Page 1






INSIDE t5)&"/(&-4 t#&/'0-%4'*7& t'6563&*4-"/%4 t$)"3-*&.":'"*3



10 & 11 NOV














P R E S E N T S :



THE ENMORE SAT 19 JAN supported by




supported by


AT TUE 22 JAN, THE METRO supported by












th f e or ha m rperl hoy te




WED 19





THU 20


FRI 21







7.30PM $10 DOOR


7.30PM $12 DOOR


SAT 22


8.00PM $10 PRE $15 DOOR



SUN 23













Wed 26 Sept: Rock Show with “Lazy Bones” and many more ; Thu 27 Sept: Rock Show with “Stonka” , “Dreamer’s Crime” , “Sylvain” , “Pleasure Overload”; Fri 28 Sept: Rock Show with “Velopus” , “The Relative Madness” , “Eye On You” , “Fiend” ; Sat 29 Sept: 12pm: Rock’n’Roll Show with “Scaramouch” , “Dirty Dezire” and many more; 8pm: Extreme Metal Show with “Ulcerate” , “Odiusembowel” , “Daemon Foetal Harvest” , “Departe” Sun 30 Sept: 12pm: Rock Show with “Feick’s Device” , “Go Away Everyone” , “Belle Havens” , “Gilbert Gantry union”

For band bookings please email

Bistro open Lunch and Dinner !!


7:30PM - 10:30PM




7:30PM - 10:30PM






3:00PM - 6:00PM




7:30PM - 10:30PM




9660 4745 8 • THE DRUM MEDIA








THUR 20/9

Coming soon –

Dead Ears

Beaten Bodies

+ Lo Five

Thur 4/10 CD Launch + Brother Funk + This Mess

SAT 22/09

Trinity Tiger Tones + Alexis Sellies

FRI 28/09

Luke Escombe ‘Chronic Symphonic’


- Best Of... Feat: Peach Montgomery, Anita Lenzo, Wally Byrne, Zachariah Sayed & Micah Christian

Thursday 20th September


Fri 5/10

Introducing Buffalo + Andrea Geange

The Pigs

Friday 21st September

Wed 10/10 The Drifting – CD Launch + Dan Hopkins & The Generous Few


Saturday 22nd September


Sunday 23rd September

+ Natasha Eloise


Fri 12/10

Wednesday 26th September

First Ladies Of Soul


(Starsailor) + Oxford (Sam Stephenson)

Sat 6/10 Rolling Stones Tribute ‘The Brian Jones Years’

SAT 29/09

Sat 20/10

Phil Monsour

Final Show


+ guests

Fri 26/10

SUN 30/9

+ Mojo Webb

Matt Walker

Sat 3/11

CD launch + Lucie Thorne

Wednesday 19th September

Barbara Blue (US)

Karma County Fri 23/11 Wes Carr introducing Buffalo Tales

Thursday 27 September Lionheir Saturday 29 September Fleetwood Mac Tribute Sunday 30 September Professor Groove Tuesday 2 October DIG (Directions In Groove) Wednesday 3 October Benjalu Thursday 4 October Microwave Jenny Friday 5 October Rolling Stones Tribute Saturday 6 October Chase The Sun Thursday 11 October Richard Calabro’s Alpha Omega Friday 12 October Sharon O’Neill Saturday 13 October Peter Northcote’s DRIVE Sunday 14 October

Tigertown Thursday 18 October Dylan And Co Friday 19 October King Tide Saturday 20 October Spy Vs Spy Sunday 21 October The Siren Tower Wednesday 24 October The Trews Thursday 25 October Ray Beadle Friday 26 October The Song Writers Circle Saturday 27 October Barbra Blue Wednesday 31 October The Art of Storytelling














ASH Grunwald

20 SEP 21 SEP


22 & 23 SEP

Jeff Martin





Dr Goodvibe CD Launch – The New Bohemia Andy Cowan Darren Percival

26 SEP

Drum Media & Lizotte’s presents Live and Local

27 SEP

Clare Bowditch

28 SEP

Barry Leef’s – My Songbook

30 SEP

Spy Vs Spy featuring Paul Greene

Tickets & info from




Tim Hart (Boy & Bear)

21 SEP

Elliott The Bull CD Launch

23 SEP

Andy Cowan

25 SEP

Gaynor Crawford presents Krystle Warren (USA)

26 SEP

Lizotte’s presents Live and Local

28 SEP

In Memory of Darryl Cotton – The Jim Keays & Russell Morris Band

29 SEP

Barry Leef’s – My Songbook

30 SEP

Lazy Sunday Spanish Lunch with Bandaluzia


Darren Percival

20 SEP

Tim Hart (Boy & Bear)

21 SEP

Darren Percival

22 SEP

Andy Cowan

26 SEP

Lizotte’s presents Live and Local

27 SEP

Spy Vs Spy featuring Paul Greene

29 SEP

Ziggy – The Songs of David Bowie

Calling all artists for Live and Locals! Contact Lizotte’s Sydney 629 Pittwater Rd Dee Why

Lizotte’s Central Coast Lot 3 Avoca Dr Kincumber

Lizotte’s Newcastle 31 Morehead St Lambton

w w w . l i z o t t e s . c o m . a u 10 • 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...


godspeed you! black emperor feb 14 — enmore tickets on sale now:


Reviving Sydney’s live music scene 1 gig, 1 band, 1 fan at a time





















22 The Promenade, King Street Wharf, Sydney NSW


Ê{äÊ ",ÊU , 1 " Ê ä Ê{ ÊU





Starts 8PM Friday the 16th Nov and ends Midday Sunday the 18th Nov



















by composer James Ledger, recorder virtuoso Genevieve Lacey and ten Australian National Academy of Music musicians – two violins, viola, cello, double bass, clarinet/saxophone, two horns, keyboards and harp – Wednesday 10 October at Sydney’s Capitol Theatre to perform the groundbreaking work. We have one double pass to the evening to give away.





Conversations With Ghosts

CONVERSATIONS WITH GHOSTS A new song cycle based on the texts of Paul Kelly and poets Les Murray, WB Yeats and Alfred, Lord Tennyson, Conversations With Ghosts will see our iconic singer-songwriter, Paul Kelly, joined











- THE SAM PHILLIPS STORY (A ROCK'N'ROLL PLAY) $22 pre-sale / $27 door sale tickets on sale now ***DOORS OPEN 7:30pm***







$22 pre-sale / $27 door sale tickets on sale now ***SPECIAL MATINEE SHOW --- DOORS OPEN 1:30pm*** ***DOORS OPEN 7:30pm***











Splatterheads *** ***

SUN 30 SEP --SUN 30 SEP --FRI 5 OCT ---

Rabbitohs become 2012 Premiers!!!! The Re-Mains ("Vregedonomy" album launch) Billygoat And The Mongrels ("Big City Low" album launch)

SAT 6 OCT --FRI 12 OCT ---

Revolution Rock - A Joe Strummer Tribute Night 2012 "Doomsday Festival 2012" The Atomic Bitchwax (USA) + more

SAT 13 OCT ---

The Defects (IRELAND) + Bastard Squad (Melb) *** ***

SAT 20 OCT ---

"Whiplash Festival" Mnemic (Denmark) + Caliban (Germany) + Unearthly (Brazil) + Arsames (Iran) + more *** ***

FRI 26 OCT ---

"Night Of The Stripping Dead - a Halloween Neo-Burlesque Creepshow"

FRI 2 NOV + SAT 3 NOV ---

“Steel Assassins” VOYAGER (WA), MEGAHERA (Italy) + more *** ***


Bastardfest 2012 Ten Foot Pole (USA)

*** *** *** ***

T H E D R U M M E D I A I S S U E 1 1 2 8 T U E S D AY 1 8 S E P T E M B E R 2 0 1 2


- THE SAM PHILLIPS STORY (A ROCK'N'ROLL PLAY) $22 pre-sale / $27 door sale tickets on sale now ***DOORS OPEN 7:30pm***

London’s Mystery Jets finally hit the Metro Theatre this Sunday 23 September to showcase their latest album, Radlands, and all your favourites from their other three albums. They’re also playing the Fat As Butter Festival in Newcastle on the Saturday but we have three double passes to the Metro show to give away.





Giveaways – Check it out for free stuff and head to Facebook for more! 16 The Front Line hits hard with industry fact and conjecture; and Forward Line – the latest news on tours, releases and more. 18 We get the inside on why Mystery Jets took themselves to Austin, Texas to record their latest album. 24 The return of Evermore, older, indie but still powerfully pop. 25 Metal pioneers Fear Factory return at the top of their game. 26 It took a Screaming Jet to give The Angels a new voice. 28 Baltimore’s Future Islands explain how meld morose and effervescent. 29 They’re back, and it feels like the Ben Folds Five haven’t missed a beat. 30 Enter Shikari add a little Thai to the mix. 32 Lee “Scratch” Perry give good interview. 32 Canada’s Josh Ramsey introduces his band Marianas Trench to Oz. 33 ‘90s rewind – N-Trance are guaranteed to do just that. 33 Kiwi reggae warriors Katchafire talk about coping with their popularity. 34 The Jury is out but Simon Berkfinger is back with Feelings. 34 Here’s the expanding-shrinking Brissy prog-folk-popsters Charlie Mayfair. 34 Krystle Warren has plenty to sing about. 34 Dutchman Ferry Corsten keeps the curveballs flying between trance and house. 35 Back here first time in ten years, Nada Surf just keep on keeping on. 35 On The Record reviews new release albums and singles from Mumford & Sons,Green Day and more. 36 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 CONTRIBUTING EDITOR Adam Curley CONTRIBUTORS Aarom Wilson, Adam Wilding, Alex Hardy, 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, 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 Giuffre, Lucia Osborne-Crowley, Mark Hebblewhite, Paul Ransom, Paul Smith, Paz, Pedro Manoy, Rip Nicholson, Rob Townsend, Robbie Lowe, Ross Clelland, Sarah Braybrooke, Sarah Petchell, Sebastian Skeet, Sevana Ohandjanian, Shane O’Donohue, Simon Eales, Steve Bell, Stuart Evans, Tim Finney, Tom Hawking, Troy Mutton PHOTOGRAPHERS Angela Padovan, Carine Thevenau, Cybele Malinowski, Josh Groom, Justin Malinowski, Kane Hibberd, Linda Heller-Salvador, Maclay Heriot, Tony Mott ADVERTISING DEPT Brett Dayman, James Seeney, Andrew Lilley


Check out what’s happening This Week in Arts, Cate Shortland’s second feature film sees her tackle post-WWII Germany in Lore, while Ryan Corr chats about his STC debut in Sex with Strangers. 39 We have Five Minutes with both Sydney Fringe artist Tommy Bradson and Charlie Garber, one of the creators of Masterclass, as well as Cultural Cringe and Arts reviews. 40 Jonathan Dayton and Valerie Faris level about Ruby Sparks, we chat to director of The Black Power Mixtape, Göran Olsson screening at the Oxford Hotel. 41


Reviews of the past week’s big gigs including Macy Grey, Lord and British India. 43 Dan Condon features the world of blues and roots with Roots Down. 46 Chris Maric gets local with hard rock and metal in The Heavy Shit, while Sarah Petchell brings us local and international punk news in Wake The Dead. 46 Cyclone gives you urban and r’n’b news in OG Flavas, Adam Curley muses on all things pop culture in The Breakdown, Lowerider brings you Robbie Lowe’s take on the latest house, progressive and techno vibes, and Go south as you enter Pedro Manoy’s Swamp Shack. 47 Viktor Krum asks you to Get It Together with the latest in hip hop, while Dave Drayton gets Young & Restless with all ages goings on. 48 Tour guide, what’s happening in indie news this week, gig guide and more, plus profiles on Laneway and Chicks Who Love Guns. 49 The Classies – need a singer/bassist/drummer/any other service/product you can think of? Your answer is here. And on 54 Backstage and BTL, your guide to studios, recording, gear, courses and more. 55


ART DEPT Dave Harvey, Matt Davis COVER DESIGN Dave Harvey ACCOUNTS DEPT GIVEAWAYS/GIG GUIDE Justine Lynch THE DRIVERS Grant, David, Julian, Ray, Paul, Al, Mark PRINTING Rural Press (02) 4570 4444 DISTRIBUTION 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 The Drum Media is also available on iPad via the iTunes App Store





























Melbourne MCs Yung Warriors will hit the road in November for their Hip Hop Coroboree national tour. The 14-date tour will see the Indigenous duo lap around the country, stopping in capital cities and regional centres in support of their new record, Standing Strong. They play Saturday 10 November at Viva La Gong (Wollongong), Friday 30 at the Factory Theatre and Saturday 1 December at Yours & Owls, also in Wollongong.




Multi-instrumentalist Zach Condon began experimenting with his worldly sounds under the moniker of Beirut in his early teens, and in 2006 at the age of 19 he released his stunning debut album, Gulag Orkestar, to international praise. Few predicted the inward journey that Condon would take on his 2011 LP, The Rip Tide, written in isolation during a snowy upstate winter. The album marks a stark change in emotional direction, while still maintaining the unmistakable aesthetic that has taken Beirut around the world many times, including, now, a third journey to Australia this November. He plays Wednesday 14 November at the Enmore Theatre as well as Harvest.

Top: Steve Earle (with Belly!) Bottom: Transistors pics by Stephen Booth


Leading Australian music industry conference and showcase, Brisbane’s BIGSOUND took place last week in a rush of panels and live performances. Over 120 bands played across two nights (not including separate label showcases and unofficial events) with the consensus of’s staff being that among the highlights were Transistors, Mia Dyson, Flume, Straight Arrows, Catherine Britt, Violent Soho and Clairy Browne & The Bangin’ Rackettes. Top panels came from Steve Earle, who gave a revealing and intimate look into his life and current situation, including the revelation that he is only writing his memoirs to pay for medical treatment for his autistic two-year-old son; Ben Lee’s candid look into his controversial career and new album plans, and the controversial ‘Are Artists Being Paid Too Much?’ panel, which saw Splendour In The Grass’ Jessica Ducrou admit that Coldplay weren’t a festival band and were a bad choice in 2011. Bluesfest’s Peter Noble confirmed that there will be more events taking place on his Tyagarah Tea Tree Farm now “that it looks like the Greens have lost the election”. In the Making Records That Matter panel, Ed Kuepper urged the audience not to use streaming services. The week also saw the launch of artist-focused royalty accounting company White Sky Royalty Accounting – a new partnership between White Sky Music and Royalty Accounting Services’ Gerry McKenna – plus a presentation from mobile app company ZAPPP. For full coverage of BIGSOUND, head to


A&R Worldwide has announced an Australian division, which is a joint venture with Chugg Entertainment. The independent global artist discovery and development company will now add Australian reach to its existing offices in North America and Europe. Chugg Entertainment’s CEO Michael Chugg said, “We have been working towards getting more involved in local artist development for years and the relationship with Sat [Bisla, A&R Worldwide’s President] and his team will expand our efforts and give us a global base to help develop Australian artists and bring international talent into our home markets.” A&R Worldwide have previously worked with Australian acts such as The Temper Trap, Missy Higgins and Sia as well as Adele, LMFAO and Muse.


Former Public Image Ltd band member Martin Atkins will be one of the international guest speakers at this year’s Face The Music summit in Melbourne. Atkins is well known for his tenure with the postpunk pioneers and was also a member of several other industrial bands - Killing Joke, Ministry and Pigface - and has previously spoken at SXSW, New Music Seminar and The Warped Tour. Joining Atkins at the event as a guest speaker will be Almudena Heredero, representing Barcelona’s Primavera Sound Festival, and a host of local industry experts including Fergus Linehan from Vivid LIVE and Jerome Borazio of Laneway Festival. Now in its fifth year, the conference will take place Friday 16 and Saturday 17 November at the Arts Centre.



Melbourne slackers Drunk Mums are already causing havoc with their self-titled debut album and it’s only just out. Unveiling the cover of the album on Facebook last week, it took mere hours before the image was reported as being inappropriate and the cover was removed from the social networking site by censorship authorities. Drunk Mums will be heading out on the road to launch their debut album and catch them on Wednesday 26 September at the Beach Rd Hotel and Thursday at 27 FBi Social.


To celebrate the release of this stellar debut, The Rubens have teamed up with their friends at Oxford Art Factory to bring their album art to life by way of a larger-than-life installation in the OAF Cube. The installation is open ‘til Saturday and has been crafted by the hands of Greedy Hen. They play Thursday 20 September at Uni Bar in Wollongong, Friday 21 at the (sold-out) Metro Theatre and a newly added show on Saturday 18 October at the Metro.

Fat Freddy’s Drop


The third annual GRAPHIC festival, a weekend of graphic storytelling, illustration, comics, animation and music, has announced its program. Fat Freddy’s Drop will present the worldwide premiere of their fourth album, Blackbird – exclusively animated, illustrated and performed live, a specially commissioned collaboration with celebrated NZ street artist Otis Frizzell. Also, the world of Dr. Seuss will be brought to life by Sydney collective Elefant Traks in the unique musical tribute, Dr. Seuss Meets Elefant Traks. Over 25 musical performers from hip hop and electronic outfits The Herd, Hermitude, Urthboy, Sietta, Unkle Ho, The Tongue, Joelistics, Jimblah and more will transform the Opera Theatre into Seusseville, in this exclusive commission. GRAPHIC takes place Saturday 10 and Sunday 11 November at the Sydney Opera House.

Neotokyo are a progressive hard rock band from Sydney and since last year they’ve been earning a loyal fanbase playing with some of our most respected progressive and alternative bands. Neotokyo are proud to present new album, Pillars, and they launch the album on Saturday 20 October at the Annandale Hotel.

Godspeed You! Black Emperor


Seminal Canadian post-rock collective Godspeed You! Black Emperor will bring their heart-rending show to Australia for the first time this February. Already announced to perform at ATP’s I’ll Be Your Mirror, the band will also headline Enmore Theatre on Thursday 14 February. Don’t miss this extremely rare opportunity to see the incredible force that is Godspeed You! Black Emperor as they tour Australia for the very first time.


Violent Soho first shot into the music world’s eye when they signed to Thurston Moore’s record label Ecstatic Peace! in 2009 and released their second, self-titled LP. It was a move that saw the four friends relocate to the US for the next 18 months. Since returning to Australia the band have been hard at work writing and stockpiling material for their upcoming album due out next year, the first taste of which is their new single, Tinderbox. They’re taking it on the road and play Thursday 15 November at GoodGod Small Club.

David Byrne & St Vincent

The Preatures are very excited to announce the release of their latest single, Pale Rider, from their upcoming EP, Shaking Hands. Catch The Preatures on the campaign trail this October as they show off their unique brand of gothic soul and rock’n’roll. They play Thursday 25 October at Phoenix Bar in Canberra, Friday 26 at GoodGod Small Club, Thursday 1 November at Hotel Steyne in Manly, Friday 2 at Yours & Owls in Wollongong and Saturday 3 at Cambridge Side Bar in Newcastle.


Sugar Army are heading out on the road on their Summertime Heavy album tour with special guests Emperors. They play Thursday 18 October at GoodGod Small Club with Fait Accompli in second support.


Due to an overwhelming response, Sydney Opera House has added a second show for seminal Australian worldbeat-electronic pioneers Dead Can Dance, the core of which has been Lisa Gerrard and Brendan Perry throughout, on Monday 4 February.




Digging deeper into the ground he broke on Roll Away The Stone, Kelly Joe Phelps returns to Australia to launch his new album. With the emphasis back on the simple songwriting and slide guitar that he is so renowned for worldwide, Brother Sinner And The Whale heralds a reconnection for some of his old fans, as well as marking an opportunity for new ones. Catch the launch on Tuesday 30 October at Blue Beat, Wednesday 31 at Camelot Lounge, Thursday 1 November at Lizotte’s Kincumber and Friday 2 at Lizotte’s Newcastle.


Fat As Butter Festival are excited to announce this year’s festival will not only feature a diverse mix of international and local bands and DJs, but they’re also adding moto-cross legends Red Bull X-Fighters and VIP Caravans to the mix. The lineup is enormous but if you’re looking for something just a little more relaxing Fat As Butter have heeded the call, now offering a VIP caravan experience that includes your very own caravan for the day with main stage views, the use of VIP amenities and even your own cook! It takes place this Saturday 22 September at Camp Shortland on the Foreshore in Newcastle. All tickets and details at

Northeast Party House return with a new single, Stand Tall, and national launch tour. Featuring aggressive drums bursts and distorted guitar tones, Stand Tall shows a new, slightly more serious side. Catch them on Thursday 4 October at UTS Oktoberfest, Friday 5 at Cambridge Side Bar in Newcastle, Saturday 6 at the Beresford Hotel and Thursday 11 at UNSW Oktoberfest.


Sydney Festival have announced three shows from the 2013 program before they reveal the full program on Tuesday 23 October. Vivienne Westwood’s outrageous costumes find a dramatic outlet in a bold take on Handel’s Semele in Semele Walk, Circolombia’s Urban will hit Riverside Theatres and David Byrne (ex Talking Heads) and St Vincent (aka Annie Clark) come together in their new collaboration, Love This Giant. Tickets to these shows are on sale now.


Dallas Frasca released her second album, Sound Painter, not too long ago, which means Frasca and Co hit the road immediately on an epic run of shows to launch it that saw them take in everywhere from the Sydney Opera House to the Saloon Bar in Wagga Wagga and all points in between. Now, with over 30 shows and counting, Dallas Frasca and bandmates have just announced the final leg of the launche tour. Friday 26 October they’ll play the Bald Faced Stag and Saturday 27 they play The Cambridge in Wollongong.


Having sold out her first shows in double-quick time Jennifer Lopez has confirmed a second and final show in Sydney on Saturday 15 December, once again at Allphones Arena.



Formed in the early ‘90s as a somewhat antagonistic answer to grunge, which they saw as just another form of big, dumb American rock, Cake’s democratic processes, defiant self-reliance and lucid yet ever-inventive music has made them a law unto themselves. In November, Cake will not only play Harvest Festival but on their own at their Adelaide and Sydney sideshows. The Sydney show happens Thursday 15 November at the Metro Theatre.


Oh Mercy are raring to hit the road on the national Deep Heat tour. Joining the tour for the NSW run are Millions and Sydney’s own Thieves. They play Wednesday 26 September at the Heritage Hotel in Bulli, Thursday 27 at the Cambridge in Newcastle, Friday 28 at ANU Bar in Canberra, Saturday 29 at The Standard and Sunday 30 at the Clarendon Guesthouse in Katoomba.



The Home of Live Music Since 1973


































Doctor Werewolf are a fusion of electronic chaos, blistering synths and crashing drums that has given rise to the unstoppable party beast comprised of Adam Zae and Andrew Bell. Their EP launch shows happen this Saturday at Fat As Butter in Newcastle and later at Onefiveone in Wollongong, Friday 28 September at Chinese Laundry, Saturday 20 October at the Clubhouse in Canberra and Wednesday 31 at a secret Werewolf set in Sydney.


