin@ jackgilchrist.com or call me on 0410 164 269 during business hours. Cheers Jack
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www.AcmeMusic.com.au KevinW@AcmeMusic.com.au iFlogID: 13117
HIRE SERVICES DRUMS & PERCUSSION HIRE
FULL SERVICE DRUM KIT OR PERCUSSION HIRE BY ALL CLEAR PRODUCTIONS TOP QUALITY KITS DELIVERED, SET UP, TUNED AND POLISHED! THEN AFTER THE GIG DRUMMERS WALK AWAY - WE BREAKDOWN ! 1ST AD SPECIAL: PEARL EXPORT ANY WHERE IN SYDNEY $99 SEE: www.allclearproductions.com.au or call DAVO 0419446996 iFlogID: 19466
For all your production needs, upto 20,000watt systems.Tailored to your requirements.Delivered,setup & operated by professional engineers. Loud ‘n’ Live Sound Systems Ph 0417 268850
iFlogID: 19286
LEGAL / ACCOUNTING WOOHOO IT’S TAX TIME!
CD / DVD Attention Musicians, Record Collectors, Universities, Libraries - new Book (print/cdROM/ direct download) compiling 100 years of popular music. GO TO www.plattersaurus. com web-site on how to buy. Enquiries: (02) 9807-3137 eMail: nadipa1@yahoo.com.au iFlogID: 13287
DRUMS DRUM KIT WANTED, anything considered. Also looking for vintage drum kit ludwig/ Gretsch etc , snare drums or cymbals, ph 0419760940 iFlogID: 18332 Tama Hyperdrive 5 piece w/ Paiste Alpha Symbols and hardware. $3000. lcshorten@gmail.com iFlogID: 19488 TAMA ROCKSTAR 5 PIECE FUSION KIT IN BEAUTIFUL LIQUID AMBER FINISH, MATCHING TIMBER SNARE, STARCAST SUSPENSION MOUNTS, CYMBALS AND HARDWARE, GREAT CONDITION, BARGAIN, $675. PH 0419760940 iFlogID: 18330 Vintage Drum Kit Imports new and Custom Made kits for sale. Also cymbals, stands, pedals, guitars, accessories and much more.
www.bizwebsites.com.au
Music publicity. Do you want to get noticed? Affordable exposure for your band by someone that actually cares! www.perfectlywrite. com.au Drop me a line! iFlogID: 15737
PA / AUDIO / ENGINEERING Experienced, energetic and proactive live audio engineer for $300/event + equipment hire (passed on directly from Lots of Watts). Free preproduction - call Helmut on 0433946982 to discuss your event. iFlogID: 18062 Need a mixer? Hire desks from 4 channels to 32 – Allen & Heath, Yamaha, Soundcraft, Presonus. PA, Foldback, Microphones, processors also available. Hire the best gear from Lamba 9758-8888 www.lamba.com.au iFlogID: 19393 P.A hire using top quality outboard gear; Lexicon, Allen & Heath, Sure 4.800, DBX drive-racks, 160SL compression, 4-way front-of-house, 3-way active fold-back. 30years+ experience in the music industry. 0414355763. iFlogID: 18949 P.A hire using top quality outboard gear; Lexicon, Allen & Heath, Sure 4.800, DBX drive-racks, 160SL compression, 4-way front-of-house, 3-way active fold-back. 30years+ experience in the music industry. 0414355763. iFlogID: 18951 PA Hire – Systems to 16000 Watts. Only the best: EV, Allen & Heath, DBX, Lexicon, Yamaha, Soundcraft, JBL, Shure, AKG. FOH, Foldback, Mixers, Microphones. Professional Advice. Call Lamba 9758-8888 www.lamba. com.au iFlogID: 19385 Speaker re-cones (most models), hand built base-bins, guitar cabs, P.A. cabs and monitors, using all top quality components. Can also do custom road cases to suit any type of audio equipment. 0414355763. iFlogID: 18953 Why risk your vocal performance with substandard gear? Hire the industry standard Shure ULX wireless system + Beta58A microphone, lapel or headset. $60, 2 for $100. Call Lamba 9758-8888 www.lamba.com.au iFlogID: 19387
PHOTOGRAPHY Image is everything! If you have a band wanting to get ahead let me capture the next gig. High quality pictures say everything. http://roybarnesphotography.com/ 0414 243 811
iFlogID: 18648
POSTERS GOLD COAST BYRON BAY NORTHERN NSW Poster distribution for touring artists & bands. Fast, efficient & reliable service at a competitive price www.thatposterguy.com.au iFlogID: 17120
RECORDING STUDIOS Complete Album & Demo Recording, Production, Instrumentation,CD Mastering. I’m committed to achieving for you the highest quality in a creative, friendly environment.
iFlogID: 19183
www.musicentourage.com Detax will maximise your tax refund or minimise your tax liability, by applying years of Entertainment & Arts industry tax knowledge into your tax return. Individual Tax Returns from only $99. Discounted rates available for multiple years. Fully Qualified Accountant & Registered Tax Agent. www.detax.com.au iFlogID: 18987
MASTERING Audio Mastering, mixing, recording. CD-R music & data duplication, cover artwork, colour disc printing, online global distribution. Full studio package deal for EP or full album projects. Enquiries ph: 02 98905578 iFlogID: 15156 Audio Mastering, mixing, recording. CD-R music & data duplication, cover artwork, colour disc printing, online global distribution. Full studio package deal for EP or full album projects. Enquiries ph: 02 98905578 iFlogID: 15162
OTHER ++ play more chinese music - love, tenzenmen ++ www.tenzenmen.com iFlogID: 14468 Award-winning Experienced, Qualified Music Producer: 1.Doing Instrumental version of any song for $40
http://facebook.com/aTLargeMusic 93362190
3. Check lovenabstudio on soundclick.com email: vangelis2133@yahoo.com iFlogID: 18269
SCHOLLUM CITY RECORDS
iFlogID: 15452
Even if you’ve never written a song before, YOU CAN BE A RECORDING ARTIST! Contact Australia’s no1 production house for the independent artist to find out how-MUSIC ENTOURAGE
2. Mix your multi-tracks for $50 and produce personalized original instrumentals for $50.
Hampton Rd, Fremantle, WA iFlogID: 18453
Contact info@bizwebsites.com.au or see
johnertler@gmail.com
www.atlargemusicstore.com info@atlargemusicstore.com
0421987370
Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses!
ph 02 9654 8143, mob 0400 323 982,
One of Sydney’s longest running independent Studios is for sale. Hit the ground running with a fully operational recording studio. Classic desk and mics, 4 separate recording spaces, high visibility website. We don’t advertise, the work comes in from Website and reputation. Will provide income immediately. Low rent, long lease, parking, easily operated as a co-operative. 20 mins from the CBD. Call 0423 681 978 iFlogID: 19399
SELF-EMPLOYMENT DRUMMER AVAILABLE Experienced drummer looking for studio, band and teaching work. Contemporary styles, 21 years experience.
For all your production needs, upto 20,000watt systems.Tailored to your requirements.Delivered,setup & operated by professional engineers. Loud ‘n’ Live Sound Systems Ph 0417 268850 iFlogID: 19284
Short run also available.
AMPS
Promote your business online with Seo services
BAND MERCHANDISE
To view some of my previous work, visit http://www.facebook.com/Jack. Gilchrist.Photography
Northern Beaches band looking for vocalist rock n blues good fun band playing Stones CCR Chuck B ZZ Top Cream Thorogood n anything your hearty lungs desires. Ring Mark 0424568280 iFlogID: 19348
Seo Marketing ~ Facebook likes, YouTube, Twitter views
MUSIC SERVICES
CD MANUFACTURING:Acme is Australias best price CD manufacturer. 500 CD package = $765.05: 1000 CD package = $1320.00
FOR SALE
RADIO SYDNEY possibly the worlds largest digital Radio Station with 100 music channels is offering bands and solo artists their own feature promotional channel visit the Indie channel on www.radiosydney.com.au iFlogID: 18316
Looking for a new Microphone? Visit Lamba to try out the best vocal mics from Shure, Rode, EV & more. Wireless, Live, Studio Price Beat Guarantee! Lamba 9758-8888 www.lamba.com.au iFlogID: 19397
Then you’ll get the photo’s to stick on your Facebook, Twitter, Blog or your bands own personal Website.
susiehurley@live.com, 0404 067 051 iFlogID: 19566
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: 18745
Matts Vintage Guitars - Fender Gibson Martin Rickenbacker Guild Gretsch Vintage and USA Buy-Sell-Trade Ph.0413-139-108
Peavey 1550 CS Stage 2 150 watt amplifier for sale $1800, with an Ibanez GR200 guitar for sale $900. Ring Neil 0414 673 531. iFlogID: 19577
Experienced Manager required for established Brisbane based artist. Must have industry contacts, previous and current experience and be ruthless. info@earthgoat.com
GUITARS
www.mattsvintageguitars.com iFlogID: 19564
www.djzokithefab.com -0416306340 for any dj service club or home or birthday call anytime-GET A REAL DJ NOT MP3 PLAYER OR CRAPPY DOWNLOAD.......VINYL DJ ROCKS iFlogID: 16083
Contact Justin
ZILDJIAN 16” DARK THIN K CRASH BRAND NEW $250. ZILDJIAN AVEDIS 18” FAST CRASH BRAND NEW,$250 16” FAST CRASH BRAND NEW,$230. ALL NEW IN PLASTIC BAGS, PH 0419760940 iFlogID: 18328
studio@musicentourage.com iFlogID: 19278 Have you got a song in your head? Music Producer available to turn your imagination into reality. Professional results and affordable rates. iFlogID: 18131 Music Entourage Australia’s no1 production house for the independant artist! We’re not just a recording studio / We’ll help you get your music to the masses! www.musicentourage.com studio@musicentourage.com iFlogID: 19274 Recording a single, EP or Album at Radio Release quality isn’t as hard or expensive as you might think. Stop wasting time! www. musicentourage.com studio@musicentourage.com iFlogID: 19276 RECORDING STUDIO $30ph iFlogID: 17084 Recording Studio, Parramatta, $30hr casual rate. No kits! Singers, songwriters, instrumentalists for acoustic, world, classical genres specialist. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days. iFlogID: 15152 Recording Studio, Parramatta, $30hr casual rate. No kits! Singers, songwriters, instrumentalists for acoustic, world, classical genres specialist. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days. iFlogID: 15160
ADVANCED SLIDE GUITAR
Advanced slide guitar, lead & rhythm & lap steel. All styles. Beginners welcome. Ph Jeff. 0412518070 iFlogID: 19187
BLUES GUITAR TUITION Schollum City is a Recording Studio in Leichhardt Sydney. Glen Schollum is an experienced Producer, Engineer, Programmer and Multi-Instrumentalist. Being part of the Love Hz facility, gives Glen access to a wide range of recording equipment and instruments, and has a very creative vibe.
***Every song Produced, Mixed & Mastered to Radio Release Quality*** studio@musicentourage.com www.musicentourage.com
iFlogID: 17747
REHEARSAL ROOMS | REHEARSAL STUDIO INNER-SYDENY |
REPAIRS GUITAR REPAIRS AND SETUPS
Professional Guitar Tech and Luthier. Clients have played with Jimmy Barnes, Guy Sebastian, Human Nature, Short Stack, Moving Pictures etc. All repair work and setups. Call Timo 9484 4374
Gold Coast ParallelHarmonyStudioRobina. 30 square metre live room, large vocal booth. Handsome range of range of topoftheline Neumann, Rode and Shure microphones. Call 0755808883 for details. www.parallelharmony.com.au iFlogID: 18640 Recording? Hire the state of the art Presonus Studio Live 24.4.2 desk for your next project. A feature packed integrated hardwaresoftware system. $250 weekly. Call Lamba 9758-8888 www.lamba.com.au iFlogID: 19391
TUITION 5 STRING BANJO TUITION
Up-Picking (Pete Seeger Style) and 3 Finger Picking (Scruggs Style). tel. John 0431953178
iFlogID: 19427
BENNETTS GUITAR TUITION
Experienced and professional teacher based in Croydon, Sydney. -Tuition of Electric, Acoustic, Bass and Theory -Individual or Group Lessons
From Robert Johnson to Eric Clapton. tel. John 0431953178
iFlogID: 19423
CREATIVE GUITAR TUITION
Petersham/ Sydney. Real guitar for committed students in a fully equipped music studio. Learn Jazz, Rock, Blues, Contemporary , Funk, Latin , Gypsy, Folk, Country and other popular styles. Learn at a pace and in a direction you want to go. Beginners to advanced, all aspects of guitar are supported. Comprehensive digital recording available. Ask about special introductory offer and gift vouchers. Contact Craig Corcoran: 0430344334 creative-guitar@hotmail.com www. creativeguitar.com.au iFlogID: 19344
DIY Musicians – Need help? Invaluable ProTools & Audio Engineering tuition, Tech Support & Producer’s advice Industry Professional CBD studio – Limited Spaces – Book now customtunes@unwired.com.au iFlogID: 19252 DRUM TUITION. Drum Tuition in Stanmore with a Billy Hyde trained Teacher. Dip Ed, Dip Drums. All levels and all styles taught. Beginners Welcome!. Call Lee 0403307796. www.lee-carey.com
iFlogID: 17906
Eastern Suburbs guitar/ukulele/bass/slide lessons with APRA award winning composer. Highly experienced, great references, unique individually designed lessons from Vaucluse studio. Learn to play exactly what YOU want to play! www.matttoms.com iFlogID: 16690
GUITAR LESSONS W/ KHAN MANUEL
Most Styles, all ages, beginner to advanced. Learn Modes, scales, soloing, songwriting. Download free 80 page guitar technique book ‘Guitar Insights’ from khanmanuel.com 0409507174 iFlogID: 19503
GUITAR LESSONS
Location: inner western Sydney iFlogID: 19512
SINGING LESSONS
iFlogID: 19429
LAP STEEL & GUITAR LESSONS
Lap steel guitar/Dobro/Slide open tunings & standard style guitar tuition by experienced live & recording musician. Let me get you playing great lap steel & slide or lead & rhythm guitar quickly in any style. Beginner pedal steel lessons also available. Inner west location with relaxed & patient teacher. Phone Jeff 0412518070 iFlogID: 19191
I can assist you with all aspects of Ableton, Cubase, & 3rd party plugins and get those music ideas in the clubs or on the radio. All levels welcome.