The Amity Affliction


Brisbane post-hardcore outfit The Amity Affliction have taken the ARIA Album Chart number one spot from moody London indie band The xx and hotlytipped Sydney dance duo The Presets this week. In one of the biggest chart shake-ups of the year, The Amity Affliction’s Chasing Ghosts, released by UNFD (the management company and label’s first number one) and Roadrunner, has taken top spot ahead of a strong-finishing The xx with Coexist. The Presets’ Pacifica had to settle for third, ahead of Birdy’s Birdy and Matchbox Twenty’s North, which was last week’s number one. UNFD co-owner Jaddan Commerford told that “The whole thing is quite overwhelming. We’ve just been doing what we’ve been doing with this genre and now we are lucky enough to have a large enough scene to support our bands to this level. The Amity Affliction are no exception to this who, after nine years, deserve all the success they are getting. This is a win for heavy music, not only in Australia, but all around the world.” A new look top ten also featured debuts from Kasey Chambers & Shane Nicholson’s second collaborative album, Wreck & Ruin, Bob Dylan’s new album, Tempest, and The Script’s newie, #3. In other chart news, Sia has cracked the UK charts again with the track, She Wolf (Falling To Pieces), another collaborative effort with David Guetta. The track landed at 14 on the singles chart this week.

Einstürzende Neubauten


Einstürzende Neubauten are heading down to Australia for the 2013 ATP I’ll Be You Mirror bash, and having committed to making the long trip south the iconic and infamous German avant-industrialists are taking full advantage of the opportunity in announcing their own headline sideshow. They’ll play Friday 22 February at the Enmore Theatre.


A decade after their formation, Melbourne institution Horsell Common are coming out of hiatus for an intimate Sydney club performance. Capacities are limited and tickets are only available on the door, so be sure to mark the date in your calendar. They play Sunday 30 September at We Come Out At Night.


Hailing from New York’s Lower East Side, The Knocks are rolling their explosive live show across the globe in a way that would make Rick Astley quiver in his cream loafers. Heading to Australia for the very first time, they’ll play Saturday 24 November at the Foreshore Festival Canberra and Friday 30 at Oxford Art Factory.


The inimitable Robert Forster returns to the stage after a two-year hiatus with a solo show presenting a sparkling cross-section of his acclaimed catalogue: old, recent, borrowed and new. Become reacquainted with one of Australia’s most complex and intelligent artists, a performer and writer with a unique take on the human condition. Don’t miss Forster’s return to the stage on Friday 9 and Saturday 10 November at The Vanguard.

Prinnie Stevens and Mahalia Barnes put on the most talked-about, nail-biting, emotional battles in the first season of Australia’s The Voice. Fresh from recording their brand new duet album, Come Together, the two divas have announced that they will once again be taking to the stage together – this time for a national tour. They’ll play Thursday 8 November at Wests (Newcastle), Friday 9 at Waves (Wollongong), Saturday 10 at The Hi-Fi and Sunday 11 at The Abbey (Canberra).

The Drum Media Perth (published by this magazine’s publisher Street Press Australia) has appointed Troy Mutton as the magazine’s new editor following the departure of Aarom Wilson, who will be taking up a role at the state’s peak music industry body, WAM.


Gary Clark Jr

On stage, Kooii deliver a dynamic live show made for dancing, from the hypnotic depths of reggae rhythms to the pulsating groove of Afrobeat via some Malian desert blues. The result is free-flowing, uplifting music that leaves audiences glowing with joy and relishing every last drop. They’ll play a show with guests The Strides featuring MC Mana, Sky Lounja and Bam Bam Boogie on Saturday 18 October at Blue Beat.


Gary Clark Jr has already been announced as part of the Big Day Out line-up, but now fans will have the chance to see the budding bluesman up close and personal in a newlyannounced intimate headlining show. He’ll play Saturday 19 January at the Factory Theatre.



The nominations for this year’s Jagermeister Independent Music Awards have been announced, with neo-soul poster boy Chet Faker amassing the most nominations across the categories with five. Close behind him with four was hip hop star 360, while there are repeat appearances from Royal Headache, The Jezabels and DZ Deathrays. The recently-announced awards will take place at Melbourne’s Revolt again this year Tuesday 16 October, with performances from Paul Kelly, The Bamboos, Hermitude, Loon Lake, House Vs Hurricane and more. Kane Hibberd will once again by curating a photo exhibition. Faker’s five nominations come across the main categories – Best Artist, Single or EP and Breakthrough – as well as genre-specific Dance/ Electronic Album and Single/EP. Nominations for the two ‘top’ awards are – Best Independent Artist: 360, Ball Park Music, Chet Faker, The Jezabels and Royal Headache. Best Independent Album: 360 – Falling And Flying; DZ Deathrays – Bloodstreams; The Jezabels – Prisoner; Royal Headache – Royal Headache; The Temper Trap – The Temper Trap.



Third millennium psychedelic heroes Animal Collective are set to deliver a truly transformative live experience in Australia this January. Already announced for Big Day Out, the enigmatic quartet will bring their live show to the Enmore Theatre on Wednesday 16 when they make their first Australian visit since their sold-out last tour.


Sugar Army are heading out on the road on the Summertime Heavy album tour with special guests Emperors. They play Thursday 18 October at GoodGod Small Club with Fait Accompli in second support.



Chet Faker

Animal Collective

Pour Habit’s third Australian tour is just around the corner and as if having Hightime and Totally Unicorn on the tour wasn’t enough, they’ve announced that Saturday 8 December at the Annandale Hotel Easy Company and Ivan Drago also play and Sunday 9 at Valve Bar (noon) will also feature Epics and Batfoot and The Patch (later) with Run For Cover.



Morrissey is returning to these antipodean shores for the first time in more than a decade for a run of shows this December. Often credited as the man who patented indie music for the masses, Morrissey’s wit, swelling guitar anthems and signature sorrow have defined a musical path that many other bands have since travelled down. Joining Morrissey on tour will be American singer/songwriter Kristeen Young. He plays Friday 21 December at Enmore Theatre and Saturday 22 at Sydney Opera House.


Melbourne rock band Scaramouche are hitting the road and will be unleashing their live show across the East Coast, where they will present a set of tunes from their brand new EP, Welcome To The Parlour. They hit The Phoenix in Canberra on Monday 24 September, Valve Bar on Saturday 29, Yours & Owls in Wollongong on Wednesday 3 October, The Burdekin Hotel on Thursday 4 and Hamilton Station in Newcastle on Friday 5.


Andrew Morris unveils his sixth solo release, The Situationist, on Monday 15 October and will tour the East Coast throughout October and November. Inspired by Tom Hodgkinson’s counterconsumer culture manifesto How To Be Free, Morris summoned as many of the members of The Gin Club as he could muster and put on the beers at his newly set up Northern Rivers home studio. The Situationist is what ensued, a collection of warm and spontaneous gems. Catch him on Wednesday 24 October at Oxford Art Factory.



Icehouse have announced supports for their upcoming Primitive Colours tour. Joining them are Bears With Guns at Waves Wollongong Wednesday 10 October and Wyong Leagues Thursday 11, ZuZu Angel at Dee Why RSL on Tuesday 16, Addicted Personality at Dee Why RSL on Wednesday 17, Iluka at the Southern Cross Club in Canberra Tuesday 30 and the Enmore Theatre Sunday 3 November and Adam Martin at Rooty Hill RSL Wednesday 31 October and Revesby Workers Club Friday 2 November.


Capitalising on the success of last year’s debut EP and standout track, Lions & Witches, earlier this year, Sydney’s Tigertown have revealed their stunning new single, Morning Has Finally Come, accompanied by a striking video clip and a string of dates throughout October to celebrate the release of their forthcoming EP, Before The Morning. Catch them Friday 5 October at The Front Gallery (Canberra), Thursday 11 at Brighton Up Bar, Friday 12 at the Cambridge Hotel (Newcastle), Saturday 13 at the Heritage Hotel (Wollongong) and Sunday 14 at the Brass Monkey.


Along the most famous stretch of sand in the world, Bondi Beach, on the biggest night of the year (including spectacular fireworks), Shore Thing has called on the talents of three world renowned acts to play NYE this year: The Chemical Brothers (DJ Set), Knife Party and Fedde Le Grand along with local DJs. Music runs from 8pm to 1.45am. Pre-sale is underway and general public sales start midday Thursday.

Sleigh Bells


Sleigh Bells will be returning to Australian shores in 2013 for performances that are set to be equal parts dance party and epic live show. While the Brooklyn duo are visiting for Big Day Out, they will also be playing two very special I Oh You side parties. Sleigh Bells’ will be joined by DZ Deathrays, I Oh You DJs and Vampire Weekend’s BAIO. Their Sydney side-party will be at the Metro Theatre on Saturday 19 January.















EMI Music Australia and Future Entertainment have launched an imprint label Future Music, aimed at electronic music releases from both local and international acts. Future’s Director Brett Robinson said, “It makes complete sense for us to come together to form a powerful collaboration with EMI that, in essence, will work to develop even greater opportunities for our collective artists, audiences and music fans.” It is the latest development in EMI’s global ‘Dance Network’, which looks to streamline communication and resources across EMI’s divisions globally.


Dew Process imprint Create/Control announced two new signings last week - electro-rock experimenters PVT and Perth outfit The Chemist. PVT are looking towards their fourth album, which is due next year and the first single to be released from it is Shiver. The Chemist are finalising their debut album, Ballet In The Badlands. ABC Music imprint FOUR | FOUR have signed their first international act, with Irish folk singer/songwriter Damien Dempsey joining the label’s roster. Placebo have signed a new worldwide licensing deal with Universal Music and plan to release a new five-track EP, B3, next month and an album next year. Melbourne rock outfit Mammoth Mammoth have signed to Austrian label Napalm Records and are planning a European tour for mid next year.



Band Of Horses


Big Day Out have revealed a whole bunch of sideshow dates for Sydney. Here goes: The Killers play the Metro Theatre on Wednesday 16 January, Crystal Castles play The Hi-Fi and Alabama Shakes play the Metro on Thursday 17, Bloody Beetroots play Enmore Theatre on Saturday 19, Yeah Yeah Yeahs play the Metro and Band Of Horses play the Enmore on Tuesday 22. Tickets for all shows are available from 9am Friday at


Because of diversion of the 2010 Pavement world tour, it is not since 2009 that we’ve had the pleasure of the company of Stephen Malkmus & The Jicks in Australia. We have, however, had the pleasure of the 2011 release of the excellent Mirror Traffic album, a split 7” with LA Guns and other recorded delights to keep us going until now when they’ll finally head to Australia for their 2012 Mirror Traffic tour. They’ll play Thursday 4 October at Transit Bar (Canberra) and Friday 5 October at the Factory Theatre with guests Bearhug.


Legendary British outfit Dr Feelgood will be hitting Australia this coming February. Known for their unique stomping, sweaty blend of high energy rock’n’roll and bluesy r’n’b, Dr Feelgood have cemented their place in history as one of the grimiest pub-rock bands the world has ever seen. They play Friday 22 February at the Factory Theatre.


The Dub Shack is back at the Peats Ridge Festival this year with three days of bass-bombing roots, reggae, dub, dancehall, dubstep, drum’n’bass and jungle. To launch and celebrate the return of the Dub Shack they have a very special guest, Jahdan Blakkamoore, direct from Brooklyn for his first ever Australian Tour. Said celebration is at FBi Social on Friday 19 October.


London’s primo indiepop troubadours Allo Darlin’ hit our shores in three weeks, bringing with them all the good feelings on their latest album, Europe. Joining Allo Darlin’ on this tour will be former Lucksmiths bassist Mark Monnone, performing with his band Monnone Alone, road-testing tunes off their upcoming album, Together At Last. They’ll play Friday 5 October at the Green Room.

Mojo Juju will take to the stage in November performing songs from her debut self-titled album. Juju’s live performances are mesmerising and memorable. Drawing inspiration from the jazz age, early blues and Latin American ‘Pachuco’ culture of the 1930s and 1940s, there is most definitely something dark, dirty and seductive lurking in Juju’s music and in her live show. She’ll play Wednesday 7 November at the Phoenix (Canberra), Friday 9 at Red Rattler, Saturday 10 at the Lass O’Gowrie (Newcastle) and Sunday 11 at the Heritage Hotel (Bulli).


With a voice both tender and demanding, the vibrant Miss Elm can be described as a mixture of quirky partpop and a sliver of jazz infusion. Her conversational lyrics and enchanting melodies can take you on a journey into the unknown with tales of anything from Facebook to heartache. This tour sees Miss Elm road-testing new material and she’ll play Wednesday 10 October at Yours & Owls, (Wollongong), Friday 12 at The Eastern Lounge and Saturday 13 at the Hibernian House.


One of the most exciting rock’n’roll bands to emerge in recent years, Philadelphia’s The War On Drugs will tour Australia for the first time this November. Following several line-up changes including the departure of founding member Kurt Vile, the four-piece released their second album, Slave Ambient, last year as the follow-up to their 2008 debut, Wagonwheel Blues. As well as their Harvest Festival dates, they’ll play Thursday 15 November at Oxford Art Factory.


Since the release of Iconography, Adelaide’s Travis Cook and Sydney’s Marcus Whale have spent more time (physically) together than usual, supporting and playing with a slew of international and local outfits. Collarbones are set to launch their second album, Die Young, with dates across the country. Catch the electronic duo in Sydney on Friday 12 October at The Standard.

Elton John and Pnau


Sir Elton John will perform a second Sydney concert on Friday 16 November at the Sydney Entertainment Centre, the only Elton John solo performance in Australia and the only performance where Pnau join Elton on stage to perform songs from the recent Good Morning To The Night album. Tickets go on sale Friday 21 September.


Brooklyn’s much loved indie quartet Grizzly Bear catapulted to fame in 2006 with the release of their second album, the internationally acclaimed Yellow House. They’ve just dropped their highly-anticipated fourth album, Shields, and bring it to life Friday 16 November at the Metro Theatre, in addition to performing at Harvest.


Blaine Harrison, the wild haired lynchpin of Londoners Mystery Jets, talks Benny Doyle through their fantastic new record Radlands and explains why Austin was as much a compromise as it was an obvious choice.


“The comic world is really weird. It’s a very different universe to our own, [but] that’s how they like to keep it.” Blaine Harrison agrees that the world of lines is a warped reality, however, it’s a reality that Mystery Jets have embraced. From the surface, music and comics might not seem to be on the same page, so to speak, but once you dig deep into the alter-egos and colourful personalities that help guide albums and embody bands, the two artistic forms don’t seem so detached. Here’s a few first issues:



lways seen as one of the more quirky and intriguing musical prospects on the British indie landscape, Mystery Jets have delivered yet another curious curveball in the way of Radlands, their soundtrack to the dusty roads of the USA. Led by the partnered vocals of co-frontmen Harrison and his longtime bandmate and friend William Rees, the quartet have channelled their experiences into a warm and expansive album that all but puts you on the adjacent bar stool. And unsurprisingly, the band is buying.

It’s funny that Harrison mentions the word “twee”. It’s a term that Mystery Jets have at times bordered on. But their sentimental nature seems rooted in honesty, life experience, learning and loving. This is more apparent than ever before on Radlands. Through the fictional character Emmerson Lonestar, the record documents the plundering lifestyle of a desert troubadour, managing to mix idealistic American nature with rogue English sharps in arguably their most cohesive body of work.

Enjoying a break from touring at his London home while the Olympics take place around him, Harrison coyly admits that although he didn’t expect to, he’s quickly warmed to the sportsdriven hyperbole that comes with the world’s largest spectacle.

So, is this Mystery Jets’ take on a concept album?

“I’m not really a big sports fan or anything like that, but I was surprised by the ceremony – it was quite good,” Harrison confesses. “I think a lot of Londoners were surprised. I feel weird saying it but I’m interested in the Olympics – I didn’t think I would be at all. It’s always seemed to me that everyone in London has been paranoid about being nationalistic. It’s strange, you go somewhere like America and no one thinks twice about having the stars and stripes hanging off their houses, but here there’s almost a certain shame about being nationalistic, but that has kind of all disappeared during the Olympics. It’s all quite twee, waving the Union Jack around.” 24 • THE DRUM MEDIA

“It’s always important for us with albums, that from start to finish they immerse you in something and they take you, not necessarily on a journey, but they suck you into a world and spit you back out half an hour later,” Harrison states. “I think with Radlands we felt like we definitely wanted it to be one of those kinds of records. It wasn’t an album built around singles, which we have done in the past; I think it’s sort of based on America which is something we basically got from a comic book we wrote to accompany the record and that very much influenced the themes on the album. It very loosely follows this narrative which is essentially this three part modern western. You can order it online and read it and it’s very much an accompaniment to the record.” “In a sense it is,” he remarks. “I don’t think we set out to make a concept record, but when we came back [home] we realised that it was such a separate reality to being back in London that we needed to bottle it as something. This character Lonestar came out and the story plays out around him and a book was just the next logical thing. The first part is already out and the second two parts will be coming out in the [Northern Hemisphere] autumn and around Christmas as a graphic novel.”

There’s more to this story

on the iPad

Comics aren’t normally associated with the undeniable cool of the London indie set. That said, Mystery Jets aren’t your standard member of such a clique and, although connected, have managed to remain on the fringe over their eight-year career. Harrison opens up about the sketched narrative that couples the book. “We wrote it with a friend of ours who’s a comic writer,” he says. “The inside drawings were done by someone we found through the publishers, then the cover art is done by quite a celebrated comic artist called Glenn Fabry. He did a series called Preacher that was kind of like a modern western as well; it’s about this insane Irish priest who goes around Texas murdering people and people try to murder him. It was a cult series that started in the mid-nineties and the visual style of that was definitely a big influence on our comic, so we used the same artist. He was a nutcase,” Harrison laughs, “in the nicest possible way.” To record the album, the band removed themselves from their safe haven of Eel Pie Island on the River Thames and threw themselves into the beating core of America

– Austin, Texas. It was a decision, Harrison admits, which made sense after their third studio record Serotonin. However, as much as the vibrant city lent itself to be a somewhat obvious choice, it took differing desires in regards to a recording location to land the band on the banks of the Colorado River.

“In a way it could have been anywhere. We’ve always made our records in London and it’s so easy to get wrapped up in our own world over here. I think going away somewhere where we were away from all our friends, I think that’s what we knew we needed to do and live in a house together, which we’ve never done before,” he explains. “But in terms of why America and why Austin, I remember that I really wanted to go to LA and make a real seventies kind of Neil Young sort of record. Then a couple of the guys wanted to go to New Orleans and be a part of those all night street parties where soul bands play on the stoops – so Austin was a compromise because it was roughly halfway between the two. But just being there in the past for SXSW, it really is a special place and it’s a very freethinking and liberal city and I think it was the right place to go. “Texas is, in many ways, the heartland of America,”

he continues, “and it’s insane how much they love their country over there. But Austin is kind of like this little blue dot in this big red square; Austin’s actually a very cultured town and there’s lots of interesting young people doing cool things in the technological world – IBM moved there for example – [so] it has a real identity in that sense. But you can also see all the old bluegrass and bar bands just playing on little stages to people who still dress like cowboys.” During their time in Austin, Mystery Jets took up residency in a beautiful old colonial-style home, a setting that also helped the boys craft the whiskey-soaked songs that make up Radlands. “It took us a long time to find,” Harrison says of the house. “We had about three different people in the States looking for us, management and so on, and in the end I just found it on a website – I think I just put in ‘big wooden house by the Colorado River’. And it just popped up and it looked like The Big Pink y’know, the house that The Band lived in, or The Basement Tapes, that picture of all them with the dwarves from the circus. And that’s what it looked like; it looked like somewhere that you could just all crowd

around a mic and make a record together. It really had something magical.

“There was a spooky atmosphere in the house as well,” he carries on saying. “The guy that owned it was an artist and he did these really strange, surreal sort of Matisse paintings but with even weirder colours. There were all of these tribal women doing these ceremonies and stuff – they were all over the walls in every room and I think there was something about those colours which were driving us a little bit crazy by the end.” Since the British rock’n’roll explosion of the ‘60s, America has always stood to be somewhat of a musical frontier country. Fifty years on and that romanticism still remains. Mystery Jets arrived with wide-eyes and dreams and they departed, thankfully, with much of the same. “It’s such a huge place and just touching on that, I dunno, you could write a whole series of records on it,” Harrison muses. “And it definitely bought something out in us just in terms of writing together. We really connected, like we were all reading the same books and it was just an exploration of our imagination I think because part of Radlands is a fantasy; it’s partly based on the world that we found out there and perhaps the world that we wanted to find out there, which was things we’d seen in films and all this imagery that comes from Hollywood. “I’ve always found that feeling like a fish out of water is conducive to songwriting,” he concludes. “I think being a stranger somewhere is always a good perspective to write from and it’s not hard to feel like a stranger in Texas so it was very fruitful for us. And there are still songs [leftover] that didn’t make it onto Radlands and songs that have just come up since then, so I think in terms of the music being an exploration of that culture and that imagery, I think there is going to be more coming.” WHO: Mystery Jets

WHAT: Radlands (Rough Trade/Remote Control) WHEN & WHERE: Saturday 22 September, Fat As Butter, Camp Shortland, Newcastle; Sunday 23, Metro Theatre

Considering these guys look like real life cartoon characters (Gene Simmons Family Jewels has only solidified this fact further), it’s no surprise that they were the first rock stars to dive into the pages of a comic book. Marvel immortalised Rock City’s famous four back in the ‘70s, but the guys would make a return to the pages two decades later when an entire line of comics was spawned behind their Psycho Circus record of 1998.


The Amory Wars is the coinciding five-part comic book series that helped script and shape the narrative behind the New Jersey prog rocker’s first five records. This might seem rather convoluted, however, the characters and storyline here are strong – so strong in fact that Mark Wahlberg and Leverage, the production company behind Entourage and Boardwalk Empire, have signed on to adapt the tale to the big screen.


He may not technically be ‘rock’. But Em took on The Punisher – this cannot be ignored. In the issue, Frank Castle continues to be his usual vigilante bad arse self, taking down Slim’s security posse following an undoubtedly gangster concert in Detroit. By the end, the plot has backflipped on itself numerous times, resulting in Em dicing a man called Barracuda with a chainsaw. Eminem/Punisher. Kill You. Actually, you’ll probably just kill yourself laughing at all the Slim-centric puns that pepper the dialogue.


After a few failed starts as a teenager, MCR frontman Gerard Way took advantage of his band’s Black Parade-era popularity, releasing The Umbrella Academy, a 15-issue set based around a separated group of superheroes reunited following the death of their adopted father. Way has announced that he’s in the process of a Killjoys comic series spun around the characters devised for the group’s 2010 release Danger Days: The True Lives Of The Fabulous Killjoys.