Kristy Robinson one of Sydney’s Top Session/ Live SIngers with over 20 years Industry Experience. First Lesson Free!
Call Richard on 0477173699 or email
Limited places available.
rmallam@hotmail.com.
Inner West area.
iFlogID: 19521
MITCH FARMER DRUM TUITION
Professional all round live/studio drummer with 28 yrs experience. All styles and topics covered,check website for details. Beginners to Advanced levels welcome. Please call Mitchfor rates and times available.m.0418267827 e.mitch@mitchfarmer.com wsite. www.mitchfarmer.com
Call between 1pm-8pm. 0410 680 100
iFlogID: 18895
SLIDE GUITAR TUITION
All styles from Duane Allman and Ben Harper to Blind Willie Johnson and Son House. www. acousticfingerpicking.com tel. John 0431953178
iFlogID: 19425
TEACHER TO THE STARS!
iFlogID: 19159
Music Lessons at Beat Industry Tuggerah. Guitar, Drums, Vocals, Keyboard, Bass. Certificate courses and AMEB available. Free introductory lesson. www.beatindustry.com Ph: (02)4353 4749 iFlogID: 19038 Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area. $40 hr, $30 half hr. Mature & patient. Harps for hire. Ph: 02 98905578
iFlogID: 15158
Paramount Guitar Tuition. Learn to play the guitar. Or learn to compose &/or improvise on guitar. Most importantly, learn at your own pace, no pressure! Classical & other styles. www.pgtonline.net pgtonline@hotmail.com Parramatta area
iFlogID: 15320
PIANO/KEYBOARD TUITION. Highly experienced musician and teacher (ADJS Sydney Conservatrorium) . All levels, all styles. Beginners welcome. $35/half hour. Paddington. Call Leonie 0402977331. iFlogID: 19409
Improvising, Theory, Song Writing, Technique Seven Hills, Sydney. or email davemormul@hotmail.com iFlogID: 16948 Pro Tools, Logic Pro & Studio One Training. Advice on Home & Professional Studio Recording. Learn from a pro with over 30 years experience. Contact John Ertler 9654 8143, 0400 323 982, johnertler@gmail.com iFlogID: 19185
ROCK GUITAR TUITION
ROCK GUITAR TUITION with Industry Pro of 35 Years! Rock, Blues, Rhythm, Lead, Technique, Improvisation Tailored Lessons with the Guitarist for Sydney Band ROCK MONSTER
Free online and print classifieds Book now, visit iflog.com.au
For availability call on 0408461868. For a free e-copy of my book ‘On Becoming a Singer..A Guide To How’ email me on sostrow@bigpond. net.au.
I look forward to hearing from you. iFlogID: 18602
VOCAL TUITION
for students having problems with pitch, placement and breathing. tel. John 0431953178
iFlogID: 19431
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
Call Dave 0410 963 972
ex His Majesty - Ironheart
Steve Ostrow, New York voice teacher and vocal coach who discovered and nurtured the careers of Bette Midler, Barry Manilow, Peter Allen, Stevie Wonder and countless others now Sydney City based and welcoming students on all levels; beginners, advanced and performers; Rock, Pop, Classical etc.
Lessons include the entire scope of singing...voice production, musicianship, interpretation, performance skills etc.
0402 630 243
All levels, All ages, All styles.
With experienced and fully qualified tutor. Who has 20 years of studio and live performance. Most styles including Rock, Pop and Jazz. Learn to play your favourite songs, practical theory, improvisation, proper technique, etc. etc. Beginners to advanced are welcome. In the convenience of your own home. Good results guaranteed. Phone Oles on 0407413143 or email olesguitarlessons@ yahoo.com iFlogID: 19526
SINGING LESSONS
This is a rare opportunity to have individual lessons with
PICKS AND STICKS STUDIO.
mbennetts_@hotmail.com iFlogID: 19141
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: 19254
Learn Ableton or Cubase.......................I’ve 15 years Dj experience, finished the Ableton Production and Mixng & Mastering Coarse @ Dubspot NYC, and a degree in Audio Engineering at SAE.
Private Guitar lessons from an experienced teacher.
Please contact Michael @ 0420 371 624
See other adds for advanced, Steel Guitar etc. Numbers limited. Call Jeff 0412518070 iFlogID: 19189
Paddington CALL NOW 0416960673 iFlogID: 19535
PHONE JOHN: 0431953178
*One Free Introductory Lesson for Anyone Interested!!*
Special rates $25 half hour lessons for new students. Beginner/Intermediate all Roots/ Blues/Country/Rock/Punk.
Fundamentals: Music Theory, Chords, Sight reading, scores.
www.acousticfingerpicking.com
-Accurate and clear scores and transcriptions provided aimed to suit the students musical goals
AAA+ GUITAR LESSONS
Contact Rose 0403086266
ONLY $30 per hour!
ear training, singing, banjo and mandolin.
-All ages and skill levels very welcome -Step by step method covering most styles
All ages & capabilities!
SING, FIRST LESSON FREE
Sing and perform with confidence. All contemporary styles rock, pop, jazz... First lesson Free. You decide if I can help you. Beginners are welcome. I have been performing for over twenty years have a BA in performance studies and a Diploma in vocal techniques.
rock, country, blues, folk, celtic styles, music theory, arranging,
iFlogID: 19034
STUDIO HIRE
University degree qualification
Fingerstyle guitar, open tunings, slide, flat picking, improvisation,
SMALL 3m² rehearsal studio PA and small guitar amps included in price $45per 3hours Cubase Recording. suit Solo/Duo acoustic type acts. Singing-Guitar lessons available NEWTOWN 0405-044-533 iFlogID: 19365 SWEETLEAF REHEARSAL STUDIO MTDRUITT open 7 days, 3 rooms, aircon, food & beverages, Flat lug, Parking, PA & Lighting Hire Call - 9832-8890 iFlogID: 17546
BEGINNERS!
GUITAR TUITION
Check out www.schollumcity.com or call Glen on 0450 544 694 iFlogID: 19358
You’ll never regret recording your songs... but we garuntee you’ll ALWAYS regret not doing it!
GUITAR TUITION IN PADDINGTON
Professional Tuition
iFlogID: 19123
Wanted left handed electric guitar teacher Parramatta area, Contact John at... rodt1114@yahoo.com iFlogID: 16308
VIDEO / PRODUCTION D7 STUDIO MUSIC VID FROM $250. Live gig edits, multi angles, fr $125 a set, 1 live track $100. All shot in full HD. d7studio@iinet.net. au 0404716770 syd based 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
GUITARIST
QUALITY MUSIC VIDEO PRODUCTION Immersion Imagery strives to offer quality & creative music videos to suit your style & budget. Portfolio of over 30 artists. www. immersionimagery.com info@immersionimagery.com facebook.com/immersion.imagery iFlogID: 18477
WESTERN SYDNEY MUSIC VIDEOS
19 year old guitar player looking to form Rock N’ Roll band. Influences: Guns N’ Roses, Aerosmith, The Sex Pistols. I live in SydneyCronulla. 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 Guitarist, Singer & temporary Drummer (19yrs) need to start band! We play anything Tool, Amy Winehouse, Evanescence, Michelle Shocked (rock/blues/altmetal/funk/reggae/ soul) Would like versatile bassist & keyboardist! 18-25yrs preferred! Northern Beaches. Ziggy: 0432872290!
SINGER
iFlogID: 18961
MUSICIANS AVAILABLE BASS PLAYER Bass player available, very experienced (playing 20+ years), professional, good gear and transport, any style. Looking for covers gigs in and around Sydney. Fast learner, friendly, reliable, love to perform. iFlogID: 19165 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
Depressed female singer seeking purpose. Dark music preferred, eg. metal, rock, industrial. Can also play some electric violin. Contact dragonlugia@hotmail.com iFlogID: 18798
MUSICIANS WANTED BANDS BASS PLAYER WANTED
BASS PLAYER wanted for AGENCY backed, WORKING, Sydney Cover band - PARTY CENTRAL and ABSOLUTE DIVAS. age 25-45, good gear and transport, avail Fri/ Sat nights. Contact Troy: krone01@bigpond.com 0400 27 5154
DJ
iFlogID: 19240
iFlogID: 19592
DRUMMER NEEDED
Dj available
Low hourly rates.
Drummer needed for a Alternative Rock band base in the northern beaches area. Influences include Dead Letter Circus, Karnavool, Tool, O’brother, Thrice.
Everything negotiable.
Ages 18- 27
Easygoing, flexible entertainment.
Call Nick on 0434407933
Dubstep to Drum&bass willing & able to adapt to your event.
Call for a quote today. KN!VZ Entertainment Group Ph:0415680575
iFlogID: 16661
DJ Gear Hire – CDJs, Turntables, Mixers, Speakers, Microphones, Lights, Lasers, Foggers. Only the best equipment. Delivery available. Consoles from $70, Full Systems from $120. Call Lamba 9758-8888 www. lamba.com.au iFlogID: 19389
DRUMMER Drummer available for paid work Influences funk jazz drum n bass prog rock. Rex_matthews@hotmail.com 0401237147 iFlogID: 19105 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 drummer (36yo) available for work preferably in Northern Beaches. Call Michael 0402 549423 email siczex@ yahoo.com.au See me playing drums: www.youtube.com/user/sydneypollak 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
SEARCHING DRUMMER
Stixx man searching for motivated working original band. No pretenders and lazy musicians things happening all the time, rehearsals leading to performing and recording if this is you drop me a line. style of music melody driven funk to heavy rock please send links to your music Frankie 0404089601 frankiej_1969@hotmail.com iFlogID: 19457 TOP INTERNATIONAL DRUMMER available. Great backing vocals, harmonica player and percussionist. Gigs, tours, recording. Private lessons/mentoring also available. www.reubenalexander.net
iFlogID: 14261
iFlogID: 19338
EXPERIENCED BASSPLAYER, DRUMMER & GUITARIST WANTED FOR ORIGINAL INNER WEST GARAGE/PUNK/ROCK BAND WITH PROMISE. Must have backing vocals, females encouraged to apply. Influenced by 50’s with a punk attitude, Detroit Cobras, Otis Redding, Eddie Current Suppression Ring, Imelda May, Jon Spencer Blues Explosion, Ramones and Easybeats to join female vocalist and male guitarist. Check out www.myspace.com/ therollindice for song demos. Call or message 0410296627 or therollindice@gmail.com iFlogID: 19562 Experienced singer/songwriter/guitarist has created a new original project and has many Sydney gigs booked. Currently looking for other original acoustic duo’s/bands with a following to do shows together. RemmosK@ gmail.com iFlogID: 19290 Guitarist + Guitarist/Singer looking for a DRUMMER to form Power Pop/Punk band in Sydney. Think THE RAMONES meets CHEAP TRICK. No time wasters and committed musicians only. Contact 0403 995 832
iFlogID: 19373
Guitarist, Singer & temporary Drummer (19yrs) need to start band! We play anything Tool, Amy Winehouse, Evanescence, Michelle Shocked (rock/blues/altmetal/funk/reggae/ soul) Would like versatile bassist & keyboardist! 18-25yrs preferred! Northern Beaches. Ziggy: 0432872290! iFlogID: 19248
HARD ROCK GUITARIST
looking to form a rock band in the steeze of GNR,Sabbath,Metallica have demo on soundcloud.com under sneaky attack need bassist n drummer for jammin n drinkn hahaha i live in northern beaches if interested call or text Mitch 0423478128 iFlogID: 19199
LEAD SINGER FOR ROCK COVERS
Established Rock Covers Band with booked gigs & Agency Backing. Our band has been gigging for the last 6 years. This relaxed group of musicians has over 20 years experience in the industry. We are looking for a new lead singer to take us further. “Talk it up” is a rock covers band with an ever increasing repertoire. Our new front man will require experience and the ability to be a quick learner. Visit talkitup.net.au to see what we are about. We are based in Western Sydney with gigs booked across the CBD and greater metropolitan area. Contact Craig@talkitup.net.au iFlogID: 19418