A LITTLE MORE It’s been a long wait between albums for Evermore fans, but the band’s fourth full-length is almost within reach. Vocalist/guitarist Jon Hume chats to Daniel Cribb about his underwear and the joys of finally being an independent band.


ince the release of Evermore’s third full-length in ’09, Truth Of The World: Welcome To The Show, the three Hume brothers that construct Evermore – Jon, Dann and Peter – have collectively celebrated 11 birthdays. A lot has changed during that time and while the brothers have been quite busy with other commitments unrelated to Evermore, the time apart has allowed each member to refine their individual sound and bring something new to the table. When Evermore frontman Jon Hume answers his phone, he’s headed out to celebrate Dann’s 25th birthday. While pre-party anticipation creeps into his voice, a bigger celebration is just around the corner. Follow The Sun, the fourth offering from the Hume brothers, is finally ready for release and the boys are gearing up to hit the road. Since the Truth Of The World... touring cycle died down, they’ve somewhat disappeared into the background. With the brothers engulfed in other projects, Evermore could have quite easily stayed dormant for years, or even disbanded, but other forces were at work, ensuring no such thing eventuated. “We could have easily gone, ‘Oh, we’ve done this thing, we’ve had this band ten years and let’s just go do something else now’, but it really didn’t feel like we’ve said all that we needed to say. And musically there’s such good chemistry between the three of us that it’s not something that we could walk away from. There’s just so much good music, we can’t just walk off and do something else,” Hume explains.

from now on… Occasionally someone still brings [a pillowcase] to a show to get it signed and I’m like, ‘Argh, I wish I had one of these myself’.” A box full of unsold underwear will have to suffice as a consolation prize. “I kind of wish we made boxer shorts, but we didn’t,” he shares. The conversation then directs itself to the topic of disposable underwear, and it’s clear that things need to wrap up quickly. “That’d be handy on tour, actually!” WHO: Evermore WHAT: Follow The Sun (Universal) WHEN & WHERE: Thursday 20 September, The Standard


“If we all made [separate] music it would just be different and it’s hard to put your finger on exactly why, but I guess just being brothers and making music together since we were kids, there’s a certain chemistry in the whole writing process that I don’t fully understand, but it works and we really enjoy it and it just felt really good, after a little bit of time working on other stuff, to get back to Evermore and make a record.”

There’s more to this story on the iPad Part of the reason they went underground for so long was because they were building their own studio in the countryside of Victoria. With their own studio in place they were able to break free from the constraints of a major labels and be completely independent – something Hume emphasises was a goal from the beginning. “We could sit down and make whatever record we wanted to make, whereas our previous three were all on Warner Music. I guess there was always a bit of pressure to work with other producers, which was a good experience, but because Dann and I are producers, there was already plenty of ideas in the mix. We didn’t really need someone else to find our direction,” he says. “I think now, more than ever, you’re kind of in control of your own destiny as a musician and I think it felt right to us to actually put our own album out there.” Although they’ve been out of the mainstream spotlight, fans still had opportunities to connect with the band and keep up to date with the progress of the album and individual songs as the band released demos and live recordings as they went along. “[Warner] actually did stop us from doing that previously, which seems silly to me. I don’t know what their policy on that is now, but back when we were making our previous albums, they had some sort of policy where they didn’t want anything to go out until it went through them.” And now they return with their a new single, which didn’t need to go through any big label ears first. “Our new single, Follow The Sun, we recorded a live demo of it for YouTube probably nine months ago; the chorus has got completely different lyrics and the song is called All The Way. Our songs always go on journeys, so I think it’s interesting for our friends who hear a song from the start and hear it go through three different phases of different ideas making their way into the song, and so this time around we gave our fans a listen earlier on to the album. I think people dig it, being a part of the process and understanding how much time we put into the different aspects of the songs. “Songs like It’s Too Late, once they’ve been out for years and we’ve played them so many different times, we sometimes forget exactly how the recording goes because of the slow evolution of the way we play it live. Sometimes I find myself going ‘Oh, whoops, I’ve actually changed a lyric’,” he laughs. “That’s just part of the creative process, really.” With the freedom to release their music whenever, wherever and however they wish, they’ve put together an EP of album b-sides that will be sold exclusively on tour. While it sounds like a unique idea for tour/album merch, that’s just the tip of the Evermore merch iceberg. “The album’s called Follow The Sun, so we were like, ‘What’s something that would be cool to have Follow The Sun written on?’ and sunglasses was the first thing we thought of. I kind of think we just felt like there’s only so many times that people want a band t-shirt, so we’re not doing any t-shirts, we’re just doing any creative thing we can think of,” he explains. Their 2004 debut album Dreams saw Evermore pillowcases sold at shows and around the time of 2006’s Real Life Evermore underwear surfaced – not exactly sure what the connection is there, but they were popular all the same. “We’ve actually still got a massive box of Evermore underwear in my garage,” he laughs. “They were really popular, but somehow a box got left behind at some point and it’s still sitting there. They were very popular, but it always felt slightly weird, to be honest, when people are asking you to sign their Evermore underwear and I’m just like, ‘This is just strange’, so I think we’ll probably give the Evermore underwear a miss




INDUSTRIALISM Pioneering metal gods Fear Factory are returning to Australia to promote their return to form album, The Industrialist. Mark Hebblewhite sat down with vocalist Burton C. Bell to discuss concept albums and intra-band conflict.


ustralia has been really good to us and we’re forever thankful to you guys for the way you helped us out over the years,” enthuses Fear Factory frontman Burton C. Bell. “From day one when we released Soul Of A New Machine, way back in the early 1990s, Australia gave us a level of support that was unmatched – radio play, album sales, you name it.” Did the band realise what they had unleashed with Soul Of A New Machine, especially the way the album would be embraced warmly by industrial enthusiasts, metal traditionalists and death metal fiends alike? “No, we had no idea that it would go on to have such a life of its own. We didn’t sit down with some grand master plan. Basically me and Dino [Cazares,

guitar] sat down to create the music we wanted to hear and it all snowballed from there. Because we had crossover appeal – death metal people, thrashers, the industrial crowd – all of them supported us. It meant that we were able to tour with a huge range of bands and that helped us grow. “We’ve found over the years that Fear Factory fans stay Fear Factory fans for life. They keep coming to the shows, keep buying the records, and some of the older ones even bring their kids to see us as well. It’s humbling to have that devotion in our fans and every time we put on a show we make sure that we give back that same devotion.” Fear Factory’s continuing longevity has been helped by their latest LP, The Industrialist, which has been rightly hailed as a return to form and the ‘classic’ Fear Factory sound after a number of years of turmoil (both stylistic and literal) and confusion for the band (more on that soon). “We’re really proud of that record,” says Bell. “It came out exactly the way we planned. We went into the studio with a really defined focus and came out having achieved what we want to achieve.” Apart from a distinct uptick in the quality of the songwriting and its sleek yet massive sound, The Industrialist is also notable for being a fully-blown concept record that tells the story of a morphing megalithic automaton who eventually turns into a cataclysmic threat to mankind. Thing is, do concept heavy albums still work in this day and age? And more importantly why did Fear Factory choose to record one at this stage in their career? “It represented a real challenge for us in a creative sense. We wanted to meld a concept together in both a lyrical and sonic sense to create one overriding theme,” explains Bell. “Ambition, and rising to a challenge is something that I think is missing in a lot of today’s music where artists are content to play it safe most of the time. As music fans we all need something to be excited about again. “We believed that there were enough people who enjoyed having a story in their music and enjoyed the ability of their favourite artists to create such a story. But even if you don’t like that approach - just focus on the music itself - the songs work individually as well. Whatever way you look at it everyone wins!” Bell is so enthused about the new album that he concedes it is possible that sometime in the future the band will decide to play the whole thing live and in sequence. But for the Fear Factory’s upcoming Australian tour a more traditional set is planned. “We give you guys three or four songs from the new album alongside a dose of stuff from Soul…., Obsolete, Demanufacture – you know, pretty much all our records. It will be a really balanced set that will hopefully cater for everyone.” Although Fear Factory are back on track the turmoil in their recent past lives on in the memories of the band’s legions of fans. This turmoil is of course the huge falling out that occurred between members that, at one stage, got so complex no one could figure out what the hell was going on. The simplest way to explain it all is to that in the fallout the band split into two diametrically opposed camps that stopped playing music and just snarled at each other via the press. On the one hand Burton C. Bell and Dino Cazares – the current core of Fear Factory who themselves were at loggerheads as late as 2008. On the other side, Raymond Herrera [drums] and Christian Olde Wolbers [bass/ guitar], who in 2009 found themselves ousted and were none too pleased with it. So where does everything stand now? “Dino and I are Fear Factory; it’s that simple,” states Bell. “We have a drummer, Mike Heller, and bass player, Matt Devries, on tour with us and we’d like to keep them for as long as possible. Both of them are amazing musicians, and the fact that Matt was actually a guitar player has brought a whole new depth to our sound. It’s what Fear Factory always needed – a guitarist playing bass,” he laughs. “It’s meant that this band is tighter than it’s been for a long, long time.” And dare we ask about the status of Raymond Herrera and Christian Olde Wolbers? Do Bell and Dino have anything to do with them anymore? Is there any chance of a reconciliation? “We don’t have any relationship with them at all,” spits Bell. “People talk about the band having a reconciliation but they don’t want to reconcile with us – so fuck ‘em. I can’t put it any more simply than that.” And to those fans who clamour for the ‘classic’ Fear Factory lineup, which would have to include the aforementioned gentlemen? “This whole idea of that lineup being some kind of ‘classic’ lineup doesn’t really sit well with me,” offers Bell. “I mean we had five different bass players before we had Christian so what lineup are they actually talking about? Besides, as I said earlier the band is stronger now than it has ever been – Dino and myself are writing the best material of our career and the band as a unit is absolutely unstoppable. Why people would want us to go back to a situation that just wouldn’t work is beyond me. Fear Factory will never be some nostalgia act content to live on past glories – that’s just not how we do things. People should come to the shows and then they’ll see that Fear Factory in 2012 is continuing to push the envelope of what this band is capable of.” WHO: Fear Factory WHAT: The Industrialist (Riot/Sony) WHEN & WHERE: Thursday 27 September, The Hi-Fi



TAKE A NEW LINE New frontman, new drummer, new album, but one listen and you know that it’s still very much The Angels. Rhythm guitarist John Brewster explains it all to Michael Smith.


t the beginning of last year, The Angels found themselves back where they’d been a few years ago when their original singer, Doc Neeson, had been forced to drop out because of the after-effects of a car accident. Reunited briefly in 2007 for the second national Countdown Spectacular tour, they’d then come together again the following year to tour on the back of the 30th anniversary reissue of their seminal breakthrough album, Face To Face. By the end of 2010, however, Neeson had decided not to continue the relationship and since the band had no recording deal anyway, it all ground to a halt again, with drummer Graham Bidstrup also opting out to manage Neeson as a solo artist. Founding members with Neeson, guitarist brothers John and Rick Brewster, meanwhile, threw themselves back into their own Brewster Brothers band. It was while they were playing back in their original home state, South Australia, that a possible solution presented itself. “I don’t know how it happened,” John Brewster, on the line from his home in Victor Harbour, a coastal town well to the south of Adelaide, admits. “It’s just some freak thing that happened up here in the Adelaide Hills when we were doing a little gig in a place called The Haus [in Hahndorf], and Dave [Gleeson, The Screaming Jets frontman] lives nearby and he just happened to come along to this gig. We were looking for a singer and he came up on stage and sang, and I called him about two weeks later and said, ‘Dave, we’re looking for a singer. What do you reckon?’” he laughs. “I kind of believe in fate or serendipity, whatever you want to call it; it just happened and for all the right reasons and a very natural thing. Dave came in and not only did he step into what people are saying are big shoes – I don’t think he’s stepped into anyone’s shoes, he just came in and started singing our repertoire, which has been a big part of his life anyway, he’s a big fan – but he did it so well and brought his own thing into the band and, you know, has so much respect for Doc anyway. “But he’s not trying to be him,” he continues. “I can think of a lot of great singers but I think Dave is the best hard rock singer in the country, and I can’t think of other people who could necessarily fit the bill either. He’s a good guy.”


The other thing, as it happens, is that Gleeson’s vocal range is just perfect for The Angels. “He’s got that timbre that you sort of need for us,” Brewster agrees. “I did it for a while with The Original Angels Band [The Brewsters and original rhythm section Bidstrup and bass player Chris Bailey, who came together in 2003 to play at a benefit concert for Bali bombing victims in Perth], and I think I do well in The Brewster Brothers, but I’m not a frontman, not a rock singer. I can write rock songs but I’m not a rock singer, and Dave’s just got all of that power and he’s so musical too, he’s very musical.” By August last year, Gleeson, the Brewsters, Bailey and multi-instrumentalist and songwriter Nick Norton, who had played in a band called Gangawry that John Brewster had mentored in their teens, had taken themselves into Albert’s Studios in northern Sydney suburb Neutral Bay to record some tracks. The result is their new album, Take It To The Streets. “The thing that we really needed to do and had needed to do for I don’t know how many years, as far as The Angels is concerned, was write a new album, and Doc wasn’t interested,” Brewster explains, their last original studio album having been 2000’s Left Hand Drive, released through Shock. Neeson, on the other hand, had decided to record a solo album. “So suddenly we’ve got this guy that is [interested] and a whole band that’s into it. We’d already started a lot of the [songwriting] process and Dave came in singing songs we’d already written, but the song called Life Gets Better, which I think is one of the standouts, Dave wrote with Rick. “We’ve always kept very close contacts with Albert’s,” Brewster explains. “[Former Easybeats guitarist, songwriter and producer] Harry [Vanda]’s no longer with Albert’s but [A&R Manager and manager of all things AC/DC] Sam Horsburgh is, but whatever happened over in [original premises] King Street, the spirit’s survived and it’s over there now too. “This album was recorded start to finish in nine days – the mix took another three days – and I reckon you can hear that on the album; there’s spontaneity going on there. And the reason why [Elvis Costello’s] Pump It Up is there is because we just did it for fun! Rick said, ‘Why not this one?’ and started playing [the riff] – I love that song and started playing it with him and twenty minutes later, we’d

actually got it recorded. It’s not the first time The Angels have done a cover obviously – [1987’s] We’ve Gotta Get Out Of This Place was a huge one for the band – but it was nice to do and everybody in Albert’s came down and went, ‘Oh, man! We love that song,’ so we put it on the album.” Those nine days of recording were inevitably spread over five months as the then still independent Angels fitted sessions between the performing and recording commitments of the various members, but the first song they cut with Gleeson was Waiting For The Sun, which became the title track of an EP they then released and toured, launching it at Sydney’s notorious Annandale Hotel and following it up with a national tour. “And it went great,” Brewster reckons. “We had no idea what would happen, but it just went so well. We did a show at the QPAC Theatre in Brisbane in January, on the back of that touring we’d done in November, December, just a one-off show, and over 1100 people came. I must admit, doing the soundcheck

during the afternoon, I was thinking, ‘Is this going to work in a theatre?’ I didn’t need to worry because it unbelievably worked, and fortunately we recorded it.” Which is why the new album – the band has signed to Liberation, renewing their relationship with Michael Gudinski, who signed them to Mushroom back in 1984 – comes with a limited edition bonus disc, Live At The QPAC, with Gleeson delivering a fistful of classic Angels – as well as several of the new – tracks. WHO: The Angels WHAT: Take It To The Streets (Liberation) WHEN & WHERE: Friday 21 & Saturday 22 September, Bridge Hotel; Thursday 25 - Sunday 28 October, Sydney Blues And Roots Festival, Windsor; Saturday 10 November, A Day On The Green, Bimbadgen Winery, Hunter Valley

PARTING THE WATERS Baltimore’s Future Islands specialise in intense pop experiences that are both morose and effervescent. Gerrit Welmers explains to Brendan Telford how such a union is a part of life.


merging from the creative melting pot that is the Baltimore music scene, which in recent times has given the world such disparate sounds as Beach House, Double Dagger and Deerhoof, synth romanticists Future Islands have evolved from a frenetic electro menagerie intent on starting parties and freaking out into a tortured pop opera, straddling highly strung affectedness, anguished theatricality and intimacy laid bare. The trio interweave Gerrit Welmer’s sonorous synthesisers and William Cashion’s guitars with ringleader Sam Herring’s iconic vocals, evoking the more flamboyant fringes of pop whilst staying firmly rooted in a punk-like visage. Whilst 2010’s excellent album In Evening Air was steeped in the quagmire of a failed relationship, the rich tapestry of sounds presented transcended the potential pomposity to craft a truly resonant suite of songs. This year’s release On The Water steps even further away from their bombastic beginnings, creating a tempered soft-focus atmosphere for Herring to self-flagellate over love lost and in doing so offers a powerful-yet-tortured work of art. The change in tempo and atmosphere on On The Water wasn’t a conscious effort to ensure that Future Islands is ever-evolving; rather it was spawned from the desire for self-preservation after years of incessant touring.

“It is difficult, and I think it can only be defined to a certain extent as its own thing,” he reflects. “There is a lot of energy involved, there’s a lot of emotion. We aren’t looking to be different, or to change the instrumentation, yet I think that, whilst I won’t say limitless, our style of making music has a lot of scope. The best description that we’ve ever had was from Sam’s brother, who said we were ‘too noisy for new wave, too pussy for punk’. I think that’s an apt description.” WHO: Future Islands WHAT: On The Water (Valve/MGM) WHEN & WHERE: Thursday 20 September, Oxford Art Factory

“When we started writing and recording On The Water it was a time we had finished a lot of touring, and we were exhausted,” Welmers admits. “What came out of that was something slower; there was more space to breathe within the songs, less cluttered. We didn’t specifically sit down with anything in mind; it was primarily a release from the constant touring. It re-energised us.”

There’s more to this story on the iPad Whilst there was the communal need to recharge the batteries, the writing process for On The Water was much vaguer in concept. “We just sort of create, we never have any idea where things will go,” Welmer muses. “There are times when I might write a faster, dancier song, or maybe talk about a set tempo, but other than that we just create without any pre-planned focus. I spend a lot of time writing up the keyboard stuff and the programming, getting rough ideas and showing the guys. If they like it we’ll play around, try to come up with a bass line and guitar, the standard songwriting process I guess. But we record all of our practices, so we jam things out, often without talking to each other beforehand. We never write on the road, we are very much in the mindset of doing shows, but when we get home we try to decompress, to gather our feelings of what’s just happened, then come together and see what’s settled.” Nevertheless the album is Future Islands’ first record that hangs together in its entirety, an elegiac musing on life’s greatest conundrums – love, both acquired and lost, grief, desolation, and deliverance. Not exactly the most uplifting of thematic concepts, yet the trio have taken morose ponderings to another realm to the point where the juxtaposition of the positive and negative aspects of living co-exists naturally. “I think that we have worked hard on maturing our sound; our first album (2008’s Wave Like Home) we recorded in a few days, whereas we lived with these songs for some time,” Welmers concedes. “We haven’t ever really gone into making throwaway songs, but the earlier stuff was written all over the place. On The Water is of a time and place, and I think that helped for them to join together so well. Also these aren’t negative songs; they touch on sad or emotional things, but most of them are positive and uplifting. I don’t think people get bummed out by us; Sam’s lyrics are mature and heartfelt, yet the music is catchy. We want to enjoy life without leaving out the reality of it.” Although it is somewhat tempered on their latest release, Herring’s vocals are at the forefront of the Future Islands aesthetic, his powerful, throaty and at times delirious delivery proving to be a divisive touchstone. He sings like a man possessed, as if the vocals control him. Live it makes perfect sense, yet on record it is something that more difficult to harness. “It is entirely Sam, there is no denying it, he is a force of nature,” Welmers says. “To us it’s perfectly natural, but we realise that he is a one of a kind, and that isn’t always going to connect with everyone. When we play live we just do our thing and it’s up to Sam to reel the crowd in. And it will either (a) energise them, or (b) terrify them. Sometimes the crowd won’t connect, but it’s not from a lack of trying. He can definitely get into people’s faces, and I think it’s necessary to light some fires under people’s asses sometimes, you know, ‘You’re at a show and it’s gonna be fun, so enjoy yourself!’” Future Islands come into their own in the live arena, a tour de force of intensity and emotion led by Herring’s hyper-real theatrics that leaves the audience in lathers of sweat. The band has been touring relentlessly for years, and Welmers admits that when the downtime does come, it’s hard to get back into the slipstream of everyday life. “We have been on the road for so long that you get used to it, so coming home is very confusing,” he admits. “You get stuck in this cycle, so you have to strike a balance. You have to find things to do with your day to get back in the swing of things, like buying groceries and paying bills. We started touring pretty heavily four or five years ago, and since the beginning there hasn’t been a whole lot of hype around us, it’s been up to us to make it what it is, slowly building fans and creating a strong backbone. In the middle of a long tour we can feel tired, but we feed off the crowd’s energy. It’s been our life for so long now that to stop playing is weird; it’s nice but we end up counting down ‘til we are back out there again.” It is just as difficult pinning down what it is that defines Future Islands musically, something that Welmers also struggles to articulate.