MUSICANS WANTED
Drummer, Bassist, Keyboardist required for original progressive rock outfit, original ideas to add to our musical community. Any age we are 40+. Absolute integrtity required. Dallas 0409830216 Wendy 0431737927 iFlogID: 19588 Quality DRUMMER wanted for original band based in Campbelltown. Age is not an issue, timing is the priority. Hear some of our works in progress here. http://soundcloud.com/ muso-recruitment Phone Mark on 0423264460 or email carcusrocks@hotmail.com
iFlogID: 19542
Seeking experienced lead & backing singers, bass, keyboard, sax & trumpet players for REGGAE band in Northern Beaches. Call Michael 0402 549 423 or email siczex@ yahoo.com.au iFlogID: 18612
WANTED: FEMALE BASS PLAYER
We are a well established punk/rock/pop outfit from the inner west. We are an all girl band and have recently parted ways with our bassist. We have gigs booked from November and are looking for someone who is passionate about music, thrives on performing live, and knows how to work hard for what she wants. If that sounds like you or someone you know, contact us!!! iFlogID: 19560
BASS PLAYER BASS PLAYER WANTED
Bass Player Wanted for central coast band, Ep just finished, already has deal with WAVES surfing mag with over 50 000 copies nation wide, must be reliable and committed. contact kurt on 0403915430 or silletruk.music@ live.com.au iFlogID: 19550 BASSPLAYER WANTED FOR ORIGINAL INNER WEST GARAGE/PUNK/ROCK BAND. Refer to ad under MUSICIANS WANTED & www.myspace.com/ therollindice for song demos. Call or message 0410 296 627 or therollindice@gmail.com iFlogID: 19490 Blues bass player wanted for ‘Just for Fun’ blues band on the north shore. Any age. Keni 0411 648 153 iFlogID: 19496 CENTRAL/COAST,Covers/Originals Band [ working soon ] require bassplayer, Covering SRV Deep Purple Clapton Hendrix ZZtop Bad Company,Gary/Moore. Musicians with commitment need only apply Phone/Grant. 10am to 8pm 0449536661 iFlogID: 19407
DRUMMER WANTED!!!
Awesome drummer from inner west wanted to jam and form band. Must have own gear, transport and have an open minded attitude. Preferably under 30, versatility a plus. Please contact Mike 0420 371 624 iFlogID: 19211 Experienced drummer with a commitment to practice and regular rehearsals required for Melbourne-based alternative rock band. Influences QOTSA, Foo Fighters, Nirvana… www.myspace.com/mollydredd 0411 372 469
Guitarist, Singer & temporary Drummer (19yrs) need to start band! We play anything Tool, Amy Winehouse, Evanescence, Michelle Shocked (rock/blues/altmetal/funk/reggae/ soul) Would like versatile bassist & keyboardist! 18-25yrs preferred! Northern Beaches. Ziggy: 0432872290! iFlogID: 19242 Looking for a reggae bass player for a Northern Beaches based band. Call Michael on 0402 549 423 or email siczex@yahoo. com.au. iFlogID: 19193
DRUMMER CAN YOU HIT STUFF GOOD?! Indie rock duo from Campbelltown looking for a dedicated drummer. Between 18 - 25, own gear and transport is required. Contact Anton: 0426822750 iFlogID: 18719
CHRISTIAN DRUMMERS NEEDED
Drummers Needed – Christian drummers needed for Contemporary New Church Plant in Sydney (2yrs old, 50-100 people), Sunday services and Tuesday practice. Call Lex on 0438654765 iFlogID: 18897
DRAGONSCLAW SEEK DRUMMER
Established metal band DRAGONSCLAW are searching for new drummer full time or temporary. Must have fast consistent double kick ability and able to play live to a click track. contact: dragonsclaw@live.com.au some songs can be found at www.dragonsclawband.com iFlogID: 19439
DRUMMER WANTED !!
Guitarist & Singer (19yrs) need to start band! We play anything Tool, Amy Winehouse, Evanescence, Michelle Shocked (rock/blues/altmetal/funk/reggae/soul) Would also like versatile bassist & keyboardist! 18-25yrs preferred! Northern Beaches. Ziggy: 0432872290! iFlogID: 19244
ENGINEER
DUB/ ELECTRO PRODUCER NEEDED
MUSICIANS WANTED & www.myspace.com/ therollindice for song demos. Call or message
Looking for an experienced reggae guitar player for a Northern Beaches based band. Call Michael on 0402 549 423 or email siczex@yahoo.com.au
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SIGNED BAND NEEDS GUITARIST!
Sydney-band looking for a young (19-24)-commited-ambitious guitarist with good gear and touring experience. Band has gigs, booker+management+label. Looking for guitarist not in any other bands. Call 0448080619 iFlogID: 19309
Seeking electronic/dub-step music producer to assist in arrangement of a recently completed music project.
Looking for an experienced sax & trumpet players for a horn section for a Northern Beaches based REGGAE band.
All songs demoed and ready to go. Album one part of a larger body of work.
Call Michael 0402 549 423 or
Check out: mordechaimusic.com Email: hello@mordechaimusic.com iFlogID: 19472
email siczex@yahoo.com.au. iFlogID: 19401
KEYBOARD CHRISTIAN KEYS PLAYERS NEEDED
GUITARIST 19 year old guitar player looking to form Rock N’ Roll band. Influences: Guns N’ Roses, Aerosmith, The Sex Pistols. I live in SydneyCronulla Call tom on 0401722767. iFlogID: 13407
CHRISTIAN GUITARISTS NEEDED
Christian Guitarists needed for Contemporary New Church Plant in Sydney (2yrs old, 50-100 people), Sunday services and Tuesday practice. Call Lex on 0438654765 iFlogID: 18903
COUNTRY DUO REQ GUITAR/ VOCALS
Guitar Player/Singer seeks same for country duo.50/50 workload. Quality guitar player wanted with vocals (ie able to hold a harmony) for modern upbeat act. Want to start with quality/sparse drum/bass backing tracks (no midi trumpets) to compliment mostly live duo and build in to band once solid. Committed team players only please - no gunslingers - there will be homework If you know your instrument we can work on the repertoire, Please contact Ted 0405 414 592 iFlogID: 19486 Female singer/songwriter (21) needs guitarist for acoustic gigs and corporate work, mostly originals with some covers for corporate gigs. Gigs already booked immediate start. http://www.youtube.com/bryleymusic www.facebook.com/bryleymusic or www. soundcloud.com/bryleyd. Email bryley@ hotmail.com iFlogID: 19482 GUITARIST WANTED FOR ORIGINAL INNER WEST GARAGE/PUNK/ROCK BAND.Refer to ad under
GUITARIST WITH VOCAL HARMONIES
Solid all-rounder, lead & rhythm guitarist to join 2yr established Sydney based show, featuring the music of Frankie Valli & The 4 Seasons. Not loud, but great sound is essential. Must be able to hold a harmony-line and be prepared to learn some light choreography. This is for “Front of Stage” work, therefore no navel watchers please! Applicant will be trained for free. Contact Frankie at: quintone@iinet.net.au or call Mob. 0412 233 300. iFlogID: 19421
SINGER
CAN YOU SING?!!
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Lead guitarist needed for Sydney Rock and Roll band. Influences AC/DC, Guns N Roses etc. Band has management and gigs booked. EP recorded and being released August. Call Benny 0437930377 iFlogID: 19499
HORN
0410 296 627 or therollindice@gmail.com iFlogID: 19494
DRUMMER WANTED FOR ORIGINAL INNER WEST GARAGE/PUNK/ROCK BAND. Refer to ad under
corrosion999@yahoo.com
The SideTracked Fiasco seeks guitarist.. Influences RHCP, RATM, Primus, Sublime. Nov-Dec east coast tour booked. Pro gear/ attitude. You can listen to songs @ www. thesidetrackedfiasco.com. Rehearsals Petersham. Contact Johnny 0434-970-561. iFlogID: 19172
MUSICIANS WANTED & www.myspace.com/ therollindice for song demos. Call or message
Experienced Drummer needed, indie rock, gig fit, own gear & transport essential, aged 25+, Sydney based, find us on facebook.com/SuperMatchGame or iTunes or Youtube. email us at supermatchgame@ gmail.com. iFlogID: 19519
YOU GOTTA ROCK LIKE F@#K, SNARL AND WEAR YOUR HEART ON YOUR BLACK TORNOFF SLEEVE. MALE OR FEMALE. SERIOUS ROCKERS ONLY. GIBSON PLAYER PREFERRED.. GIGS WAITING/SOME WEEKENDS AWAY. INFO:
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CHRISTIAN BASS PLAYERS NEEDED
Christian Bass Players needed for Contemporary New Church Plant in Sydney (2yrs old, 50-100 people), Sunday services and Tuesday practice. Call Lex on 0438654765 iFlogID: 18901
LEAD GUITAR ANIMAL WANTED
Christian Keyboard/Pianists needed for Contemporary New Church Plant in Sydney (2yrs old, 50-100 people), Sunday services and Tuesday practice. Call Lex on 0438654765 iFlogID: 18899 Guitarist, Singer & temporary Drummer (19yrs) need to start band! We play anything Tool, Amy Winehouse, Evanescence, Michelle Shocked (rock/blues/altmetal/funk/reggae/ soul) Would like versatile bassist & keyboardist! 18-25yrs preferred! Northern Beaches. Ziggy: 0432872290! iFlogID: 19246
KEYS/SYNTH PLAYER WANTED
We are an established indie rock/pop band looking for a keyboard/synth player to join us as a full time member. Commitment, quality gear and an amicable personality are a must - vocal abilities would be a bonus! We have an album’s worth of songs ready to record & tour later in the year and we usually rehearse weekly at a rehearsal studio in Alexandria Our sound: The National, Death Cab for Cutie, Arcade Fire, Charge Group, Sigur Ros, M83. Contact Ryan at info@foundatsea.net See www.facebook.com/foundatsea for more info about us iFlogID: 19463 Looking for an experienced reggae keyboard player for a Northern Beaches based band. Call Michael 0402 549 423 or email siczex@yahoo.com.au iFlogID: 19197 We are a heavy band looking for a synth player to add to our sound. Rehearsals in Penrith every 2nd weekend and a Gig about every 6 weeks. Musical style is slow and heavy kind of like ISIS, Cult of Luna and Will Haven. The ideal candidate will have decent gear and the willingness to contribute to the writing process. The ability to capture and manipulate samples would also be a bonus. Please contact us on Facebook https://www. facebook.com/Alpha.Degenerate or email alpha.degenerate@gmail.com iFlogID: 19476
OTHER MUSICIANS WANTED
musicians wanted for rocknroll call vee 93193513 iFlogID: 19098
SAXOPHONE Looking for an experienced sax player to form a horn section for a Northern Beaches based REGGAE band. Call Michael 0402 549 423 or email siczex@yahoo.com.au. iFlogID: 19219
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Free haircuts and blowdries Thurs mornings at cool salon in Surry Hills. Colours are charged at cost of product used. Please call Wednesday on 0420371161 to organise an appointment. iFlogID: 19109 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
LIVE SOUND COURSE, 2 DAYS
GRAPHIC DESIGN The Cleftomaniacs (pun intended!), the enthusiastic 25-member a cappella choir who brought you the most recent Sydney A Cappella Festival, invite new members (especially those lovely tenor & bass blokes). Eclectic repertoire from Sting to gospel to classical polyphony and we love to gig! Rehearsals school term Thursday evenings in Waterloo. Contact Catherine on 02 93887010 or flittie@iinet.net.au iFlogID: 19326
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Energetic and charismatic singer wanted to front a newly founded hard rock band with a groove. Must have easy access to Bondi 2-3 times a week. Preferred age:18-26. Call Jonno-0412362425. iFlogID: 18526 Looking for female backing singers for a Northern Beaches based REGGAE band. Call Michael on 0402 549 423 or email siczex@yahoo.com.au
iFlogID: 19556
Looking for other original acoustic duo’s/ bands with a following to share the bill and do live gigs together. Contact RemmosK@ gmail.com iFlogID: 19528 Professional Female Singer Wanted as backing vocalist for alternative music group. Must be experienced, enthusiastic and aged 20-35yrs. Gigs booked. Check out the music www.thesecretcity.com.au Contact Ph: 0415409715 iFlogID: 19451
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Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $299 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 designs, desktop publishing, logo, cd cover, business cards, flyers - very reasonable price. 7+ years experience. Contact: Nix 0401270304 tw3ntyonedesigns@gmail.com www.facebook.com/twentyonedesigns iFlogID: 18514
SINGER NEEDED
Experienced Progressive Heavy Groove Band seeks, Strong Heavy/Melodic Vocalist. READY TO PLAY!!! Call Sven - 0421540972 iFlogID: 19361
VERSATILE FEMALE SINGER
..wanted for Duo Band to play clubs & hotels in NSW. Must have own mic, stand & lead. If you are an instrumentalist, thats a bonus, if suitable. Rehearsals will be in Maroubra NSW 2035. Pls contact Mo: 0415 745 181. iFlogID: 19363
TRUMPET Looking for an experienced trumpet player to form a horn section for a Northern Beaches based REGGAE band. Call Michael 0402 549 423 or email siczex@yahoo.com.au. iFlogID: 19221
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MUSIC PRODUCTION COURSES
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SINGER TO RECORD HM ALBUM
Singer wanted to record album and play live with heavy rock band. We already have one album out. Melodic and harmonised vocals and some heavier vocals. Call Duncan 0430 406602 iFlogID: 19352
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Progresive/Nu Metal band in search of singer/songwriter - strong/soft vocals, rap, screams, its all good. Many original tracks down, please call/msg 0432 098 808, we will not respond to emails! iFlogID: 19369
siczex@yahoo.com.au
A comprehensive 2 day course that covers basic audio principles, the progression of technology, common audio components, terninology, signal flow, soldering 101, microphone and speaker placement, EQing and more. Handty reference booklet supplied. Optional third days training at a live music venue available.