HIGH FIVE With a reunion everyone can get behind, North Carolina trio Ben Folds Five is back, making music, touring and helping the world evoke 1996. Ben Preece chats to bassist Robert Sledge ahead of their Australian tour.


nless you’ve been living under a rock this year, you’d notice on many a gig guide band names that you haven’t seen in over a decade which probably thought you’d never see again. On one hand, there are some absolutely cringeworthy mentions – Vengaboys, Aqua, Eiffel 65, S Club and so on – that are quite clearly a money grab, but also on the opposite end of the spectrum are older names that are a welcome “comeback” – Prince, Radiohead, Nada Surf, Cake, Beck and, of course, a name that evokes something beyond joy itself; Ben Folds Five. Aside from a brief encounter here and there, it’s been a good 12 years or so since the three – Ben Folds, bassist Robert Sledge and drummer Darren Jessee – last made proper music together, breaking up amicably after the tour in support of their third (excepting 1998’s outtake compilation Naked Baby Photos) album, The Unauthorized Biography Of Reinhold Messner. We all know that Folds went onto a fruitful solo career, but the other two lived life a little more lower-key. Jessee formed the much-lauded folk band Hotel Lights while Sledge settled for a life a little more simple. “I immediately wanted to take a big break from touring and, well, from the music industry in general and specifically,” Sledge confesses. “I was just really burnt out. Before I joined Ben Folds Five, I’d been slogging it out with this old band I had called Toxic Popsicle kind of regionally for a few years, and going to college. And then I joined Ben Folds Five and we started touring. So really when we split up, I didn’t want to do anything but have a recording studio and record some local bands and just kind of be laid back. I produced some local records for about five years, then I raised a family and I became a teacher and didn’t really have my eye on touring very much, I just played with a lot of local artists and stuff. So yeah, a reunion was good timing because I was getting a little restless.” First there was a show, a one-off appearance in 2008 at the Memorial Hall in North Carolina, then


again in 2011 to record three songs for a Folds’ retrospective – The Best Imitation Of Myself. It was then that fans began to speculate of a reunion proper, one that would see perhaps a full-length record emerge and, if we were lucky, some shows. Well, dreams do come true, and the band entered the studio at the end of 2011 and emerged with their fourth proper album, The Sound Of The Life Of The Mind. “We all got to concept what we wanted to do and yearned to play with each other again privately,” Sledge explains. “It took a while for the timing to work out after we did the Memorial Hall show in 2008, it really took four years for it all to come together as everyone just had so much scheduling. The playing is falling back into place too,” he laughs. “I haven’t stopped playing; I play all the time. The attitude is certainly different and my body is totally different. My attitude is coming into place and my hands are coming into place, but my body needs a little bit more public exposure before it fully cooperates.” As Sledge explains, once the fingers loosened up and the comfort eventually set in, playing together as the trio of old became second nature once again. “It was very much like putting on an old jacket that still fits, perfectly. It really was kind of great because I think everyone felt it too. It was interesting how quickly we fell into the interplay, us kind of going around and around – who’s going to show off next. Because we did a couple of tracks for the retrospective, we were fairly confident that we could get in a room and just play together. All of us were really craving a good chunk of time to do something substantial – it was kind of hard for us to get in and just do a couple of songs, that didn’t feel like enough. It was kind of the same as it ever was; Ben might come in with an idea that feels kind of fragile at first, it’s just a small idea that he really wants to develop really fast. Ben works really fast. So we might go over 10 songs in the space of an hour and then 10 more songs in the next 30 minutes after that. I was really unaccustomed to that, and so when

we started doing this, it felt like a big abrupt start for not a whole lot of finish. But it was just really getting back into our process. I think once we got used to each other and our playing again, it just kind of clicked and things fell into place really well. You could actually begin to see what the end result would look like. The main thing with us sitting in a room and playing and feeling free in a way jazz musicians or jam bands might – you know, people who are very musical at their core and not very production-orientated – is the energy that comes from inside the group and our inner player, and that just takes a little bit of time to re-establish.” Sledge agrees, it really does feel like the ‘90s again. Not only because he and his BFF cohorts are back making music together, but also because he will be running into some of his old friends come Harvest Festival time. “We stayed in touch and it’s funny how the old stories come up and all have different perspectives now. But we’re just as silly as we ever were and have our own inside jokes, like most bands do. We get in

a room and just start giggling,” he says. “But there are reunions and resurgences of ‘90s outfits all over the place currently. You know, I’m not sure if Cake are back out on the scene or stayed out. I haven’t kept up with them but it would sure be good to see them again – we were always kindred spirits with them and played a lot of festivals and shows with them. Beck, he’s another. We played tonnes of shows with people like Beck, we played with him a lot. Not because we were buddies or anything, but because we were cracking the same thing at the same time. Seeing that lineup [for Harvest] felt like Livid Festival all over again, Beck, Cake and us – it’s going to be quite the party!” WHO: Ben Folds Five WHAT: The Sound Of The Life Of The Mind (ImaVeePee/Sony) WHEN & WHERE: Saturday 17 November, Harvest, Parramatta Park



SERENDIPITOUS FLOW There are very few bands that can proclaim to be completely unique. Enter Shikari are one of them. Rou Reynolds, frontman for the St Albans four-piece, gives Benny Doyle an insight into the Thai times that shaped their third record.


he summer has run its course in Ol’ Blightly once again. Some things the country experienced were different this year – they’re never having a Jubilee/Olympics double ever again – however, some events remained the same. One of those was the Reading and Leeds Festival, something of a rite of passage for any British music lover and two of the most iconic stages in the world. But even with all the massive names filling the bill – Foo Fighters, The Black Keys, At The Drive-In, Kasabian – one band stood head and shoulders above all for punters when votes were cast for performance of the weekend. Finishing off a bowl of strawberries and cream with his girlfriend (seriously), Enter Shikari leader Rou Reynolds humbly admits that the band was blown away when they heard the news. “Every year that we play Reading and Leeds the crowd is just awesome,” he gushes. “It’s one of our favourite festivals to play, definitely, and to get voted best band was quite surreal. On any stage of that size we try and naturally fill up the space and progress sonically, but we don’t think about it too consciously to be honest; you go out there after you’ve been couped up in a van for a few hours and it’s just like a playground.” Formed in 2003, old friends Reynolds, Rory Clewlow (guitar), Chris Batten (bass) and Rob Rolfe (drums) generated a wave of underground hype with a number of demo EPs before debut album, Take To The Skies, officially released in 2007, solidified their standing as one of the most explosive and popular British bands doing the circuit. Released at the start of this year, their third record, A Flash Flood Of Colour, builds further on this reputation, the album amalgamating hardcore ideals with dubstep and drum’n’bass breakdowns in a sound that is unlike any other. According to Reynolds, crowds have been eating it up. “This has definitely seemed like the most immediate album in a live sense; people have really taken to the tracks and they go down really well live and people are screaming the lyrics back louder than ever. We’re really enjoying it.” Although sessions for the record began in London last year, the band ended up decamping to Karma Sound Studios in Thailand for three weeks to complete the

work, enticed by the opportunity to work in premium facilities surrounded by exotic beauty. Considering the energy and raw aggression found in most of the tracks, the location seems somewhat contradictory. However, Reynolds couldn’t imagine the results coming from anywhere else. “I certainly think getting away from it all helps, definitely. Getting away from the hustle and bustle of cities calms your mind and enables you to really concentrate and feel the music and it just works for us. I think if we had stayed in London and did the whole album there I don’t think it would have been as good. “The producer we were working with, Dan Weller, he did guitar production on [2009 album] Common Dreads. He’s just a great friend of ours and we get on really well, so we decided to go with him fully for this album and he had a friend who was building this studio out there. He’d finished it, it had all gone to plan and he’d had a few Thai bands and Asian bands there, but he was trying to attract a few more Western bands over and get his name out. So he offered us a proposition that we couldn’t refuse basically. We were in the middle of nowhere, so we had some inspirational walks around, but it was literally just jungle with this state-of-the-art studio in the middle of it. All we had nearby was a little fishing village that was completely untouched by Western influence, so that was amazing, to see how the locals lived. “And the great thing about it was there were just no distractions whatsoever. They even had cooks and stuff so we had meals made for us – this incredible traditional Thai cooking – so literally all we had to worry about was getting the music down. We had a room each, like basically a small hotel room each at the studio as well, which made all the difference because when we were in London we were commuting back and forwards on the Tube each day, an hour each way every day, which is not ideal to get you inspired,” he laughs. “So there was this really calm and relaxing atmosphere where the mind could be at its most creative.” Arguably, A Flash Flood Of Colour is Enter Shikari’s most consistent and flowing release, with the whole album seeming unified sonically and thematically, which is ironic considering the songwriting process Reynolds speaks of.

“In terms of the structure of the album we didn’t think too hard about it. We had all these individual songs and for the first time we didn’t think about how the album would flow actually, we just concentrated on each song as its own entity,” he admits. “And I guess it’s just through serendipity that it actually flows really well. We mulled over the order of the tracks quite a lot and tried out different things and thought about the outros of tracks going into the intros of others, but we were committed to keeping the tracks separate and not doing any little interludes or anything this time and it’s worked well.” And as far as band progression goes, that harmony is what Reynolds considers to be the biggest area of growth for the quartet. “I think probably the main thing for me was how whole we sound as a band [now]. It’s very much one unit. The lines between what is guitar and what is electronic and what is bass, it all got blurred. We’re really getting into bleeding the electronics either through the guitar or vice versa. The base rig is becoming ridiculously vast now, a lot of instruments run of Ableton and my laptop so yeah, it’s all becoming one sound and we’re not

really thinking about different parts, we’re just sitting down and saying, ‘What does this need? Does it need something tranquil and light, or does it need a sharp sound?’ We’re looking at all the instrumentation we’ve got at our fingertips instead of thinking in a traditional band sense.” Enter Shikari are genre smashers – plain and simple. Their sound walks a line between the dancefloor and the mosh pit and on their second visit to our shores in seven months, having made an appearance at Soundwave earlier this year, Reynolds is eager to deliver the meld those two worlds create and deliver the full experience to rabid Aussie fans. “Soundwave was great fun and the crowds were awesome – the vibe was great for us – but being able to play a much longer set with a full structure of all the new songs, we’re really looking forward to it.” WHO: Enter Shikari WHEN & WHERE: Friday 21 September, UNSW Roundhouse

APOCALYPSO NOW Self-described ‘Jamaican E.T.’ and tireless reggae legend, Lee “Scratch” Perry’s new album has him teaming up with chillout veterans The Orb. Christopher H James tries to unlock the secrets of its conception, with confounding results.


kay sports fans, time for something new. It’s called Jamaican rodeo, and it involves one of the pre-eminent faces of Jamaican music, Lee “Scratch” Perry. The concept is you have to see how long you can maintain a conversation with Mr. Perry as he bounces off the walls. Often hailed simply as Scratch, Perry is a pioneer who has not only made a career out of defying convention, but also conventional logic, whilst ruffling innumerable feathers over a fifty year career. The first danger is that I’m going to run out of questions. A sound interview approach is to come up with a few different topics and have in mind some simple follow-ups. This line of inquiry, however, becomes almost impossible when the interviewer has only the vaguest notion of what the interviewee is telling me. It feels like it’s all rapidly about to implode, as I struggle to process in real time his thick Jamaican drawl and unusual choice of words. Starting on what should be safe ground, specifically his new album with Ultraworld inhabitants The Orb, I ask Scratch if he’s a fan of their music. He responds in a soft, croaky voice “Yarp. Y’one thing every people ask me about in review. Everybody interested in it. Me love it. Me love it [coughs]. The man crazy. Man craze it, and people love it. Many people love it. Many people love it and dub it, and rub it and scrub it. I love it too.” Unlike real rodeo, this bull starts off reasonable and calm, lulling the contestant into a confidence that he might actually stand a chance. As I fish for details on the collaboration, his answers tail off inaudibly. My question – ‘How was the album made?’, seems to fry his mind. He begins by claiming they “ran down the place,” before rambling into incoherence. Fortunately he starts to use repetition, which makes a few words understandable; he notes that there was some “…rocking and rocking. Beef, bam, boof, beef, baff, boof...” “You listening to me?” he interrupts. He makes a high, chirpy “hello” like a cuckoo clock and finishes with some rhythmical heavy breathing. For decades, public debate has disputed whether Scratch is genuinely crazy. It’s a discussion fuelled by his statements, bizarre clothes, paranoid outbursts and a history of erratic behaviour, which has included wrapping himself in gaffer tape, insisting that Island Records boss Chris Blackwell is a vampire and claiming responsibility 32 • THE DRUM MEDIA

for setting fire to his recording studios. The debate is a typical mainstream response to such antics informed by the usual apocryphal rock mythology that conflates “eccentric” and “insane”. It’s a romantic view that wrongly celebrates insanity as a creative force. There is no tangible evidence that Lee Scratch Perry is anything other than eccentric to the extreme, particularly as he managed to maintain a career which includes a half century of recording experience, a literally uncountable number of records – even Scratch doesn’t know the answer to that one – including collaborations with the Beastie Boys, The Clash and Bob Marley amongst others. When he cut his first record, Jamaica wasn’t even a country; it was an undistinguished colony of the British. Speaking of which, I ask if he did anything to celebrate the 50th anniversary of Jamaica’s independence. “God bless Jamaica,” he announces after a few thoughtful seconds. “Land of riches. Land of the fathers. Land of Jamaica. Land of reggae. Land of raggamuffin. Land of ragga touchin’. But [now with a serious tone of voice] I say, ‘Behold, this is Jamaica. Jamaica dub it’.” I ask for a little clarification as to whether there was anything specific he did. “Jamaica?” he sounds surprised. “I’ve done it… Anything that goes on with your phone? …My phone rocker turn up.”

There’s more to this story

on the iPad

Is there anything that he misses from Jamaica? “Most other thing that I miss? I miss our gold sands that we have in Jamaica. The sands that we have in Jamaica, I miss them…” he starts to tail off again, muttering something about Bob Marley. Suddenly he seems to find his groove again and starts singing with gusto, “God bless Jamaica! Land of the old. God Bless Jamaica. The land of dub. Dub and dub and dub. Rub and rub and scrub. And God bless Jamaica, the land that we love, and love and love and love… thank you.” An interview with his now departed friend, John Martyn, suggested that Scratch’s apparent looniness is a defence mechanism to keep away people that he doesn’t trust,

which would appear to be almost everyone. It’s a plausible idea, as there are unhinged moments during the interview that border on disturbing, particularly when the man-made sound effects kick in. I want to know whether he has any other projects or plans on foot. “After this I have a movie coming out,” he pauses for dramatic effect. “Vision Of Paradise: Land Of Fire And River Of Ice.” Sounds enticing. I probe for some more specifics. “Vision of the past; vision of the future, right?” he states the last word firmly as if trying to draw a line in a sand. “After that I’m going to make me another album, an LP/CD/EP, Banzai Rule, Banzai School.” Then something goes haywire. His voice lowers into a threatening, almost mechanical sounding smear. “Do I make you people turned on and be happy, happy, happy, happy,” he starts rapping. “… laughing and slapping… reading and kicking and kicking… pissing and pissing and shitting and shitting [makes a demonic bird laugh sound]… and that’s rudimental [the same laugh again but slightly more robotic] “…you confuse your illusion.” The laughter continues, his voice as conceivably low as possible, distorting his words beyond any comprehension. All I can catch is something about “stress” and “the universe”. He closes by announcing either, “Hello old man in Eastern temple” or “Eastern Timor”.

There’s only a short time left, and I have to improvise questions to make it to the finish line. I ask him what he likes about Switzerland, his home since 1989. He responds with great enthusiasm, “The mountains, the trees, the plants, the flowers, the ice, the snow, the rock, rocks forever… warm weather, the best weather. [starts singing again] Come shine and the weather is change. I wanna move my dancing feet. To the rescue! Here I am! We love that. I love it. Come in! Jam, jam, jam, jam, jam. Jam the jam and jam rock [mumbles to a close], Okay, how do you like that?” I feel a twinge of regret that I wasn’t brave enough to start this encounter with some Swiss questions. The mediator’s voice interrupts to let me know that I have 60 seconds left, enough time for some heartfelt thanks and a goodbye. I had clung on until the bell sounded and could now collapse onto the padded rodeo floor. I was disorientated but still keen for some more of Mr. Perry’s Alpine wonderland. Alas, the circus had already left town. WHO: The Orb featuring Lee “Scratch” Perry WHAT: The Observer In The Star House (Cooking Vinyl/Shock)



With Call Me Maybe, Canada’s Josh Ramsay has been responsible for one of 2012’s most inescapable earworms. Matt O’Neill speaks to the vocalist and songwriter as he brings his own band Marianas Trench to Australia for the first time.


h, that was very surprising,” Josh Ramsay laughs of Carly Rae Jepsen’s mega-hit, Call Me Maybe, which he cowrote and recorded with the Canadian pop star. “It’s funny, I’m standing in the room where that was written and recorded right now and it still seems weird to me that everyone in the world seems to know that song. Honestly, it’s been amazing because, obviously, what helps Carly helps out my band too.” Marianas Trench straddle a strange divide. Firmly established within their native Canada as a successful pop act, they’ve also made an unusual habit of experimenting with their artistic limits. As an example, Ramsay’s work with Carly Rae Jepsen has made him a much soughtafter professional pop songwriter – but his band have delivered multiple concept albums spanning everything from punk to pop to Broadway. “I really try and not have rules. I think, as soon as you put rules in place for a band’s sound, you put a ceiling on what that band can do. “Bands like Queen, [The] Beach Boys, even The Beatles – the greatest thing about those bands was their sense of adventure. That ability to go, ‘Well, that instrument doesn’t really go with this genre but we’ll do it anyway.’ That’s the fun of music, I think.” Their most recent album, Ever After, for example, tells a (surprisingly complicated) fairy tale of a stranger waking up in the land of an evil queen. Composed as a continuous piece of music, Ever After’s make-up runs the gamut from gospel to electro. Yet, equally surprisingly, it also produced multiple hit singles. Lead single, Haven’t Had Enough, actually reached #1 on Canada’s iTunes chart. “I think we’ve been really lucky. Ever After went gold in Canada in its first week. I’m still shocked that that actually happened. I mean, it’s only our third album,” Ramsay laughs. “I feel really lucky because, really, our first album we were still searching for our sound in a way.

Dance music is constantly evolving, and according to the members of N-Trance, this is the key to their renewed enthusiasm. Stuart Evans looks backwards, and forwards, with the ‘90s phenomenon.


op one, nice one, get sorted. Ah, the ‘90s revival is well and truly back with a vengeance. N-Trance is the proverbial ‘blast from the past’ thanks to their international hits in the ‘90s like oh-so-cheesy cover versions of the Bee Gees’ Stayin’ Alive, Rod Stewart’s Do Ya Think I’m Sexy? and Ottawan’s D.I.S.C.O. Brings back memories, right?

Our second record, we kind of started to figure out what we wanted to do as a band. I feel we really kind of came into our own with Ever After.” At the heart of both the band’s dilemma and success is Josh Ramsay. The band’s main songwriter, Ramsay is something of a freak. His father owned a recording studio (entertaining clients such as AC/DC and Aerosmith) while his mother was a professional vocal coach. From an early age, he’s been indoctrinated with music – currently, he can play eight instruments, works as a professional songwriter and runs his own studio. “It was great. I actually thought everyone in the world was a musician until I was about ten,” Ramsay laughs. “Everyone in my family was a musician, everyone I met was a musician and, if I went to work with either of my parents, I only ever met other musicians. The great thing was, because everyone in my family was a great musician, every road trip and singalong was like a new lesson about music. “Like, I think the thing about me is that I’m not the kind of person or musician that only likes one genre. Some people only respond to one genre of music or they have that mentality that says something mainstream can’t be good or something indie can’t be good. The way I look at music, I just like good songs. I don’t care if it’s R&B or country or pop or rock or rap – if a song is good, I think it’s good. As a result, I write it all. It’s all good.” WHO: Marianas Trench WHEN & WHERE: Saturday 22 September, Fat As Butter Festival, The Foreshore, Newcastle; Wednesday 26, Metro Theatre

The difficulty with covering disco classics in an entertaining but partisan way is it tends to define a group’s sound and leaves little wriggle room to change punters’ perception. Luckily, for early ravers N-Trance, they’re probably remembered for their rave classic and ultimate whistle posse anthem, Set You Free, which arrived before the disco covers. “It’s such a great track and sounds just as fresh today as it did when we first released it. Whenever it gets played in clubs it always destroys dancefloors,” tells founding member Kevin O’Toole. O’Toole and Dale Longworth formed early rave outfit N-Trance back in 1990 after they met at college where they studied sound engineering. Around the same time, teenagers were getting wet and sticky in warehouses, dancing their chops off to acid house and hardcore. So N-Trace got in on the act with their first foray into the world of electronic music – a remix of a kids’ TV show tune, Roobarb. Despite going under a variety of monikers, they eventually settled on N-Trance and recorded what would be a monster hit, Set You Free, in 1992. However, after record label troubles and a measly chart position of 83 in the UK singles chart, it took another two release attempts for Set You Free to catch on. But catch on it did, as in 1995 it became a colossal hit. It reached number two on the UK singles chart and became a worldwide hit. O’Toole laughs, “We always knew it was a good record and it was a case of believing in it and believing in ourselves. It became bigger than we ever thought it would.” Although the linage from disco to house, house to rave and everything else has been told numerous times, the direction N-Trance took next was a surprise: they covered

the Bee Gees. “For some artists they may get a bit apprehensive about things like that but we like to make fun of each other and do fun things,” tells O’Toole. True, their cover of Stayin’ Alive became an international hit but it would define their sound, largely thanks to the largerthan-life ‘rapper’ Ricardo Da Force, formerly of KLF fame. Although all has been relatively quiet on the N-Trance front, O’Toole and Longworth have been as active as a marathon runner. Around 2006 they released So Much Love To Give under the alias Freeloaders, with an album, Freshly Squeezed, released via digital download. After a few N-Trance albums, more singles, more solo ventures, departures and reunions, N-Trance reformed – or re-invented themselves, in 2009 with a new singer, Lynsey-Jane Barrow, and the return of Longworth. Barrow says she joined the group after a stint Down Under. “At the time I was travelling in Australia, doing the back-packer thing, when I heard N-Trance was advertising for a singer. I got the plane back to England and luckily became the new singer,” she tells. Fast-forward to 2012 and the former ravers are about to tour Australia. “We’ll test the water with our new material,” tells Barrow. “The reaction so far has been position and hopefully everyone will like our new music.” An album is in the pipeline that will feature a mix of genres, including dubstep. “There are no covers on our album as it’s all new material,” insists O’Toole. So what next? Can the ‘90s nostalgia fest keep going? “The sky’s the limit for us as dance music doesn’t stop evolving. If we replicate what we had in the ‘90s we’ll be happy,” he laughs. WHO: N-Trance WHEN & WHERE: Saturday 22 September, Fat As Butter Festival, The Foreshore, Newcastle; Saturday 29, Selina’s, Coogee Bay Hotel




Formerly residing over a Philadelphia Grand Jury, Simon Berkfinger’s latest project Feelings is up and about, and he tells Stuart Evans the biggest difficulty since going solo has been himself.

Katchafire are one of New Zealand’s most successful reggae exports. Ahead of their much anticipated return to Australian shores, singer-guitarist Logan Bell speaks to Matt O’Neill about the band’s surprising success.


ew Zealand has one of the most fertile reggae scenes in the world. Few of its representatives can lay claim to Katchafire’s success, however. Forming in 1997 as a Bob Marley tribute act, they’ve since gone on to share stages with The Wailers, Horace Andy, UB40 and Maxi Priest; performing extensively throughout New Zealand, Australia, America, South America and Europe. “Yeah, it got to the point where we weren’t even playing in New Zealand because we were so busy touring,” singer-guitarist Logan Bell laughs at their hectic schedule. “We managed to get back there just recently – and, even then, it was only eight dates or so. Pretty exclusive. Our focus lately has pretty much been about trying to take our music to the world – all four corners of it.” The band are very much a touring juggernaut. While boasting a less than wieldy line-up (seven musicians in total), Katchafire are one of the hardest-working bands of their genre. Their recent US tour saw them tackle 35 dates. Their upcoming Australian jaunt sprawls over 31 shows. It’s perhaps unsurprising they dubbed their fourth and most recent album On The Road Again back in 2010. “You know, we really do want to spread the net as far and as wide as possible,” Bell explains. “That’s the reason we haven’t spent a whole lot of time at home over the past five years. The focus has been the rest of the world. We actually kind of feel at home in places like America now – we’ve done it so often over the past several years.” It creates an interesting conundrum for the group. Katchafire, more so than most, are a band of community and family. Ignoring reggae’s inherent connection to such ideals, Katchafire were initially formed of brothers and cousins. Yet, as they bring their message to the world, they inevitably separate themselves from all that is most dear to them as a collective and as individuals.


’m sitting in my underwear in front of a mixing desk in Berlin. I’m thinking about what I’ll do today,” tells a forthright Feelings, better known as Simon Berkfinger. That is some personal information shared right there. It is good when interviewer and an interviewee get intimate. “Yeah, that’s definitely an issue. Most of the boys in the band have multiple kids. Family is very important to all of us and being away from our loved ones is probably one of the hardest parts about being away on the road for so long,” Bell reflects sadly. “All we can do is try not to be gone for too long at a time, you know? Try not to be away for more than five or six weeks with each tour.” Still, there’s limited sympathy. Katchafire do it to themselves. If they weren’t so good at what they did, they wouldn’t be in such a predicament – and they are a genuinely exceptional ensemble. With five songwriters and seven musicians, Katchafire records have long been storehouses of both talent and eclecticism; strong reggae songcraft augmented by liberal lashings of funk, jazz, soul and pop. Their success is unsurprising. “Well, we pinch ourselves every day,” Bell laughs. “You know, we’ve always sought to keep our goals nice and realistic as a band. When we started, all we wanted to do was write and play the music that we liked to listen to as a band. When other people seemed to like it, we just wanted to see if we could release an album. It just kind of kept going. We all feel so lucky to be doing what we’re doing. “I mean, there’s demand for our music in Brazil, Indonesia, Bangladesh... Places we never thought would even hear our music,” the singer says incredulously. “And I just think that kind of following is the greatest compliment you could ever get as a musician.” WHO: Katchafire WHEN & WHERE: Saturday 22 September, Enmore Theatre; Sunday 23, Cambridge Hotel


“I just find it so amazing, what a voice can do. Previously, we’ve always done harmonies, but it was awesome to explore different ways of making your voice an instrument I guess. That’s in there a bit, which is cool, and I think it’s even more evident in our live set, in a couple of our new songs and stuff too. The thing about the record is that there’s never a place on the record where there’s – oh, there are a couple of places where there are four – but there’s never more than that, so that’s kind of easy to reproduce live. We’re pretty true to being a rock band that actually plays the live sort of thing, so…” Joining Shepherd in Charlie Mayfair are fellow keyboard player and vocalist Irena Lysiuk, guitarist David Christensen and drummer Will Weightman, though on the second track on the EP, Stone, you’ll hear the voice of recently departed fifth member Dave Di Marco, who cowrote the song with Shepherd. 34 • THE DRUM MEDIA

on the iPad

Berkfinger, now going under the name Feelings, is still largely known for his work with the now defunct Philadelphia Grand Jury who burst onto the scene with their shockingly catchy, Going To The Casino (Tomorrow Night). The name is a tad confusing as the three members of Philly Grand Jury hail from Sydney. All the same, last year the trio called time on the collective, citing “creative differences” between founding members Berkfinger and Joel “MC Bad Genius”. After the split, Berkfinger upped sticks and shifted to Berlin to focus on his solo work. Even though the divide occurred over a year ago, Berkfinger reveals that he is still confirming the band’s demise with fans via social media. “It’s a bit sad telling people on Facebook that we have split and that we will not be playing together again,” he says. When news first broke of a division within the Philly’s, the announcement said they were on “hiatus” with Berkfinger stating that Philadelphia Grand Jury is just one of his musical personas. The statement added that Berkfinger moved his recording gear to Berlin. In November 2011, the band announced via their Facebook page that they had split up. Berkfinger reveals that there are obvious pros and cons to going alone. “It’s very scary going out on your own and you start to think about your career, which isn’t a good thing to think about.”

If that sounds like hyperactive approach to music, it is. Thankfully, Berkfinger explains that there are other ways to expand and develop. “I’ve always got musicians dropping by who will often collaborate.” His first single under the Feelings banner is One In A Million, which has already been lauded. He’s also embarking on a national tour with the likes of Art Vs. Science’s Dan Sweat and Dappled Cities’ David Rennick. The Berkfinger live show experience is still a work in progress. “One thing about Philadelphia Grand Jury is that we had a great live show. It was fresh and had this cool energy about it. I’m still working on my live show as it needs to surprise.” WHO: Feelings WHAT: One In A Million (Inertia Access) WHEN & WHERE: Wednesday 19 September, Beach Road Hotel; Friday 21, GoodGod

In Australia for her third visit in ten months, Krystle Warren has more songs than she can release for us, as Michael Smith discovers.


aking to the Sydney Opera House Concert Hall stage recently to open for Rufus Wainwright, in whose band she was also performing, Krystle Warren is much more relaxed and confident than she was when Australia first got to see her, as part of a tribute to the music of English folk musician Nick Drake in November last year.


“I have a bit of a fascination with singing and voices,” singer, songwriter and keyboards player Hannah Shepherd admits. “I kind of always have. Like, I grew up singing in choirs and always just loved singing in groups; I was always the person to spark up a big singalong with my friends and stuff. So I guess my choir background obviously made it easy for me to work out harmonies – I don’t even really need to think about it; it’s second nature to me. But having, you know, three voices like we do that I know so well, it was really amazing fitting them all together and blending them and that sort of thing.

There’s more to this story

He is not kidding. He has a recorded 80 songs for his forthcoming debut album, with one potential song recorded over nine years ago. He has also coined a new phrase for his musical shape shifting. “It’s called spontaneous instrumentation,” he laughs before veering off to one of his loved tangents. “I can’t decide on what songs to use. When two people collaborate, they try different instruments and different approaches. I try a similar thing by playing an instrument and then playing another instrument with a similar melody. I then may try playing something else immediately afterwards.”


Brisbane progressive folk popsters Charlie Mayfair just got bigger – and smaller – with their second EP, Fall In Time. Hannah Shepherd talks to Michael Smith about it. wooning, exquisite harmonies sweep across various parts of the four songs that make up the second EP, Fall In Time, from Brisbane’s Charlie Mayfair, a real step up in every respect from their more acoustic debut EP, Watch My Hands, of a couple of years ago. The breadth of sonic textures and sumptuously intriguing arrangements speaks of a collection of songs more fully realised and, for all their supple complexity, immediately engaging – and all reproducible in the live context.

Berkfinger is explaining that he is looking directly at a grand piano in the corner of his Berlin studio. There is also a drum machine, he says, and numerous other instruments. He cannot play the piano. “Well, I can just play enough to get by. It’s a challenge to try other and play other instruments as I am always trying to throw myself curveballs,” he laughs.

There have been a few other eye-opening moments since he has flown the Philly coup. “The biggest thing I’ve noticed is that it’s hard for me to actually finish anything as whenever I sit down to finish something I always start writing new material. I’ve gone off on a lot of musical tangents and put pressure on myself by constantly challenging and tricking myself,” he tells.

“It sounds like he fell overboard or something,” Shepherd laughs, “but yeah, Dave – he was kind of the other lead singer – he’s not finished with music; he’s gone to do his soully stuff, so I guess he was kind of heading in a bit of a different direction musically to the rest of us. It was a really sad time, just seeing him play and us playing without him, but it was the right thing to do. He’s such a prolific songwriter and we all just wanted him to be happy, and it seems like what he’s doing now is going to make him happy, so we’re all happy for him. There was honestly no negativity around the break – we’re all so amicable with each other that it’s actually a bit ridiculous! We haven’t replaced him. We just rearranged a couple of our songs and obviously our live set is going to be missing his voice.” As to what was driving Shepherd as a songwriter when she was writing for the EP, “it’s funny,” she suggests. “I don’t think we intended it but all the songs are all sort of about a couple of pretty important people in our lives, so I guess there’s a bit of almost a nostalgic vibe to the songs. That’s mainly one of the reasons why we picked that [cover] artwork, which is actually a [beach scene] picture that I found in my parents’ photo album. That’s actually my mum in the arms of, I think, an old boyfriend or an uncle.” WHO: Charlie Mayfair WHAT: Fall In Time EP (Independent) WHEN & WHERE: Thursday 20 September, Queens Wharf Brewery, Newcastle; Friday 21, Brighton Up Bar

Having completed her tour of duty with Wainwright, she’s taking the opportunity to perform a couple of her own shows to spread the word on her latest album, Love Songs: A Time You May Embrace. The album – which she produced herself – is actually only the first half of a collection of songs she originally envisaged as a double album with 24 songs. “It was hard to break into two parts actually,” Warren admits, “but in the end I figured that was the best way to allow the listener to have enough time to kind of soak it up and not feel rushed.” The fact that Warren doesn’t restrict herself to one particular style or genre, and certainly not feeling constrained to the simple singer/songwriter format – the album was recorded with her band The Faculty – means that she is a songwriter who allows the song to dictate the direction in which it wishes to go. “Let’s kick it off with [second track] Five Minutes Late,” she begins. “With that one, while writing it I knew that I wanted it to have this kind of, you know, vaudeville, jazz, New Orleans style. So when it was written I handed it very quickly over to my friend Brad Cox, who did such a lovely job with the arrangements, and I just said to him, ‘This is gonna be vaudeville jazz.’ Some tunes just seem to already kinda have their personality there, as soon as they’ve been created, and that was one of them, for sure – it stuck out that way. “[On the other hand], with The Clod & The Pebble, I’d had the music sitting around for a bit and it didn’t have the lyrics for it. I just knew I wanted something that had this kind of baroque feel to it, and lo and behold, that book of poetry, [William Blake’s] Songs

Of Experience, fell in my lap. I thumbed [through] and there you are, The Clod & The Pebble, ‘Ah, yes!’ And it suddenly just made complete sense, why I wanted it to have this kind of very English baroque approach. “The great fun about working with these songs is they just kind of tell me what they want, how they would like to be presented and treated. All I have to do is respect that.” Born in Kansas City, Missouri, Warren discovered music early, courtesy her mother’s record collection. After an initial unsatisfactory foray into jazz, she headed to New York City and busked on the subway. It was in New York that she found the musicians that would become The Faculty, with whom she recorded her first album, Circles, in 2007. Something of a gypsy, she has since lived in Paris and San Francisco, but it was while performing in the UK that she got to perform on the Later With Jools Holland TV show in 2009 and became a part of the Way To Blue tribute, around the time she also met Rufus Wainwright and became part of his touring family. “It’s just an honour all around,” she admits. “I’ve been a fan of Rufus since his first album came out back in ’98. I was in my late teens at that time and was just bowled over by him as I have for every recording he’s made since then, and even gush over him now as we’re working together.” WHO: Krystle Warren WHEN & WHERE: Sunday 23 September, The Factory Floor; Tuesday 25, Lizotte’s Kincumber



Trance and House purists might not always see eye to eye with Ferry Corsten, but as Cyclone discovers, it’s throwing curveballs that keeps the man going.

They’ve been absent ten years from our shores but Nada Surf return this month. Frontman Matthew Caws tells Tyler McLoughlan how audiences will be treated to the wares of newly realised outfit.


iësto may have christened the hybrid of trance and house, ‘trouse’, but his pal Ferry Corsten pioneered it back in 2002 with the crossover hit, Punk. “I like to think of trouse as ‘hance’ – honestly!” Corsten quips. “It’s house with trance, not trance with house.” The Rotterdam native built his rep in the trance underground. He’s still feted for his System F project, Out Of The Blue, a classic. He’d establish his own name with several ‘artist’ albums. Corsten has also remixed major pop acts, lately Justin Bieber’s dubstep-esque Just As Long As You Love Me. The DJ/producer is returning to Australia with a fresh concept that will appeal to fans of, er, hance, trance and house. Full On Hosted By Ferry Corsten involves him interacting with other DJs – in this case Swedish houser Zoo Brazil and US trancemeister Shogun. “I’m sorta like the glue,” Corsten says. They all play solo sets and, in between, tag team. “It is more like a concert show, in a way. It comes with a full production – custom-built visuals and everything. But what makes it really nice is that I think as a clubber at the Full On event you really feel that you’re part of a big family. It’s not just the crowd’s on the one side and the DJ is on the other. It’s all together, really. Even among the DJs, we all play together, basically.” The Dutch trance contingent has upped the ante for DJs everywhere with stadium shows, Corsten conceding that it’s now competitive. “I just look around and I see what’s missing sometimes or what I would do in certain situations.” In developing Full On, he realised that, Swedish House Mafia aside, the communal feeling was missing in EDM. “All the DJs are so on their own islands. This is my performance and this is me.” Corsten dropped a fourth album in February. WKND is, he says, “sort of like house meets trance – it’s very melodic but in general it’s a little slower.” The fusionist has worked more with singers, the best known of them Armand van Helden collaborator Duane Harden (It’s not the first time he’s hired vocalists – Corsten teamed with the late Guru on 2006’s LEF LP). The Dutchman admits that he wants to “reach a wider


audience,” though not necessarily via commercial radio play. “It’s just a new thing for me again.” Corsten’s desire to try new things has often raised the ire of trance purists – especially when he aired Punk (recently remixed by Russian Corsten fave Arty). “I did get a lot of stick for that; ‘How can you do this to your trance fans? We want your Gouryella [his gig with Tiësto] and System F sound!’ Yeah, that’s twelve years ago, guys, I grew up as well. You move on. I do those things not always having in mind that I wanna be innovative or anything – that doesn’t really come up in my head. It’s more like, ‘Okay, I’ve been doing this and this already for a while and I need to inspire myself and trigger myself into something new,’ just so I’m in the studio again really excited about something. I’m the type of person who, if I do something over and over again, I get really bored and I go numb. So I need a change for myself in order to stay enthusiastic in the studio. I know that some of my fans really want to keep me there in this glass box – like, ‘Okay, this is how we know you and this is how we want to keep you.’ But, if I do that, I’ll die.” Luckily, the haters usually come around once they’ve familiarised themselves with something. Corsten copped it with last year’s “very housey” single, Check It Out, but today it’s one of the tracks that goes down best in his sets. “It’s a funny sort of psychological thing that people have to go through, I guess – and myself included!” WHO: Ferry Corsten WHEN & WHERE: Saturday 22 September, The Hi Fi

merican trio Nada Surf occupy an exclusive area of the industry reserved for those who quietly but proficiently go about their business, making life-long fans of anyone they manage to touch along the way. Add to this that 2012 marks their 20-year existence with an unchanged line-up, and that their later years have produced stellar indie pop-rock records that continue to transcend the vigour of early efforts – notably their 1996 debut hit single Popular – and you’ve got a near-perfect combination of musical magic. Given this, all Nada Surf had to do for this year’s seventh record The Stars Are Indifferent To Astronomy was keep on keeping on. But it was still time to address some home truths. “A funny thing has happened to us in the studio where we take songs that we played at a certain speed with a certain click [track] in practice, and we’d get in the studio and just slow them down,” frontman Matthew Caws admits. “I think because we felt that it was the mature thing to do or the thing that we were supposed to do, but then touring for those records, we’d find that the songs went right back to the way they were in practice, which was a little more breakneck. “And sometimes that could be a little troubling because we’d think that we were doing something wrong and then if we played it the way we felt it, that we were... you know, that we were rushing. That change was alarming because we kept on wondering about it, so this time we said, ‘Well, lets just keep the songs exactly like they are in practice’, and we did.” Caws also looked closely at his approach to songwriting for The Stars Are Indifferent To Astronomy, prompted by the process of sifting through his life’s work to prepare for start-to-finish performances of their records Let Go, The Weight Is A Gift and Lucky to promote their 2010 covers record If I Had A Hi-Fi. “I really had to listen to those records top to bottom a bunch of times to brush up on the songs we hadn’t done as often. I found something that a lot of songwriters feel

sometimes, the sort of, ‘Oh my god, I just write the same two or three songs over and over again’, and that happened to me in a big way while listening to those. “It really hit home how often I look in a kind of psychological mirror, you know… I didn’t want to turn 80 one day and look back at an entire lifetime of writing songs just about myself,” admits the son of a philosophy professor, noting a particular interest in the natural world and the very external issue of climate change across the new record. But these are not the only shifts abound in the Nada Surf camp; recently the trio has experimented with the live additions of Doug Gillard of Guided By Voices fame, and Martin Wenk, who is too busy with Calexico commitments to make it down under for Nada Surf’s brief visit this month. “I’m very, very excited about this four-piece and the shows will be, you know, I think they’ll be a bit richer than the ones we did ten years ago as a trio. I hope so, at least. “But I have great memories of it. I’m a big fan of Australian music and I can’t wait to go perusing in some record stores and just enjoy it, try and make the most of it. We’ll only be there for four days – criminally short, but that’s just the way it is. It’s been a really busy year and we have families and stuff so we’ve got to get in, get the job done, and get out.” WHO: Nada Surf WHEN & WHERE: Thursday 20 September, Annandale Hotel

SAT 22 SEPT Vikings Erindale Tel: 6121 2131 or

SAT 29 SEPT Evan Theatre, Penrith Panthers Tel: 4720 5555 or

FRI 3 OCT Newcastle Civic Theatre Tel: 4929 1977 or





Robbie Williams

Damn Terran don’t make shiny pop like any of the above. Pills (Thornbury) roars like an Impreza on a gravel road, with vocals by Shane from The DZ Deathrays, and production by the ‘Gurge’s Ben Ely, who it would appear makes things sound ragged enough. Far gentler, but being human enough to make the old toy synth noise that it travels on sound just a little happily frayed Miss Little’s Years (Laughing Outlaw) has some off-centre chamber-pop charm which would encourage you to throw some of your change in the hat left in front of the Salvation Army band who blurt the brassy bit towards the end. The pop music can be an odd business if your Diamond Days (Independent) started when you were 14. Bento is the band guise for Ben Gillies. He was drummer for that Silverchair combo, you may recall. And now he’s the guy out the front singing. Sounding – and in the clip even looking – a little like he’s still not quite sure he should be there, it’s a hesitant anthem not sure if it can convince you to follow it home. Ironically, sounds older than its creator. The faithful will probably warm to it, just because they are, and he is. One of my favourite piece of memorable wisdom as title was The Model School’s It’s Hard To Dance When Your Legs Are On Fire from a couple of years back. Also descriptive, their newest, Streets I Left Behind (Independent), comes with an insistence and wiry guitar ring of sturdy indie pop-rock style. Goes alright. Also memorable in the name stakes, Melbourne’s Fearless Vampire Killers do a durable line in guitar. Mexico (Independent) has a touch of the Morricone cinema soundtrack around the edges. They’re also brave enough to have a run at The Beatles’ Yer Blues, which is done with some gusto, as the old line goes. Jasmine Beth’s name used to appear in these very pages writing ‘bout the music. Realising there was no money or much satisfaction in that, she kept to her love of actually playing it, and she’ll probably learn there’s probably not much more of either in that. A self-titled EP (Independent) is in that tasteful arc somewhere between jazz and folk. Adelaide’s The Dunes make a dreamy pop with all the right names referenced – Mazzy Starr, Nico – and an EP, Between Midnight And Dawn (Music SA) that shows a real ability at and empathy for the form. It is the kind of music that will draw sensitive souls who know the songs are about them. I Dream In Transit resort to old-style format in releasing Absolute Peace (E.U.R.) on seven inches of vinyl, with a music that haunts via a somewhat uncomfortable overlapping jangle and echoed voices misting through. Not pop music, but sounds you will find in your head later. With the world calling, Deep Sea Arcade are stepping up in venue size and Granite City (Ivy League) is the single to go with the tour. Again, the voice seems to come from a distance, but this is pop of a modern commercial sort. Not that there’s anything wrong with that. 36 • THE DRUM MEDIA


Dew Process/Universal


If it ain’t broke... To say that fans are awaiting Babel with bated breath is probably a huge understatement, but hang in there because Mumford & Sons’ latest studio album is definitely worth the wait. Marcus Mumford and co. deliver exactly what we all hoped for and more; Babel is a prime example of what can happen when a group work together in such beautiful harmony.

Typically bands tend to get quieter, more introspective and mellower as their career progresses. Regular John began as a noisy rock band, full of bravado and riffs dug up from the dirge. Whilst Strange Flowers is still essentially a psychedelic record, you can still catch glimpses of those solid guitar-generated riffs in amongst the droning bass lines and reverb-soaked vocals.

Strange Flowers

The opener and title track is an explosion of emotion. It’s effortlessly robust, setting the tone for the album as a whole, the perfect teaser for what’s to come – banjo and brawn. Following tracks, Whispers In The Dark and I Will Wait, continue to exceed expectations, the banjo-riff champions, and Mumford’s voice is all-consuming as he hollers “I will wait, I will wait for you”. Lover Of The Light is classic Mumford & Sons - if that’s what it sounds like in a studio, one can only imagine how breathtaking it must be live. Ghosts That We Knew and Broken Crown take on a more sombre feel, as Mumford cries out “give me hope in the darkness so I can see the light”. The emotion in his voice is almost overwhelming; you feel the yearning and the anger as if it were your own. Nothing is held back, and there’s a sadness and vulnerability here that’s captivating. It’s pretty much impossible to pick a standout track from this album because each one is so goddamn good. Mumford & Sons prove their worth again and again, and the only unfortunate thing about this album is that it has to come to an end. Katherine Edmonds


Millions Of Moments

Wreck & Ruin

DeepLIVE in the hillbilly backwoods confluence of the Appalachians that has somehow found itself nestled somewhere between the Hunter Valley and the NSW Central Coast, two soulmates gathered a few likeminded friends together and over some eight days lay down a collection of tunes the pair had written together during the odd break they were able to steal away from the With only ten tracks on Strange Flowers, this is a tightly pressures of parenthood and individual careers. The result harnessed record focusing on quality over quantity. is Wreck & Ruin, the second and this time more fully The album’s title track is a blissful rendezvous, as it D V collaborative album from Australian country music royalty weaves its way in and out of a driving first section, Kasey Chambers and Shane Nicholson. I say more fully before imploding in upon itself in the bridge and coming collaborative because all 13 tracks are credited jointly; full circle. This can also be said for the album as a because more often than not, each finishes the other’s whole. Opening track, Sky Burial, is a pulsing bassline, as well as simply duets, and because this time, the heavy track made complete by jangly sparse guitars, pair used the same four additional musicians as a band. while first single, Slume, is a dirty and emotional track The album itself ranges across much the same musical that features some very intricate rhythmic changes territory, embracing folk-gospel as you hear it in traditional and heartfelt lyrics. Letters In Braille is a more lowhillbilly music – the opening ‘Til Death Do Us Part, Have key, casual affair yet still effectively portrays the Mercy On Me, Up Or Down and the salutary Adam And band’s moodier side. Green is a blues-based jamEve, reminding us that long before there was a hellhound inspired track, and by the far the album’s longest or Satan on our trail, God had his own issues with our track, and features a stripped-back middle section. forgettin’ the rules – through straight-ahead country as Lee Hazlewood used to deliver it – Wreck And Ruin, Flat Regular John have mutated into a different musical Nail Joe – and country pop – The Quiet Life. Similarly, beast whilst still maintaining the soul that makes thematically, there are the traditional themes of love, the band unique. It could have been very easy to death and old-time religion, with the odd playful ode to make a straightforward rock-by-numbers record, collective family illness (Sick As A Dog). In that diversity, yet they have opted to keep themselves interested the pair and their band imbue a deeply felt yet lightly and challenged by exploring sound textures and worn – there’s plenty of laughter to be heard as songs messing around with traditional song structures. begin or end – love of the whole ethos within which their Strange Flowers is everything a rock album should collective creativity has so comfortably found a voice. be: honest, edgy and downright powerful. Michael Smith James Dawson



The End/Shock

Well, you can’t accuse Menomena of being predictable. Track two on Moms, Capsule, begins with a skuzzy garage riff torn from the pages of a guitar zine from the early ‘80s, but then it flips the script, finishing up with jazz flute skipping over strong, rolling syncopation. Tantalus rolls along, indulging in its trippy prog-rock epicness before abruptly finishing, leading into the delicate piano opening of Don’t Mess With Latexas (which morphs into a strange, foot-stomping spaghetti Western track). The record finishes up with a woozy cinematic slowburner called One Horse, a sombre piece laced with sinewy strings and a steady build-up of reverbed guitar doodling. As usual they pack in plenty of instrumentation (unfortunately not enough sax) that allows them a huge range of dynamics to play with. Shining horns and sparkling piano peacefully coexist with lonely guitar plucking, and tonally there’s a playful tug of war between expansive explosions of noise and muted buzzing passages. Both are effective weapons they employ to try and express complex emotional themes of family and (dis)connection.