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TUITION DRUMMER AND DRUM LESSONS Avaliable in Gladesville Teach all Levels, ages and experience.16 years experience.
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Piano and keyboard teacher. Creative and patient. All styles of music, plus theory and songwriting. Exams or pleasure. 20 years experience. Close to Broadway and Central. Paul 0417171993
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Sing and perform with confidence. All contemporary styles rock, pop, jazz... First lesson Free. You decide if I can help you. Beginners are welcome. I have been performing for over twenty years have a BA in performance studies and a Diploma in vocal techniques. Contact Rose 0403086266 Location: inner western Sydney iFlogID: 19507
TUITION BASS, GUITAR, DRUMS
I studied at The Billy Hydes Drumcraft Academy and Obtained a Diploma in Drummig. $60/HR Mob: 0402663469 Michael
Musician Plugs come in four different filter choices to reduce the volume of loud music to a safer level. They will not distort the tonality of the music, rather simply reduce the volume ‘equally’ across all tones. Fitted by a qualified hearing professional we have a number of locations throughout Sydney as well as in the CBD. To make an appointment call 9223 0225. iFlogID: 17016
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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: 19181
BEHIND THE LINES REAL STUDIO VIRGINS
BROUGHT TO YOU BY
WITH MICHAEL SMITH
MCCLYMONTS TALK GUITARS
Profiled elsewhere in this week’s issue and very kindly giving away a brand new Epiphone guitar, autographed by the girls, to some lucky readers (see Giveaways), I asked The McClymonts about their particular favourite instruments. Sam plays a 2010 Fender Precision bass: “I’ve always liked Fender when it comes to bass guitars, and I had a Jazz and wanted to try something different. It’s just nice to have the two – quite different sounds actually. I use them both.” Mollie plays a Breedlove mandolin, from a boutique instrument manufacturer based Bend in Oregon, though she bought it Nashville: “I was just looking for a new one and I’d heard a lot about Breedlove and played one in the shop and fell in love with it. It’s just really pretty-sounding…” “It’s got a full sound,” Sam interjects. “It’s just beautiful,” Mollie continues. She also plays a Fender FM62SCE mandolin. Brooke plays a Tommy Emmanuel Edition Maton 808 acoustic, “the non-cutaway. I’ve been playing Maton for over ten years. I go back and forth with playing guitars but the Maton seems to be the old stock standard favourite. It’s just got a beautiful sound and it’s good for my fingers – the neck’s not too big.” The McClymonts play the Enmore Theatre, Saturday 1 September.
APPLEWOOD LANE FOR SALE
Circumstances have necessitated the placing of the 100-year-old converted church 40 minutes west of Brisbane that is the family home and recording retreat, Applewood Lane, set up by ARIA Awardwinning producer/engineer Lachlan “Magoo” Goold, for auction Sunday 14 October, through Jonathon McMahon of Ray White, Ipswich. Earlier this year, Magoo and his family relocated to Brisbane, entrusting the studio to producer and former Yves Klein Blue bass player Sean Cook, who has been recording Steve Lane & The Autocrats and The Stillsons among others there, while Magoo has been producing and mixing releases for Texas Tea, The Jungle Giants, Tin Can Radio and Oyster Murders among others. The perfect creative location and recording environment to accommodate songwriters, to view what’s on offer, check into the Applewood Lane Facebook page, or phone 0400 012 139 for details.
VALE CARL DAVIS
Chicago-born record producer Carl Davis, whose ears were behind #1 US hit, Duke Of Earl, for Gene Chandler in 1962, and went on to produce records for Jackie Wilson, including (Your Love Keeps Lifting Me) Higher & Higher, Mary Wells’ post-Motown records and The Chi-Lites, among many, as well as setting up Chi Sound Records, passed away from Pulmonary Fibrosis at his home in Summerville, South Carolina, Thursday 9 August, aged 77.
SOUND BYTES
The bulk of the new album, Panic Of Girls, by this year’s international Homebake guests, Blondie, was recorded at Applehead Recording in Woodstock, New York State, with producer Jeff Saltzman (The Killers, The Black Keys), one track also being recorded at Henson Studios in LA, while two further tracks were recorded at Super Buddah Studio in Brooklyn with producer Kato Khandwala (My Chemical Romance, Paramore, Papa Roach). The album was then mixed by Mark Needham at The Ballroom in LA and mastered by Stephen Marcusson in Hollywood. Still very much a going concern 40-odd years into their career, veteran Southern Californian country rock pioneers Poco, whose only remaining original member pedal steel guitarist Rusty Young, have been recording a new album in 16 Ton Studios in Nashville. Adelaide’s Paper Arms are recording their new album with Jimmy Balderston at Capitol Sounds Studio in their hometown, the record to be mixed in the US by Brian McTernan (Strike Anywhere, Hot Water Music) at Salad Days Studio. NZ’s The Datsuns recorded their fifth album, Death Rattle Boogie, due on the day of their tenth anniversary, Friday 5 October, in Sweden at their singer Dolf De Borst’s Gutterview Studios and Neil Finn’s Roundhead Studios in Auckland, with ex-Hellacopters’ Nicke Andersson behind the desk. Perth four-piece Further Earth cut the first two tracks of their second EP, World Inside My Head, with Canadian producer Alan Brey (The Dirty Secrets, The Novocaines), who happened to be in WA to work with Sonpsilo Circus and The Love Junkies, at Ampersonic Studios. Sydney soul combo The Hipstones are currently in NYC recording their third album with expat Australian producer Justin Stanley (Jamie Lidell, Sheryl Crowe, Nikka Costa). 62 • THE DRUM MEDIA
Shock! Horror!!! Well, not really, but anyone who has followed the career of Canada’s Great Lake Swimmers, the fact that they recorded their new album, New Wild Everywhere, in a proper studio will know that’s straight out of left field for them. Bandleader Tony Dekker tells Michael Smith about it.