The Observer In The Star House

Liberation TZU’s new record, Millions Of Moments, pushes the envelope of Australian hip hop with its incredibly complex textures and variety and depth of lyrical content. It is refreshing in that it is properly unique while still standing firmly within its genre.

The group’s dexterity does fall somewhat short, however, in Nowhere Home, which is far simpler than the other tracks on the album and is less effective as a result. The group’s capacity for incredibly steady, heavy beats returns in The People, whose soft vocals allow this infectious rhythm to take centre stage. The highlight of the record, and also its namesake, is Millions Of Moments. It is a highimpact, catchy track with a powerful beat and complex verses and is thus the clear standout of the record. The album closes with The Window, whose long, steady intro and slow, captivating vocals and development into a catchy, heavy beat make it a perfect choice of closer. This record is wonderfully constructed and tells a cohesive story, and is thus satisfying in every sense of the term.

In their respective fields they don’t come anymore heavyweight than The Orb and Lee ‘Scratch’ Perry. Based around producer Alex Patterson, The Orb provided the chilled comedown to the noisy late-‘80s UK acid house party, produced a number one album in the process and have continued to experiment with dub, downtempo and ‘dance’ music ever since. Now in his 70s, Perry has been a dominant figure in the evolution of Jamaican music since the 1960s, demonstrating an incredible prolificacy and a wide-screen approach to creating music. This has paved the way for a full-length collaboration, The Observer In The Star House. No doubt inspired by Perry, The Orbsters could have been forgiven for bowing down and attempting to recreate his classic dub sounds; rather, they have taken him out of his comfort zone (that he even has one is debatable) and given him more Orb-like backings to add his unique vocals. Many of these multi-layered backdrops include some sort of restrained 4/4 kick, along with bass-heavy, dubwise elements, and Perry immediately becomes at one with the music, taking control like some sort of musical deity, “I am the man in the skies” he proclaims, commanding the music to build and drop, ebb and flow. Though on face value Perry’s poetics often sound like the ramblings of a pensioner losing his faculties, the history of the man gives every word a degree of THC-drenched profundity. The highlight of the set must be Golden Clouds, a remake of The Orb’s ’91 hit, Little Fluffy Clouds, Perry’s visions of his childhood most unlike Ricki Lee Jones’. A no-brainer collaboration, The Observer In The Star House is version excursion from two intergenerational kings of dub, delivering on every level.

Lucia Osborne-Crowley

Darren Collins

The record opens with The Beginning Of The End, which, with its suspenseful slow beat and steady emotive vocals, is a captivating introduction to the album. Criminals And Murderers, in comparison, makes clear the diversity of sound and feeling this group is capable of. It’s upbeat, with a fast-paced electronic drop and rhythmic vocals, and as a result is particularly catchy. The tone of the album changes again with Won’t Let Go, which is comparatively calm and steady, with understated vocals but insightful lyrics. The record provides more depth still with Beautiful, which opens with a melancholic string melody and equally melancholic vocal tones, the combination of which creates a wonderfully smooth texture.






Also coming out of the darkness of settling into family life, a Take That reunion, and making some pretty dodgy song choices, Robbie Williams attempts to recapture the audience with Candy (Universal). Co-written with the man with whom he made his best tunes, Gary Barlow, it has a curious retro-salsa flavour that makes more sense with the old-style, big budget cinematic video. How much has the world changed? Quite a bit, but hopefully there’s still room for a man who revels in the popstar, show-business, business as much as him.



As the sun sets over the yardarm, as I slip into my smoking jacket and take up the quill to entertain and enlighten you, the masses – after checking my Facebook and Twitter hatemail, naturally – and find a soundtrack for the darkness is provided by Central Station, moving a bit from their traditional dance label base. Late Night Tales is an ongoing selection of one-off cover versions from a range of styles and degrees of obscurity. Among the first offerings: MGMT adding some shiny bits to Bauhaus’ serratededge All We Ever Wanted Was Everything, and Metronomy remaining fairly faithful to Jean Michel Jarre’s synth-bubbled Hypnose. More tangential is the Groove Armada-related Sugardaddy making How Long – 1974, UK band Ace, pretty smooth, but otherwise fairly forgettable – a bit up to date. But possibly the most fraught with danger round these parts, Snow Patrol’s lugubrious take on INXS’ New Sensation. They’ve been fiddling with it for a few years, with Gaz Lightbody giving it a weariness, although whether that is by accident or design is up to you. All up, it’s an eclectic mix of bits and pieces.



They really shine though when they let everything fly off the handle. Like Bill Murray carrying around an unlicensed nuclear accelerator on his back catching ghosts, Menomena fearlessly wield enormous power (artistically speaking) to grapple with the ghosts of personal familial strife with wild streams of potent musical energy, trapping them within the tight confines of four-minute power pop songs. And like Murray, they do it with a wry sense of humour and style (listen to Skintercourse for proof). There’s an almost drunken swagger to the Portland group this time, and despite Moms’ overarching theme of loss they still sound okay with everything, and have produced their most upbeat record to date. Matt MacMaster









Green Day’s last album, 21st Century Breakdown, sounded like the discarded leftovers from their previous and enormous American Idiot album. But on this, their first in a series of three albums, which are set to have staggered releases over the next few months, Uno breaks the mould for the band. This is no concept album where songs are segmented into different “acts”; there is no underlying commonality running through each track. Uno is a rock record, similar in style to their earlier works, Nimrod, Insomniac and (eek) Dookie. However, Uno isn’t a band harking back on the past reeking of nostalgia - it’s almost like Green Day have done away with overthinking the whole album process and have sat down to restart their career, again in the form of a rock album. First track, Nuclear Family, is undeniably Green Day, a mid-tempo rock number, easily identifiable, and a safe option for the opener. Stay The Night treads a similar path. Carpe Diem starts to see some subtle differences creep into the songwriting, laden with melodies and a ‘60s shuffle. Let Yourself Go is old school GD; brash, youthful and full of energy, while Kill The DJ shows the band’s reggae influences, with a strong backbeat that would have sat nicely on the band’s alter ego album, Foxboro Hottubs. Fell For You cruises along blissfully, whilst Loss Of Control is a balls-to-the-wall “Fuck You”. Oh Love closes the album and is pretty bland in comparison to the diversity of the other tracks. Uno is Green Day moving forward and challenging both themselves and their audience. They have left the generic stadium rock behind and have compiled an eclectic mixture of tracks that demonstrate a band once again at its creative peak.

We’re not likely to run out of songs of love and/or rock’n’rolling all night any time soon. Knievel have more often gone somewhere different than that anyway in their sporadic – but always welcomed – history. Here, they manage to be nostalgic without cloying. Remembrances are warm, without necessarily being rose-coloured.

To say that the new tracks from this trio that teased fans on last year’s The Best Imitation Of Myself: A Retrospectivie showed promise is an understatement – the string-laden Stumblin’ Home Winter Blues in particular had a beautiful high-chin fragility – and the promise has been fulfilled on album number four.

Musically, there is just a feeling of everything being in its place on Knievel recordings. This could be due to Wayne Connolly’s skills of arrangement and production of ye olde guitar, bass and drums coupled with a band combination that builds near-perfect little towers of songs. There’s a soft strolling texture, which just marks their work. Connolly quietly chats through the fuzzy-edged snapshots. They’re maybe not quite hip enough to be Instagrams, but you do feel you’re standing just on the edge of the frame.

As is the pleasure of just about any release with Folds’ touch on it, his comfort in the studio shines through. There are small flourishes and embellishments, near-negligible when picked apart, that make the songs, and would only occur to those who are so at home, so accomplished and in their element in a recording environment.

James Dawson

Elsewhere it looks inward and outward. Realising the worth or otherwise of losing weekends in too much cheap booze or otherwise as They Listen Out, or just trying to fit in through We Lost Sight Of Everyone. The best records are those that don’t bash you over the head on first listening, but seep their way into your memories. This is one of those.

The return of the Ben Folds Five’s enviable harmonies could not have been any stronger – Michael Praytor, Five Years Later is melancholy pop genius, and the coral vocal arrangements that lead into the juvenile joy of Draw A Crowd are brief but beautiful. On Draw A Crowd, Folds sings “I only wanted to be Stevie Wonder, but I got to settle for this vanilla thunder”, and resigned as the statement may sound, he’s in fine form here – and once again paired with Robert Sledge and Darren Jessee, the trio are as playfully talented and impressively inventive as ever in their odd realm of piano pop. The 13-year gap between albums is forgotten with the fuzzed-out bass-driven Erase Me, and any further remnants of ill-feeling towards the band for taking so damn long are washed away with the light raindrop of keys that anchors Hold That Thought.

From the opening track, Victim Culture, on Gallows’ selftitled third album, it’s immediately apparent that the new life injected by ex-Alexisonfire guitarist Wade MacNeil was infectious, with a spoken word intro as band plays eerily in the background, the track launching into a brash crunch of heavily overdriven guitars, with MacNeil’s vocals a passionate melee of textured brutality. Comparisons will be made to ex-frontman Frank Carter, who fronts his new band Pure Love and is no longer angry, and rightfully so. However, Orchestra Of Wolves was an unbridled work of angst and by the time Grey Britain was released a lot of the venom had seeped out of the band, where tracks were slower and more elaborate and the full extent of the studio was utilised, with some tracks even having acoustic guitars on them. Gallows sees a return to the unpolished angry “Fuck You!” Gallows. The tracks are shorter, with each song being stripped back to its essential parts and integral riffs, in essence keeping the song ‘in your face’ and consistently moving to the next section with first single, Outsider Art, being the most elaborate track on the record. Highlights include the womanising Last June, the rhythmic Cult Of Mary and closing number, Cross Of Lorraine, featuring heavy detuned riffs and rare vocal melodies, holding true to the Gallows formula of having a killer closing track for their albums. Without a doubt this would be Gallows’ strongest release to date, one that harnesses the band’s raucous energy and fully utilises their songwriting prowess. A punk record in its purest form, Gallows holds no punches and revitalises the band’s career, which could have very easily disappeared all too quickly.

Ross Clelland

Dave Drayton


Emerald City

The Sound Of The Life Of The Mind

They also never forget they’re making pop songs. Subtle ones, sure, but like in The Time I Found My Feet you know the places of them – many of us have known those verandah’d terrace sharehouses that lean into one another. And Tracey Ellis’ wordless backing vocals are both a hook and the sound of that girl from downstairs hanging out her jeans, on the Hills Hoist that tangled among the frangipani if you wound it too high.


James Dawson







“She’s looking at individuals, and looking at how societies affect them. From that, you get a quite profound feeling; she’s not out on some thunderous crusade to enact justice through fiction, where these good people will triumph and these bad people will be punished. In the end, everyone is fallible, everyone is human, everyone makes mistakes. History isn’t about good guys and bad guys, it’s messier than that, and it’s more personal than that.”

Le Gateau Chocolate

TUESDAY 18 Le Gateau Chocolate – a baritonesinging diva wrapped in bodyhugging lycra, Le Gateau Chocolat is a Nigerian-born, London boy with a law degree and a big heart who delivers outrageous yet moving renditions of everything from poprock to opera. Part of the Sydney Fringe Festival, Sydney Opera House, 9pm until 23 September.

WEDNESDAY 19 Thyme – a hybrid experience of installation art about the life cycle of a woman explored through contemporary dance, physical theatre and live video. Part of the Sydney Fringe Festival and 505 Works In Progress, The Old 505 Theatre, 8pm.

THURSDAY 20 Dayne Rathbone – a Melbournebased comedian who won the 2011 Raw Comedy Grand Final that earned him a trip to the Edinburgh Fringe. This is his stand-up show, which is in essence awkward comedy. Part of the Sydney Fringe Festival, The Switchbox, 8.30pm until Saturday 22.

FRIDAY 21 The Russian Rock ‘n’ Roll Burlesque Circus – rock bands meet burlesque dancers, poets and comedians, along with fire eaters, jugglers and circus freaks, all wrapped up in a magical circus tent. The show is the brainchild of friends Donna Lorenz (aka Ring Mistress Donnamatrix) and Marc Barrow (aka Ring Maestro Marc). Part of the Sydney Fringe Festival, Russian Nights Club, 8pm.

SATURDAY 22 Regurgitated – Toby Zoates will be reading his essay, My Sob Story, together with Peter Urquhart accompanying on violin. Zoates has 35 years’ worth of posters, paintings and cartoons that document the subcultural history of Sydney. Damien Minton Annex Space, 3pm.

JB Smoove

COMING UP IN ARTS JB Smoove – (aka Leon Black from Curb Your Enthusiasm) will tour Australia for the first time with his stand-up show. Smoove was a writer on SNL from 2003 to 2007, voiced DJ Kwanzaa on The Simpsons and has starred in movies The Dictator, Date Night and Mr Deeds. Smoove will perform Friday 14 December at the Factory Theatre.

The Art Series Hotels Conversation Corner – this discussion session is the brainchild of Will Deague. The program includes Stormie Mills, Anthony Lister, Facter and Invurt. In the last arvo the Beat Suite will open with live street art demonstrations by street artists Takie, Facter and Justin Feuerring. Part of the Art and About Festival, 74-76 Oxford Street Darlinghurst, Sydney, Starting 1pm

SUNDAY 23 Crisis Complex – a group exhibition curated by Laura McLean and Sumugan Sivanesan addressing political cynicism, radical histories and hope. Part of the Art and About Festival, Tin Sheds Gallery, runs till Sunday14 October. Masterclass – Gareth Davies (The Black Lung Theatre and Whaling Firm) and Charlie Garber (Pig Island) have joined forces to create this non-participatory hour of learning at the deepest level. A personal tale brought back from the brink of human creative powers. Closing night, 107 Projects, 8pm.


In the follow-up to her critically adored debut film, Somersault, Cate Shortland is tackling World War II Germany. She tells Anthony Carew the parallels we can draw with our Australian history. “I didn’t really want to make a historical drama, and I certainly wasn’t looking for one,” says Cate Shortland. But, when the filmmaker was at the Edinburgh Festival in 2004, someone gave her a copy of Rachel Sieffert’s novel The Dark

Russell Brand Russell Brand – comedian Russell Brand is back in Australia for national tour. Brand shot to fame when he was seen as rocker Aldous Snow (who just wanted to be inside her) in the Judd Apatow produced comedy Forgetting Sarah Marshall. He has also starred in Rock Of Ages, Get Him To The Greek and The Tempest. Brand will present his new stand-up show, I am a Walrus, at the Entertainment Centre on Saturday 8 December.

“Rachel writes from a very intimate point of view, and she never preaches,” Shortland explains.

It’s a distin distinctly German film, too, dealing with how a group of children – its titular character, Lore, and her band of young siblings – reconcile the changing social climate with the doctrines they’ve grown up with. “There’s a real central contradiction to the film, where you have these innocent blonde children who harbour this really murderous belief system. It’s looking at a society in a tiny microcosm, essentially looking at a whole belief system through this one girl.”


TUESDAY 25 Birthday Party Massacre – cabaret artist Tommy Bradson’s new world premiere one-man hour of mayhem, backed by a rockin’ three-piece playing all sorts of old-school gems by Elvis Presley, Gene Vincent, Wanda Jackson and The Coasters. A bit rock, a bit roll, a whole lotta good times. Part of Sydney Fringe Festival, Reginald Theatre, 9.30pm until Saturday 29.

Room, a study of ordinary Germans dealing with the end of World War II, she was suddenly obsessed that it be her next project.

Thus, Shortland’s follow-up to her debut Somersault – the film that took her to Edinburgh, and won an astonishing 13 AFI Awards – became Lore, another anoth study of an adolescent girl (“I’m on only interested in the female psyche,” she s admits), this time set against the instant collapse of the Third R Reich. Demanding to any interested producers that the film be shot on location in Bavaria, in German (“t (“there’s always, for me, a disconnect if you’re watching a film set in, say, France, when they’re speaking EEnglish; it’s just kind of odd.”), Sho Shortland set out to making a work of aaesthetic realism, if beautifully, dreamily photographed.

A sexless blind date and talk of the t theatre… Ryan Corr chats to Dave D Drayton about his Sydney Theatre Company debut. Ryan Corr and I meet for the first time over coffee. At this point we’re still strangers, and while it would be highly unprofessional to suggest the possibility of sex if you squint just enough, the scene could resemble some now old-fashioned ceremony of courting, sizing one another up over coffee, talking face to face. Though, in a world where we’re all plugged in and online such interactions – especially when arising from slightly less professional circumstances – have become almost archaic. You can meet whomever you want,

whenever you want on the Internet, and anyone that’s logged onto a social networking site will know from the ads that there’s a myriad of companies offering to help you do so. Ethan Strange, the character Corr will play in the upcoming Jocelyn Moorhouse-directed production of Laura Eason’s Sex With Strangers, doesn’t just know this world, he owns it, and has made a living from it with a tell-all blog-turned New York Times best seller that reveals his conquests. Having made a name for himself as an actor on screen – most notably in Packed To The Rafters – Corr,

the 2011 recipient of the Heath Ledger Scholarship, is revelling in the opportunity to spend weeks building a role for the stage, and picking apart Eason’s hyper-contemporary script. “The thing that appealed to me most about it is it’s so fucking current,” says Corr, “Like, I’d just spent three years in drama school painting on moustaches and playing forty-yearold Jacobeans, or Shakespeares, and here’s a guy that’s around my age that’s dealing with how the Internet is affecting relationships, you know; this play just seemed to be so relevant to my life.” A meeting of sexes, generations and writing styles, the two-hander sees Corr opposite Jacqueline McKenzie as Olivia, a thirty-something author (in the more traditional sense than Ethan) struggling to match the

Shortland threw herself into a study of the Bund Deutscher Mädel, the girls wing of the Hitler Youth, and was struck, on discovering one story, of a girl’s memories of blithely watching an elderly Jewish woman get kicked down the stairs of her apartment building, but then throwing up thereafter. “That was always in my mind, how human instincts were suppressed, and how empathy was one of many things you had to sacrifice for this regime,” Shortland says. Lore recently won the audience award at the Locarno International Film Festival – “I never thought I’d ever get an audience award for one of my films” – offering approval from German-speaking audiences. In Europe, where there’s a long-running dialogue conrinues to discuss the atrocities of the past, Shortland feels Lore will be a part of that conversation. In Australia, however, she sees it as having “a different life”, critically. “In Australia, we don’t deal with our colonial history very well, we don’t deal honestly with Indigenous issues. This is a film set in World War II Germany, but it could’ve just as easily been a film set in colonial Australia in which a girl is dealing with atrocities that her father had committed. So much of our history has been suppressed, and that creates a lot of fear and anger in the Australian psyche.” WHAT: Lore WHEN & WHERE: Opening nationally Thursday 20 September

success of her first novel and, in the midst of crisis, primed for the chaos – professional, emotional, physical – that her interaction with flavour of the month Ethan will inevitably br bring. “It asks questions; what is literature? What is literature turning t into? It talks about the blogosphere, blogos and how lots of different multimedia mult mediums are affecting what we w call friends now, or what we call c writing, or what we call dating,” datin says Corr, whose quick to point poi out that, while the youngest in i the creative team, his own feelings feeling towards the technological world wo differ strongly from those of EEthan. “I had to explain to Joss and Jac what Twitter was,” laughs laugh Corr, “And that’s what I mean by current. There’s a scene in the play where I give her an iPad and say ‘You can put all your favourite books on it,’ and she says, ‘Yeah, but there’s something I like about holding a physical book.’ It speaks about the loss of things like vinyl and CDs, and soon we’ll all have nothing to hold on to, we’ll just be plugged into databases. I find the concept really interesting – I’m terrified of Facebook! What’s really appealing about this play is that it has that wide crossgenerational scope to it.” WHAT: Sex With Strangers WHEN & WHERE: Monday 24 September until Saturday 24 November, Wharf 1 Theatre, Sydney Theatre Company





THE CASE OF KATHERINE MANSFIELD THEATRE The set and costumes for this play, adapted from the diaries and correspondence of Katherine Mansfield, are mainly pure white, with highlights of scarlet – like the flushed cheeks and pallor of a person with tuberculosis. Its one-hour duration on a tiny stage in a tiny venue can be seen as an allusion to the short story form of which its subject was a master. In a script by Cathy Downes, The Case Of Katherine Mansfield follows its heroine from being a girl desperate to get away from her family and native New Zealand through escape to Europe and establishment of a literary career alongside the likes of D.H. Lawrence and Virginia Woolf, to her tubercular death at the age of 34 in a sanatorium in France.

GO FIGURE! EXHIBITION Yasser Arafat just crashed into Fidel Castro again. Ayatollah Khomeini is threatening to collide with Karl Marx. Or maybe that’s Stalin. Who knows. But all this diplomatic chaos is not without reason; it’s for an artwork called Old People’s Home, an interactive installation created by husband-and-wife duo Sun Yuan and Peng Yu that’s the centrepiece of Go Figure! Contemporary Chinese Portraiture at Sydney’s Sherman Contemporary Art Foundation. It sees 13 incredibly lifelike sculptures of elderly political leaders of vague – and at times not so vague – identity sat in electronic wheelchairs that automatically send them careening about the room, spinning, charging and bumping into one another like some odd nursing-home version of bumper cars. It’s all terribly amusing. “I always envisaged it as a living sculpture,” Sun Yuan explained

Mansfield’s theories of life and of writing comprise the majority of the script, her strange romance and marriage with John Middleton Murry giving the play structure as she believed it gave her life form. Rosanna Easton as Mansfield conveys a sense of her ardency and affectations as she strikes attitudes across the stage in the sequences where she speaks as Mansfield, and brings immediacy to her work as an author in several powerful readings from Mansfield’s published work. Easton is joined onstage by Alex Bryant-Smith as Murry, who, silent aside from the very beginning and end of the play, is an absorbed and tender and troubled observer. Directed by Ashley Hawkes, it featured onstage cello accompaniment by Simeon Johnson. Bethany Small Part of the Sydney Fringe Festival (season finished).

through a translator. “Audience interaction is very much part of the work.” And he’s not kidding. Even at the media preview, several visitors need to be rescued from the path of a stampeding wheelchairbound world leader. The fascinating piece is the result of around three years of painstaking planning, research and construction, and is a comment on the fact that we, all of us, have the same fate in store. No matter how powerful we might be, eventually, our bodies break down; we lose our control. We get old. Among other pieces, the show also includes a sculpture by Ai Weiwei, a brilliant portrait of Chairman Mao by Shen Shaomin and video work by Zhou Tao and Wang Jianwei. It’s another fantastic show from a gallery that, despite its size, has long punched above its weight. Jake Millar Sherman Contemporary Art Foundation until December 1

Sun Yuan and Peng Yu, Old People’s Home, Home, 2007.



WITH JAMELLE WELLS Sydney Festival has announced three shows from its 2013 program. Lieven Bertel’s first program as Festival Director will include Semele Walk, which will be a collision of Handel’s Semele and the exclusive costumes of designer Vivienne Westwood at Town Hall. The show has models and performers in Westwood couture rampaging the length of a 30-metre catwalk. It includes Berlin’s chamber music ensemble, Kaleidoskop and Sydney Philharmonia Choirs. David Byrne (ex-Talking Heads) also returns to Sydney’s State Theatre with another Festival friend, St Vincent (aka Annie Clark) in a new collaboration Love This Giant. Latin street circus, Circolombia will perform its hit show, Urban. Andrew Upton and Cate Blanchett’s final season as Co-Artistic Directors of Sydney Theatre Company will see Blanchett and French actor Isabelle Huppert play murderous sisters in a fresh exploration of Genet’s The Maids by Andrew Upton. Richard Roxburgh and Hugo Weaving will star in Beckett’s Waiting For Godot, and Tim Minchin and Toby Schmitz take on another of theatre’s great double acts in Stoppard’s Rosencrantz & Guildenstern Are Dead. Neil Armfield will direct the world premiere of Andrew Bovell’s adaptation of The Secret River. Screen Australia has given Sydney-based producer Alicia Brown of Optimism Film a $40,000 internship to work with legendary US independent producer Ted Hope. Brown will work at the San Francisco Film Society to gain experience in alternative

distribution methods. Hope is recognised as one of the most influential people in the US independent film scene. The first sign of the return of Cirque du Soleil and its production OVO in Sydney last week was the raising of its trademark blue-and-yellow Big Top and the Cirque du Soleil village. The event, at Moore Park’s Entertainment Quarter, saw a team of 60 hoist more than 100 steel poles from the ground up. It’s the return of the Big Top for the first time in over four years. OVO apparently travels via 61 trailers carrying more than 775 metric tons of equipment on tour. On the 100th anniversary of Strindberg’s death, Director Cristabel Sved and actor Kate Box are bringing a bold re-imagining of his classic Miss Julie to Darlinghurst Theatre from October. Originally set in 1888 on the estate of a Swedish Count, the play rages against the constrictions of class and gender. Working together as writers for the first time, Sved and Box’s aim has been to make it resonate for a contemporary audience. Priscilla, the Greyhound bus in the movie named after it, has returned to Broken Hill where most of the movie was made. The bus has been donated to the local council by director Stephan Elliot. Although Priscilla The Musical is touring the US next year, the bus will stay in Broken Hill. A woman in the US last week paid just $50 for a Renoir masterpiece at a flea market. She bought it in a box of random items but after taking it to an auction house found out it is probably worth $100,000.




Five minutes with

TOMMY BRADSON Describe your Fringe show in 25 words or less. An hour of mayhem and music, with cake and comedy and the sweetest sixteenth ever seen in an Aussie backyard.

Five minutes with

CHARLIE GARBER Describe your show in 25 words or less. Masterclass is the beginning of the end. It’s looking into the eye of a storm and not blinking. Masterclass is your best friend’s wedding. Can you tell us briefly about yourself/your company? The thumbnail gist is that we’re Gareth Davies and Charlie Garber. We were in a band 40 • THE DRUM MEDIA

called The Humpers and then we started to write a song and it was a play and now it’s on. How did you find your artistic calling? It’s a funny story actually. I was carrying a lot of excess weight and my personal trainer was really motivated and she said what do you want to do with your life if the market bottoms out. I said it won’t but hypothetically I’d be in a band called The Humpers. The rest is history.

What can audiences expect? To hell with the audience. What Gareth and I expect is for the audience to lift us up on their shoulders and chant “We are saved! We are saved!” If you weren’t in the arts what would be doing? Just me, my yaks, my yurt and the open road. WHAT: Masterclass WHEN & WHERE: Running until Sunday 23 September, 107 Projects

Can you tell us briefly about yourself/your company? I am an agent of change, of colour and of pathos. I like gospel and glitter and good times. I’ve been playing festivals for a few years with a barrage of different shows about hermaphrodites and mermaids and boxers and pirates and bastards and cats, and now I present my most honest offering. I love Elvis and The Kinks and James Brown and I love old school rock’n’roll. This show is about that love. And Aussies and their suburban havens and the families we all have and love and love to hate. How did you find your artistic calling? I found it in a pair of shoes. They were a weathered pair of brogues in this discount basket at the Vinnies near my nana’s house. Only one of them was laced. They fit beautifully.

They had been worn smooth around the toe and they slid across the dancefloor like nobody’s business. I danced my way into gigs all over the country and the band seemed happy to play on. What excites you about Sydney Fringe 2013? It’s a damn good gig. Our sister cities in Victoria and South Australia have been totally dominating the fringe festival scene for years now and I think it’s swell that Sydney has stood up. We’re a little bit like a toddler tugging at our sibling’s trouser legs but we’ll be a big kid one day, and then it’s on like Donkey Kong. What can audiences expect? From this show? Everything. I sing. I dance. I play. I cry and storytell

and swear and hope to tie it all up with a big bow. Expect brilliant tunes. Expect good times. Expect a real party. Expect truth. Expect light and love and imagination. Expect it all. There should be cake. There might be blood. There will be rock’n’roll. WHAT: Sweet Sixteen Part of the Sydney Fringe Festival WHEN & WHERE: Tuesday 25 September to Saturday 29, Seymour Centre Reginald Theatre We have two double passes to giveaway to the Wednesday 26 September show to enter go to


Faris, whose only prior film was the crowd-pleasin’, money-makin’, Oscar-nominated 2006 roadmovie, Little Miss Sunshine. “The connection was not lost on us,” says Dayton. “We certainly felt the weight of what it meant to have that kind of success, and that kind of a connection with audiences. It was very intoxicating. So, we didn’t want to return with something that was less of a film. For us, it was never an issue of writer’s block. In the six years since Little Miss Sunshine, we worked on various film projects, but none of them ever ended up being ready-to-shoot.” There’s more to this story

on the iPad

A NOVEL IDEA “Manic Pixie Dream Girl” might be the go-to cliché of alternative rom-coms – love it or hate it – these days, but Anthony Carew learns from the directors of Ruby Sparks, Jonathan Dayton and Valerie Faris, that there are still more ways to play with the oft-worn trope.

What did we do before the phrase ‘Manic Pixie Dream Girl’? It was only first coined on The A.V. Club in 2007, but the stereotype feels eternal, and any phenomenon that’s a constant reminder of how awful Garden State is should be lauded. Ruby Sparks, the second feature for married team Jonathan Dayton and Valerie Faris, takes to that noxious trope with a scalpel, Zoe Kazan’s script giving us a struggling writer (Paul Dano) who invents a MPDG, only to be confronted when she (Kazan herself) comes to life, Mannequin-style. “Zoe was interested in the way that men see women, and this idealised, fantasised version they have versus the real thing,” explains Faris. “And also the way women were portrayed in film,” adds Dayton.

So a conversation goes with the filmmakers who finish each other’s sentences plenty. “We don’t want this debate about Manic Pixie Dream Girls to overshadow the other more meaningful themes that’re explored in the film,” Dayton offers, before Faris chimes in: “It’s not a film where this sad male character’s life is magically changed by this girl. He doesn’t get to bask in this fantasy fulfilment; he actually has to pay a very real price for creating his dream girl.” Thus, the film isn’t just about skewering a stereotype of ‘indie’ romantic-comedies, but about the delusions people bring to relationships, Ruby Sparks’ “key thematic interest” being, Faris says, control. “We all carry a certain amount of fiction with us

about the person who we’re with, especially at the beginning of a relationship,” Dayton explains. “And that, as we come to see who those people really are, there’s an urge to control them, to try and force them to be more like this version of them that we believe in.” “People have this intense desire to control, both in their relationship and in their work,” Faris offers. “Part of [the main] character’s problem is that he’s paralysed by the task of following up this successful first novel, and that [paralysis] comes from trying to control how the world reacts to his work; and that becomes this psychic struggle that just saps the life from his work.” Following up a success is, of course, a loaded subject for Dayton and



MICHAEL PIGOTT Describe your Fringe show in 25 words or less. I don’t want to sound like a wanker but... It only exists on Tuesday, so come and find out. It’s an experiment, so you never know. Can you tell us briefly about yourself/your company? I am a director and performer who has been working in and around Sydney for the last ten years. I am fascinated by theatre of all forms. I keep trying to figure out what it exactly is ?

WHAT: Ruby Sparks WHEN & WHERE: Opening nationally Thursday 20 September

Stockholm – a documentarian with a history of making movies on music for television – knowing he was about to become an unlikely ambassador for a civil rights uprising from five decades ago.


Five minutes with

Dayton and Faris describe — whilst never going in-depth — stalled productions where stars or producers seemed to have a different vision than them; but they were encouraged by a project that came with its young stars — and real-life couple — attached, and that they were able to get the final cut. This meant they could make a frothy rom-com a study of control. “We wanted to make this genre-bending movie that begins as a light comedy then goes to this darker place,” Dayton says. “There’s no way that being able to change someone else wouldn’t tap into these very dark elements of the human psyche.”

How did you find your artistic calling? It was under an old pair of shoes in a box near the recycling. What excites you about Fringe 2013? Old 505, the most wonderful space in Sydney town, they even have popcorn on occasion. WHAT: 505 Works In Progress Part of the Sydney Fringe Festival WHEN & WHERE: Tuesday 18 September, The Old 505 Theatre

Swedish director Göran Olssonn ime in covers an incredibly sensitive time America in The Black Power Mixtape, as Anthony Carew discovers. When Göran Olsson was at work on Am I Black Enough For You – a portrait of Billy Paul and, in turn, Philly soul – he spent countless hours pawing through film archives in his Swedish homeland, hoping to find any footage of American music in the ’60s. Doing so, he got wind of buried treasure. “I heard these rumours, from this old filmmaker, of footage shot in America with the Black Panthers, this treasure of material that had been never used,” Olsson recounts, talking of the cache of archival material – shot by Swedish journalists, then shelved for 40 years – he cut into The

There’s more Front Row

on the iPad

Black Power Mixtape 1967-1975. So, was this treasure buried deep? Was it difficult to uncover? “Very much not so,” Olsson laughs, undoing his own myth-making. “It was wellfiled. It was just lying there waiting for someone like me. The very first day I was in the archive, I found the speech with Stokely Carmichael, the scene on the couch with him and his mother, and then the interview with Angela Davis in prison. This footage was so amazing that it immediately identified this as a film.” Olsson also immediately identified the film’s narrative. “You see this

footage of Stokely Carmichael in 1967: it’s black-and-white, they’re young, everyone’s wearing sharp suits suits, they’re positive, everything seems possible. Then I jump to this footage of Angela Davis in 1972, and it’s in colour, and she has this crazy hairstyle, and she’s in jail, and she’s angry. I immediately identified the story as being everything that happened during that time; what was it that changed these Black Panthers so much?” Covering the same period as the war in Vietnam, The Black Power Mixtape 1967-1975 finds a much-documented epoch in American culture viewed “through the very clear perspective of Sweden”, a country whose neutrality during the Cold War made it an interested observer in American politics. Yet, in making the film, Olsson was hardly blessed with such neutrality; this 40-something filmmaker from

“I felt this responsibility to take these images out of the basement and show them to the res rest of the world,” Olsson says. “I wante wanted it to be like a book in the library: th that if someone was interested in this subject matter, they could find it easily, eas see this interview with Angela Davis.” When Olsson first too took the film back to America, he wasn’ wasn’t sure what to expect, but an early sscreening at the Museum Of Arts was met with wild outbursts of applause and triumphant shouts of support (“A (“As someone who’s loved New Yor York all his life, it was amazing; for nine ninety minutes, at least, I felt as if New York loved me back,” smiles Olsson). From there, surviving Black Panthers have openly embraced The Black Power Mixtape’s existence. “Bobby Seale, who is in the film, he could’ve had a different perspective on that time, on the movement, but he loves it; he travels with the film, he introduces screenings,” Olsson beams. “For me, that’s all I could’ve dreamed of: that the founder of the Black Panther party would love it the way that he has.” WHAT: Black Power Mixtape WHEN & WHERE: Wednesday 19 September, Oxford Hotel, Darlinghurst




Following a recent two year hiatus, American pop-punk/alternative rock band, Yellowcard, are returning to Australia off the back of their eighth studio album, the recently released Southern Air. Heroes For Hire will be supporting. Catch them at the UNSW Roundhouse on Saturday 22 September, which follows their appearance earlier that day at the Fat As Butter festival.


What an insightful speech by the great man at BIGSOUND. His human side came through, such as mentioning that he has to write his memoirs to pay for autism treatment for his son.

THE ‘FINGER Powderfinger guitarist Ian Haug commented that the band would never do a Farnesy and reform. We appreciate the sentiment and hope they stand to their word and don’t do a mad dash for cash at a later date.


Was it just us, or did the ones from BIGSOUND hurt just that little bit more?

TIME Probably the only drawback of BIGSOUND is that there was so much to do but so little time. Maybe we needed Hiro Nakamura as our plus one to see all the highlight spots from the likes of Drunk Mums, Bearhug, Mia Dyson, Straight Arrows, Flume and Transistors amongst many, many more. entranced by Stone’s paradoxical presence, which is both visually vulnerable and sonically tempestuous. Julia Stone @ Enmore Theatre Pic by Tori Pepper


ENMORE THEATRE: 15/09/12 The night began with an impressive debut from selfdescribed ‘musical project’ Mt Warning. Scoring the opening slot for Julia Stone is impressive enough for the band’s first gig, but Mt Warning convey a natural stage presence and seemed right at home performing before the still gathering crowd. The Trouble With Templeton started off with their enjoyable single I Wrote A Novel and there exists a certain sharpness to the band that signals future success. With a crisp indie rock sound that occasionally dips into dream pop, the Brisbane five-piece left a mighty impression.

Julia Stone @ Enmore Theatre Pic by Tori Pepper

As Julia Stone took to the stage in a characteristically understated manner, the sold out Metro was eager to see how one half of the popular sibling duo Angus & Julia Stone would perform under a solo spotlight. Opening up with the bittersweet moan of her trademark trumpet, a hush quickly settled over the crowd, instantly

Playing a selection of songs lifted from her latest solo record By The Horns, Stone’s new material was met with hearty hoots and ample applause. Before getting into I’m A Liar, Stone touched on a back-story of unrequited love, the full details of which were coaxed out of the songstress by curious cheers. The tale was quite lengthy, but The Metro was hanging off every word, laughing at Stone’s self-deprecating candour and sympathising in unison with her misfortunes. Stone proved to be very adept at between song banter, playfully addressing random punters and endearingly mentioning her brother Angus on occasion. Before borrowing the duo’s single And The Boys, she joked that Angus wouldn’t mind as he usually drinks a beer during the song anyway. If Julia Stone was at all uncomfortable playing without Angus it didn’t show. With the stage surrounded by the soft glow of fairy lights, there was a weightlessness to the room as Stone seemingly floated with ease on the motion of the music. The set skipped between Stone’s solo material and included her popular version of You’re The One That I Want, coming with a little extra kick from the band. Vocally, Stone embodies three or four different singers in one as she effortlessly shifts tone and range, always with dynamic emotive effect. Uplifting, dark, sultry, innocence, precious, fierce and above all charming, it’s safe to say this performance has only further cemented Sydney’s crush on Julia Stone. Marc Zanotti THE DRUM MEDIA • 43


With a “How ya goin’?”, The Owls began their warmup set and buzzing with deep riffs and knee-slapping tambourine, the boys from Newcastle energised the crowd for a night of testosterone-brimming Aussie rock. The confident Bright Yellow shortly followed. Frontman Chris Surgey forwardly requested, “C’mon give me a clap, you know we deserve a clap” – a bold tactic that had everyone taking notice. These boys knew what they were doing, playing a handful of rockin’ tunes, complete with Surgey’s ever-expressive facials as he felt every lyric falling out of his mouth. Ironically, their strongest song came in the form of the humble Don’t Rush, taking the mood down a notch just enough to see lighters swayed. It was an interesting contrast to the fast-paced and extroverted set that had the crowd in the palm of their hands.

British India @ The Cambridge Hotel Pic by Mat Lee Macy Gray @ Sydney Opera House Pic by Daniel Boud


SYDNEY OPERA HOUSE CONCERT HALL: 16/09/12 From the minute Macy Gray descended the stairs of the concert hall choir loft, she commanded the room. With an amazing band including some incredible musicians (a remarkable standing percussionist and a backing singer who was a star in her own right), Gray opened with Kissed It (her single originally with Velvet Revolver) – a clear mood setter and perhaps unusual ice-breaker for those who bought tickets based on classic pop radio play alone. Although she’d made us wait half an hour longer than the strictly warned “8pm sharp start”, with this song and choice of entrance point alone, we were on board. Her courting of the crowd was complete when it finished, as she proclaimed, “We’ve come all the way from LA just to hear you scream”, waiting for – and encouraging – loud responses for the rest of the night. Indeed, Gray’s playful but positive musical message was both infectious and all empowering tonight, particularly as the woman perhaps best known for songs about heartbreak made a point of dressing flash, dancing warmly and addressing us partly as a preacher, partly as a sweet school teacher. “We Googled, ‘What will I do today?’ and that’s how we decided to come to Sydney after twelve years away,” she said with her trademark Cookie-Monster drawl and such subtle twists were icing on the cake of a musical bill that proved once and for all her love of making – and sharing – diverse music.


It’d been several years since this reviewer last caught Temtris and the Nowra crew have improved. However, despite vocalist Genevieve Rodda’s sizeable presence, their trad-metal/black/ goth fusion’s lack of songs meant what began as curiosity descended into tedium throughout 40 minutes. Mötley Crüe and their brethren were often dubbed “party metal” in the ‘80s and funloving Melbournians Electrik Dynamite proudly flew the flag for those whose idea of a balanced meal on a night out is a beer in each hand. Despite wearing a tad thin towards the end of proceedings, their groove, swagger and Sarah “Cougar” Lim’s adept keytar clearly won new converts. Folk metal has become a major drawcard recently, so it was brave of Troldhaugen to not play it safe on debut LP Ramshackle. While retaining Finntroll and Vintersorg-esque elements, the sharply dressed, mandolin-bashing Wollongong mob has expanded their musical palette. This was a unique proposition that somehow worked – think a resurrected Frank Zappa joining a reformed Mr. Bungle, then enlisting Devin Townsend and Shagrath to co-produce after bonding over a mutual adoration of swing records. Although visibly perturbed by muddy sound that nagged at all bands, they had numerous hometown patrons dancing like nobody was watching.

While it all ended without even a bow from the lady herself (one too many costume changes may have meant she was just desperate to get her heels off and have a bevy), there was nothing left wanting here.

Perhaps perceiving they were over-exposed within Australian metal’s often inconsistently attended touring circuit or just required a hiatus so audiences could realise how much they missed them, bar a few high-profile gigs LORD has vanished from the live scene for the best part of two years. This kicked off a new tour for the Wollongong/Sydney metallers and what was readily apparent during opening new track Betrayal Blind (akin to previous incarnation Dungeon on steroids) was not much had changed. They still play fast, taut and melodic songs more infectious than Bieber fever. Frontman Lord Tim and fellow axeman Mark Furtner continue to have undeniable chemistry and bassist Andy Dowling has a few new rock moves in his arsenal. New album Digital Lies remaining unreleased meant punters were unfamiliar with the other fresh cut aired (Final Seconds), but still approved. Not as much as they did Dungeon material (Resurrection, regular crowd-pleaser I Am Death) and LORD favourites (Eternal Storm’s Euro-power metal, widespread singalong Through The Fire) though, or the blistering, yet personable closing take on Metallica’s Creeping Death. Experienced hands at engaging an audience, punters left with grins so large you’d have needed a sandblaster to remove them. Welcome back, lads.

Liz Giuffre

Brendan Crabb

Of course her own tunes got a good going over (highlights included Sexual Revolution, Relating To A Psychopath, Do Something and, of course, her biggest hit, I Try to end), but she also got to show off her chops with other people’s songs by presenting her new covers album. Telling us that we were very welcome to sing along, her sassy version of Eurythmics’ Here Comes The Rain Again positively sizzled, while Metallica’s Nothing Else Matters had just a small swing on it that brought it back from the brink of cliché and towards soul. Radiohead’s Creep was a big, nerdy singalong and The Toyes’ Smoke Two Joints was just a joy. After a couple of costume changes the encore was taken first with a crowd delivered version of Give Peace A Chance (with Gray’s fantastic percussionist not spelling out, but getting apparently quite emotional about the relative lack of peace in town of late) and then her bass player kept the embers burning, with a solo that gradually built back into Gray’s back catalogue with Sweet Baby, followed by Happiness and When I See You.