I
t was all down to long-time Great Lake Swimmers producer Andy Magoffin, as Dekker explains: “He really wanted to hear how we would sound recorded in a so-called proper studio and I really wanted to give him more control in terms of the production side of things. So I basically put it to him – I said, ‘What do you think? How would you like to see this go down?’ And he said they’re opening this new studio – I think we were one of the first bands in there even – and so we talked about a bit and decided to give it a try.” A singer, songwriter and musician himself, playing in the bands Two-Minute Miracles and Raised By Swans, Magoffin has been dubbed by one magazine as “the Timbaland of southern Ontario alt-country”, and his extensive production credits include records for By Divine Right, The Weekend and The Constantines as well as Great Lake Swimmers. While he has his own studio, House of Miracles, in Cambridge, Ontario, he chose to record New Wild Everywhere at Revolution Studio in Toronto, the big room, Studio A, where the band recorded, featuring a custom 80 series Neve with 40 channels and 32-track monitors, with Fred Hill & Associates custom master and mix electronics, an Ampex ATR 102 wit half-inch and quarter-inch heads and a Studer A820 two-inch 24-track with remote. On the digital side, it boasts ProTools Lynx Aurora 16 Converters times three, ProTools HD9, Mac Pro and 48 I/O ProTools system. But before looking at the band’s ‘proper studio’ experience, Dekker reminds us that until this record, his propensity was for recording “in the field” or, as he describes it, location recording. “Recording in a real studio would be a pretty obvious thing but for us, we’ve been recording on location for the course of four records or so and just being at this point it was kind of a new challenge. There were a couple of tracks on the new album that were [recorded] on location, but there’s just, to
me, there’s like a pretty special performance that comes out of recording in a unique space, especially, like, churches and special buildings and stuff.” The unique space Dekker chose to record the song, The Great Exhale, for this latest album turned out to be an abandoned Toronto subway station three levels underground. “I’ve always wanted to do that actually, and it was only now that we were kind of able to set it all up and do three nights of recording there. The acoustics were really great and we recorded overnight, as a pretty nocturnal thing, when all the subway cars had stopped for the evening, at around 1.30am. So that kind of added to the sort of ethereal quality of it. I kind of see the song as like my ‘little black train’ song, you know, like the little black train that’s coming for everybody and only goes one way [chuckles], that kind of thing. So there was a little bit of a confluence of ideas for that song and the space. “[Setting up to record] we had to bring everything from monitoring speakers to, essentially we were able to come up with a portable rig but you still need things like compressors and things to run the microphones through to really optimise the sound. I mean we were basically using a ProTools rig so it was somewhat portable, but there was really a lot of gear that we had to bring down there. So that was a feat unto itself really,” Dekker chuckles again. So what does Dekker feel finally recording in a proper studio brought to the recording of the new album? “It was a pretty good space in and of itself and I think that we really were trying to make a really natural and organic-sounding record. I mean I think that if you put it in the context of our previous album, it makes
a lot of sense. It was actually just really nice to have, like, a closed environment and really be able to just focus on the songs and the musicianship instead of kind of like wondering if it was even going to work out at all. In the location recordings, if for example someone forgot a power cable, we’re basically done for the day. I mean there’s something very thrilling and very challenging about working in a location too and I love it, but it was a really nice thing to just focus on very nice, kind of clean-sounding tracks. “I think it was a nice way to showcase the band that we have right now. I mean our line-up has been pretty fluid in terms of members of the band but this one has been playing together for about two and a half years, and we toured a lot on the last record, 2009’s Lost Channels, so I really felt there was this really great chemistry happening and what better way to kind of document that than going into this really great studio. There’s just amazing vintage analogue gear they’ve been collected from around the world for years and it was a real treat to use some of that stuff. Not that I’m a big gear nerd or anything but I think [producer] Andy was, you know, like a kid in a candy store for sure. “I think sticking with Andy was like a pretty important thing and we did really talk about it and having him on board and knowing the band really well, like he’s been working with us for eight years now – he’s been on ever since the second record [2005’s Bodies And Minds] we started recording in 2004 – so I think having him on board really helped that continuity.” New Wild Everywhere is out now through Shock.
STUDIO PROFILE
THE PLEX WITH BRIAN CAMPEAU Studio name: The Plex
Answered by: Brian Campeau, engineer What’s the studio set up you have there equipment-wise? Protools, C24 mixing console, Grace Preamps, Mackie Onyx Preamps, Behringer monitors, bunch o’ mics. Any tips for artists entering a studio for the first time? Relax, be prepared, don’t worry about mistakes and be willing to accept something outside your original vision. Which notable artists have worked at the studio? Angus and Julia (Stone), Jessica Mauboy, Jake Stone (Bluejuice), Tommy Trash. Who do you have on staff and what’s their background in the industry? I staff ME! I’ve been recording for well over ten years using numerous methods, sometimes quite dodgy (which I actually love, purely for the sake of needing to think outside the square) and sometimes quite hi-fi. Analogue vs digital – discuss. I understand the consideration, but I’m much more keen on the performance. Record an amazeballs band on a four-track cassette player and it will still be amazeballs. Can bands bring in their own engineer or do they have to solely use a house engineer? Hey, if a band is more comfortable with their own engineer, I’m all for that. Just
give them a day to get comfortable with the set-up and the sound of the rooms. Is the studio capable of holding a full band at once for recording? Absolutely. There is a large tracking room (4x4) and a large vocal room (2x3) as well as the mixing room itself. We’re an impoverished indie band – do you offer any deals for acts in our situation? Sure. I do have standard rates, but I’m happy to work within a budget. I too, am a poor musician. Do you have any in-house instruments at the studio acts can use, or is it totally BYO? I’ve got a multitude of amps and guitars, a great-
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sounding piano, a spare drum kit and access to a bass amp if needed. I’ve also got a bunch of random shit (melodica, toy piano, shakers, etc). What’s the access to the studio like with regards to parking, flat load, etc? Access is very simple, parking is available and it’s on the ground floor. Working in the studio can be arduous and we’ll need a break – what are the amenities in the local area? The studio is near the bottom end of King Street, Newtown. There is no lack whatsoever of cafés, pubs, parks, hookers. What are your contact details? brian.campeau@gmail.com
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