British India are not one for bullshitting – they arrive, they play, they cause havoc, they leave. The band made their rapturous entrance to the warm-lit stage, picking up their instruments and giving a taste of Russian Roulette. Their hits followed suit seamlessly, in an hour-long set that required no drastic lighting or showmanship fuckery. Vocalist Declan Melia pledged, “Now you’re about to dance like you never have before” and the crowd did, ripping into This Dance Is Loaded. Gradually the crowd began the pushing and shoving, developing into a latenight death pit, swallowing victims in its path. Some attendees escaped to higher ground while British India kept the hits rolling and the crowd jumping, admirably performing their energetic set without letting up. The roar from Helms Deep, as it shall now be known, was replaced by a falsetto singalong to the tour release I Can Make You Love Me, providing a memorable moment of stillness in a night of indie rock passion. However, the pace quickly reverted to its previous state with crowd favourites Vanilla and I Said I’m Sorry completing a solid set. The main takeaway from this gig was British India’s honest performance; the fans love their music and they

love playing it for them. Even when drunk girls raid the stage, the boys just shoot a quick disapproving look and continue rocking out. Melia announced the closer, but added a bonus This Ain’t No Fucking Disco – ignoring encore custom, getting the shit over with without the hassle of leaving and re-entering the stage. They played the high-energy climax, leaving shirt-ripped and battered fans wanting more. Mat Lee


ENMORE THEATRE: 16/09/12 When attending a Hanson concert, there are two ways to approach the night. One: to get on your high horse about artistic merit, or two: to enjoy the shit of out it because you were a child of the ‘90s and this speaks to your inner tweenie. This reviewer opted for the latter. Nineties nostalgia seems to be the flavour of 2012, seeing Aqua and Vengaboys do the rounds of Australian sold out performances. However, Hanson trumps all – that their set stretched a 15-year career was a testament to that, with not just the long-haired heartthrobs of 1997’s Middle Of Nowhere record, but quite decent musicianship on the whole. Nashville-based Matt Wertz begins the evening, providing an entertaining acoustic pop set. His songs aren’t revolutionary but they are catchy, the musician himself dually noting: “Are you picking up the simplicity of my lyrics?” He oozed confidence, spurred on by the incredibly appreciative audience who were growing more eager for their childhood obsessions. It isn’t long before Isaac, Taylor and Zac Hanson bounce on stage, to a deafening ovation from every female in attendance. Their energy is amazing, performing loud and infectious pop tunes without looking or sounding their age, now 31, 29 and 26 respectively. In particular, Taylor Hanson’s voice seldom misses these souring top notes that his 12-year-old self could barely match; it’s only during MMMBop that the lead backs out of the pre-teen-range chorus letting everyone else in the room complete it. Taylor’s musicality is the most advanced of the three, left with the solo duty of the last year’s internet release Get Out Of My Heart on piano, although all get a go showcasing their ability. Isaac laid out a deep and rich cover of Marvin Gaye’s Let’s Get It On, while Zac took lead vocals in a ripping rendition of The Beatles’ Oh! Darling that had fans scratching their heads before erupting into cheers for the youngest brother. They are just so happy and this radiated through their entire performance. The stage was bright like their personalities and to please the all-ages restriction, not a curse word was uttered. Even their stage banter verged on ‘90s cheese: love and waiting to see “that girl” again. Nonetheless, it was very well received. Mat Lee

Hanson @ Enmore Theatre Pic by Mat Lee




























METAL AND HARD ROCK WITH CHRIS MARIC next year at The Manning Bar with USA acts Sadistic Intent and Midnight along with Nocturnal Graves, Cauldron Black Ram, Grave Upheaval, Sacriphyx, Ignivomous, Black Jesus and Witchhammer all locked in with many more to be announced.

Steve Earle I spent last week hitting up the always incredibly fun but utterly draining BIGSOUND music industry conference in Brisbane’s majestic Fortitude Valley, soaking up anything I thought might be remotely interesting and trying to find some hot new acts to blather on about. It will come as no surprise that I was particularly interested in the Getting Back To Our Roots panel, which took place on the Wednesday afternoon and featured panellists Peter Noble (Bluesfest), Bill Hauritz (Woodford Folk Festival), Henry Wagons, Helen Britton (Six Shooter Records), record producer Mark Moffatt and Damian Cunningham (Peats Ridge), facilitated by triple j Roots & All host Sarah Howells. I’ll be honest, there wasn’t a lot gained from the panel, but there was a lot of discussion about what roots music actually is; it’s such a difficult question and one which will never definitively be answered. There are just too many arguments for why something is or isn’t able to be pigeonholed in such a way. After this, talk turned to Americana and things got somewhat more interesting. Peter Noble very bluntly commented that he doesn’t like Americana, as he thinks it’s nothing more than a marketing ploy despite the fact that Mark Moffatt is the Chair of the comittee of the International Americana Music Association. The best comments from the panel came rather late, when Bill Hauritz gave advice to the musicians present that should apply to everyone who plays music, regardless of genre. He urged that no artists set out to be roots musicians – particularly given that roots music is the genre du jour for many of the hip young people today – rather, he suggested that people just be musicians and wait for other people to pigeonhole them. He finished by emphasising the need for authenticity and stating that the best way for an artist to sound authentic is to merely sing in their own voice, rather than adopting an accent, American or otherwise. I am a massive fan of Steve Earle, and having had the pleasure of speaking with him in the past I knew that he would make a perfect keynote speaker for any music industry conference. He certainly didn’t disappoint when he opened proceedings on the Wednesday morning of BIGSOUND, giving us an hour of amazing stories and insights from a guy who has done and seen so very much. Being an avid fan of Texan singer/songwriters of the 1970s, I was particularly excited to hear him speak about the cult of Townes Van Zandt and stories about the work of Guy Clark, Jerry Jeff Walker, Lucinda Williams, Mickey Newberry and Willie Nelson. One thing that really struck me, a thing that had not occurred to me before, was how wide the appeal of Willie Nelson was (and I imagine is) to the Texan people. Earle spoke of concerts that Nelson would put on that just everyone would go to, from rednecks to longhairs and everyone in between. It was rather sad to hear him reveal that he’s writing his forthcoming memoirs almost purely for money, as his two-year-old son has just been diagnosed with a form of autism and they need money to pay for medical treatment. Fans of the band will be particularly excited to hear that he has finished a new record and should have it out around March next year. You can watch the entire chat on – if you’re into Steve Earle at all, pour yourself a glass of wine and crank it up. Music-wise, I didn’t catch much roots fare; it’s great to see the wonderful Mia Dyson back in action; it’s great to see Bill Chambers at any time, on this occasion playing alongside Catherine Britt; Saskwatch are doing a pretty decent job of slick, deep funk; and Clairy Browne & The Bangin’ Rackettes just smashed it outta the park with the sassiest, grooviest goddamn jazzy soul music replete with choreographed dancing and gorgeous costumes. A great couple of days, sure, but now I really need to get some sleep. Just quickly; Bluesfest announce their first bunch of bands for the 2013 line-up this week. Get excited! 46 • THE DRUM MEDIA

Paul Di’Anno You know, I actually really liked The X Factor when it came out. No, not that piece of merde TV show; rather the first non-Bruce ‘Maiden album since Paul Di’Anno buggered off, which had former Wolfsbane mainman Blaze Bailey out the front. As for Virtual XI however, I have no idea. Either way, both of Maiden’s other singers have teamed up and are coming to town in November and December. It’s billed as ‘Di’Anno Vs Blaze’, so maybe they will be trading choruses or telling their best Harry stories. Sydney’s hardest-working thrashers, Hazmat will be supporting them on all NSW shows which start at The Cambridge in Newcastle on Thursday 29 November and then move on to The Manning Bar Friday 30, The Basement in Canberra on Saturday 1 December and Waves in Wollongong on Sunday 2. One of the big Soundwave Sideshows has been announced with Linkin Park and Stonesour teaming up for an all-ages at The Entertainment Centre on Tuesday 26 February. No news yet on a ‘Tallica/ Slayer/Anthrax sideshow, but we can all dream. The Evil Invaders V ticket presale is open and limited to an exclusive 200 tickets. Everyone else has to wait ‘til October 1 to get theirs. The festival is once again happening on the June long weekend

The recent Save Our Sando rally had over 3000 people come together and give a big one-finger salute to those who want to see it closed. Now, if we could get that many to a show at once, I doubt we’d have much of a problem except for room size! The fight continues this week with the launch of the SOS Exhibition which features a tonne of rock’n’roll memorabilia, photos and other cool shit from some great local photographers and visual artists. It’s on tonight at Fire Gallery, 22 Enmore Road from 6pm. There is some great acoustic action happening on location too with The Thingos, Rev Kriss Hades, Josh Shipton and more. Dimmu Borgir’s Dariusz “Daray” Brzozowski hits the ground this week for his big run of drum clinics around the place. It kicks off on Thursday in Newcastle at Allan’s Billy Hyde with Erina’s Macron Music getting their turn on Friday. He wraps it all up with a big Masterclass at Venom on Saturday. More on that further down the page. Ticket prices vary depending on if you want just a straight ticket or if you want the shake and fake too. Feeling empty after Sunn O))’s recent cancellation and need a drone fix? Well, you’ll only have to wait ‘til next week as the country’s foremost experts on all things ultra fucking heavy and sludge infested, Space Bong bring the dirge from their second album, The Death Of Utopia to life at the TINA festival in Newcastle on Saturday 29 September and back it up on Sunday 30 with an all-ages show at Black Wire Records. More details next week.


Local alterna-rockers, Sound Of Seasons are hitting the rounds in support of their new EP, Make Believe. This week’s dates include a gig tonight at Yours And Owls in Wollongong. A huge congrats to Hot Damn, who will be celebrating their sixth birthday tonight at The Exchange Hotel with live sets from Sienna Skies, Wake The Giants, D At

Sea and Perspectives. Keeping anyone’s attention for six years in this town is an impressive feat! More support for The Sando tonight with Hallowed Be Thy Sando happening, lead by Black Label, Sunset Riot, Modern Murder, Rampage and Not Like Horse. The one and only Metal Matt will be hosting a bit of metal/rock trivia from 7pm and there are a bunch of prizes from Grindhead, Von Grim and Prime Cuts Records up for grabs.


Dimmu’s Daray wraps up his blast-beating off-tour show at Venom tonight with a big-ass Masterclass from 8pm. Tickets are $15 or for $20 you get a pic for your wall and he will sign all your shit too... well, not all. There will be intimate performances from Myraeth and The Seer too! As mentioned before, Hazmat will be opening for the Di’Anno Vs Blaze tour later in the year. They have a bunch of shows before then so they will be fully weaponised by the time that rolls around. Catch them at Club Led at the Penrith Hotel tonight along with Stand Alone, SkulDugory and Rattlesnake. They will do some regional shows in October too, stay tooned for details shortly. Sound Of Seasons bring their show to The Basement in Canberra tonight. If it’s an evening of grind and death that you want, then get your disgusting carcass up to the Destroy The Valve Bar mini festival in Tempe where for 20 bucks you can wallow in the likes of Victoria’s The Mung, Canberra’s Tortured, Red Bee, Hell Itself, Whoretopsy (from Vic too) Mother Eel, Infested Entrails, Festering Drippage (my fav band name), Lower Back Problems, Exekute, Dead-Life and To Engineer An Exorcist. Kick-off is at the blindingly early 12.30pm.


Sound Of Seasons will be at The Lair inside The Metro this evening.

WAKE THE DEAD PUNK AND HARDCORE WITH SARAH PETCHELL the weight of the world on his shoulders.” Pre-orders are available now through JB Hi-Fi for a beach towel/ CD bundle and there are also pre-orders for a limited edition colour vinyl edition through Resist Records.

Parkway Drive The specific details have finally emerged for Parkway Drive’s newest album, Atlas, including the release of a video for the first track off. First up, the album is set for release October 26 through their long-time label Resist Records, and as mentioned the announcement comes as the band unleash the video for a track called Dark Days. The album was recorded in Los Angeles with producer Matt Hyde, and it sees the band pushing musical boundaries they previously had pushed and drawing from a wider pool of influences. “Everything has been enhanced,” says Parkway vocalist Winston McCall. “People don’t have to kiss the old parts goodbye. When you think of change, you think of things being taken away, but there’s not a case here where anything has been taken away. This is just more on top.” Atlas comes hot on the heels of Parkway Drive’s platinum-selling DVD, Home Is For the Heartless, a unique travelogue that follows the band’s adventures touring to many obscure destinations including Colombia, China and India. According to Winston, the DVD gives an additional insight into the album’s lyrical themes, which are closely related to exploration and discovery. “Reading the lyrics to Atlas after watching the DVD, I think you will have more of a sense of where we are coming from,” he reveals. “The album is called Atlas because it’s a combination of the travelling we’ve done over the past year, while also playing on the idea of Atlas, who carried

Adelaide band SXWZD are getting set to release their highly anticipated second album, Grey Matter/ White Matter in the next month. The album is the follow-up to the 2009 self-titled debut. If you don’t know who SXWZD are, they feature members of Jungle Fever, Shotpointblank, Robotosaurus, Stolen Youth, A Secret Death and I Exist. Between albums, the band has further refined their sound, delivering their own blend of hardcore with... stuff. Whatever the combination is, it’s good and it’s heavy with two guitarists and two drummers; the result is fuzzed out, groove-laden and crushing noise. Anyway, the album is up for pre-order now through Clarity Records (in LP, CD and digital formats) and the LP version will be strictly limited, with 100 in a limited black/white colour and the remaining 200 as a standard black. For fans of bands such as Trash Talk, The Melvins and Infest, the album will be released October 19. It’s amazing that Perth hardcore band Miles Away are spending 2012 celebrating their 10 year anniversary as a band, and it looks like they’ll be celebrating in style (a style that you will have to travel to Melbourne for, but that’s okay) as they headline the Make It Count festival. This is an opportunity for friends and fans to share in what has been an incredible journey for one of the most well-respected bands in Australian hardcore. Joining them on the line-up will be Portland, Maine’s Cruel Hand, who will bring a dash of the international to the festival. The rest of the line-up will include the best of the best in Melbourne hardcore, past and present, with a newly invigorated Hopeless, Iron Mind, Ill Vision and Outright rounding out the list. It all happens on Sunday 2 December at Phoenix Youth Centre in Footscray. Tickets are on sale now and I suggest you get in quick because if this is going to be anything like the Break The Ice Fest earlier this year, then they aren’t going to last long. No details on any Sydney shows yet.

Following their announcement of a hiatus (after 13 years together) last year, Thrice have been talking about releasing something like a best-of, and now are set to do so, but it’s not your conventional best-of; rather something more akin to a career on display. Anthology is a live recording (set for release October 30) and will feature 24 songs and be available digitally, on two CDs or as a limited edition box set containing four LPs (you should note that the LP box set is limited to just 3000 stamped and numbered pieces and will include a two-page booklet, two black LPs and two white LPs all on 180g vinyl). There are a whole bunch of packages for the release, so Google it, find the site and order. Thrice drummer Riley Breckenridge previously stated that Anthology “is a live record that is truly live. There are no overdubs, no edits and no pitch corrections. We wanted this to be an honest and accurate representation of a show from our Farewell Tour and a memento for our fans, and that’s exactly what it is.” In a recent interview with Rolling Stone, Fucked Up vocalist Damian Abraham talked a bit about what’s next for the band. Despite announcing a hiatus last November, that didn’t seem to last long as 2012 has been filled with festival appearances and 2013 appears to be the same, with the band appearing on the 2013 Soundwave Festival. From the article it appears that the Canadian septet are aiming to hit the studio sometime through our summer to record their next album, the follow-up to their brilliant David Comes To Life. Can I call album of 2013 now, or is that too presumptive? Lastly for this week, Issue 17 of No Heroes Magazine is online now. We’re all really stoked with how this issue turned out and hope you all are as well. This issue there is the Amity Affliction on the cover, and interviews with The Smith Street Band, Propagandhi, Gallows, Baroness and a really interesting interview with Zoli Teglas from Pennywise, where yeah, he does talk about Pennywise, but he talks more about his involvement with Sea Shepherd. You can check out the new issue at







Rita Ora

Andy Cowan This country has produced some great roots music singers and guitarists but it’s also home to some of the finest keyboard players within the broad genre of soul, blues and R&B. Sydney-based Don Hopkins, Pugsley Buzzard, Clayton Doley and Bridie King are just a few names that spring to mind and all have cut the mustard on the international stage. One name that definitely needs to be added to that list is Melbourne’s Andy Cowan, who is not only a superb keyboardist but an exceptional singer with a unique deep-throated delivery. Andy began his musical career studying classical piano but soon found inspiration in the music of artists such as Ray Charles, Dr John, Otis Spann and Bob Dylan. Since 1999 he has released no less than seven highlyacclaimed albums as well as the Tale Of Two Cities DVD filmed over two nights at the Basement in Sydney and the Corner Hotel in Melbourne. In 2003 he was awarded Blues Album Of The Year and was an ARIA nominee for his 10.30 Thursdays album. He was also awarded second place at the International Blues Challenge in Memphis, Tennessee in 2002. We don’t see enough of Andy and his band in NSW, so it’s great to announce he will be playing the Lizotte’s circuit this week – Friday 21 at Dee Why, Saturday 22 at Newcastle and Sunday 23 at Kincumber. In 2007 Tasmania’s Pete Cornelius spent three months in Chicago playing clubs such as Buddy Guy’s Legends, Rosa’s Lounge, Kingston Mines and Blues On Halsted as well as performing at the Chicago Blues Festival. The US sabbatical was invaluable when it came to furthering Pete’s musical experience but also demonstrated his deep commitment to the American roots music tradition. That passion for music stemmed from a very early age and he was only nine when he first started playing the guitar. Remarkably only four years later, aged 13, he released his first CD on which he played all the instruments. By his midteens Pete had formed his first regular band, The DeVilles, touring the Australian mainland, picking up numerous awards and recording a string of albums. Whilst the band began as a hard-edged Texas-style oufit they have since developed a style of their own incorporating a wide range of roots influences and mixing original songs with handpicked covers from artists such as Allen Toussaint, Neil Young and Rory Gallagher. Pete Cornelius & The DeVilles play the Grand Junction Hotel at Maitland this Thursday, the Wickham Park Hotel in Islington on Friday, the Newtown Jets Club on Saturday (moved from the previously advertised Marrickville Bowlo) and Beaches in Thirroul on Sunday. When Dwight Yoakam first came to the attention of music fans in the early ‘80s he was regarded as a radical on the conservative Nashville country music scene with his neo-honky tonk and souped-up alt country. Now some 26 albums later, thousands of live shows and a movie career to boot, he is more part of the mainstream but still very much to the left of current Nashville schlock. With his latest album, 3 Pears, out Friday, he is also heading our way in October with a Sydney show at the Capitol Theatre on Tuesday 30 as well as dates in Wollongong, Newcastle and Tamworth. There is an interesting story behind the album’s title, which was inspired by a recent doco on George Harrison. As Dwight explains it: “…they cut to John and John was wearing these round, Italian, wrap-around, Mod Carnaby Street sunglasses – a pair on his forehead, a pair on the bridge of his nose and a pair on his chin… And I thought what a tragic, tragic loss… And I got up and wrote the chorus, within a minute or two, of that song.” Nevertheless the actual album cover features images of three pear fruit. Now work that one out!

Rita Ora’s ORA is gonna be huge. The Brit urban ‘It’ girl has achieved fame in the new way. While Emeli Sandé’s unique selling point was her songwriting prowess (and that voice) and Jessie J’s was her voice (and co-writing Miley Cyrus’ Party In The USA), Ora has projected herself as a fashionista – she actually has a modelling contract. Then the star has popped up in gossip magazines, dating Rob Kardashian. Oddly, another Roc Nation artist, J Cole, was rumoured to have a sex tape with Rihanna before his debut album dropped. The tape never surfaced, but Cole generated press. Suss? Mind, Ora, 21, does have the vocal chops. She’s also enjoyed three consecutive UK No 1s. The Londoner sang on DJ Fresh’s drum‘n’bass Hot Right Now. Aussies first heard her solo on the platinum How We Do (Party). Ora has since unleashed the rockin’ dubstep RIP, featuring Tinie Tempah – a song Drake originally wrote for Rihanna with production from expat Norwegians Stargate (who sample a Chase & Status remix of Nneka). It’s a pity that Ora’s US-centric label hasn’t persuaded the credible UK music media to come on side, despite her touring with Coldplay. They’ve mostly ignored her. Ora has fascinating antecedents. She was born in what is now Kosovo, in the troubled former Yugoslavia, before her family moved to the UK. Ora dabbled in acting, landing a role in the East End flick Spivs. However, music became her focus. She sang on Craig David’s 2007 non-single Awkward. Ora even auditioned to represent the UK in 2009’s Eurovision Song Contest. The same year Roc Nation spotted her. Unfortunately, little of the singer’s personality – or history – is reflected on the oft-predictable ORA. And Ora has worked largely with US-based producers – Major Lazer, The-Dream, – at a time when the UK is at the forefront (cue Plan B’s proudly

British iLL Manors). The exception is Fraser T Smith (Adele). Explaining Tinie’s guest spot in her bio, Ora says perplexingly, “I wanted to keep it British. I need to rep for the UK!” If only. ORA is a Frankenstein creation. The songs might have been written for, or recorded by, anyone: Rihanna, Katy Perry, P!nk… Still, there are decent tracks, so expect loads more hits. ORA has already topped the UK charts. The album opens with Switch’s Facemelt, sampling ‘Dirty Dutch’ houser Bart B More. It’s a dubstep banger that sounds like it was laid down near a MotoGP. As with the flashy How We Do..., which nicks its refrain from The Notorious BIG’s Party & Bullshit, The-Dream’s Roc The Life is rock&B – it’s also very Rihanna-esque, although, happily, Ora doesn’t have the Bajan’s nasal qualities. Not coincidentally, How... was co-produced by Florida posse The Runners, who machinated RiRi’s California King Bed, a possible reference here. Lily Allen’s pal Greg Kurstin demonstrates that he has studied David Guetta’s electro/house/trance pop formula with Radioactive, co-written by Sia Furler of Titanium infamy. Roc Nation’s Alexis Jordan (remember Happiness?) should be jealous. Ora adores Gwen Stefani – hence her platinum hair and red lipstick – and the empowering Shine Ya Light, courtesy of Smith, starts off like heavier No Doubt reggae. Jay-Z doesn’t cameo, but Cole does on Stargate’s synthy midtempo Love & War, which, like’s hyper-electro Fall In Love (those fa-la-la-las are so annoying!), has some autotuning. Ora mimics Nicki Minaj’s stylised rap-singing on the disco Uneasy – one of The Ting Tings has a writing credit. Ora delivers two trad ballads, the restrained Hello, Hi, Goodbye beating the Rihanna-ish Been Lying. This month in a Q mag spotlight on producers, Madonna ally Stuart Price deplores today’s ‘brief encounter’ mode of recording, in which artists and writer/producers share but a transitory (and mercantile) relationship. This is ultimately the problem with ORA: it’s production-line urban-pop. Teaming with the same pool of hitmakers as your rivals can turn you into an apparent clone or, worse, biter. Mary J Blige had Puff Daddy, Aaliyah had Timbaland, and Amerie Rich Harrison. Ora needs her own go-to guy or girl to put some aura into ORA.

THE BREAKDOWN POP CULTURE THERAPY WITH ADAM CURLEY havoc in their suburban neighbourhood, Where’s The Love threw them into the busy city streets of London, surrounded by older people dancing to the song and staring at them as if they were some magical oddity. Hanson In 1997, the downstairs loungeroom of my parents’ house was my domain. I was 14 and, though I’m the youngest of four, had only the younger of my sisters with whom to share space in our humble suburban two-storey. The downstairs lounge had been converted by my father from a double garage, my attached bedroom from a woodwork room. When it was down to the two of us kids, my sister had the run of the upstairs rooms, the ‘main’ part of the house, and I got the downstairs. It was in the lounge room, during a routine Saturday rage session, that I saw the video for Hanson’s Where’s The Love, 15 years ago this month. Of course, like everyone else, I’d already experienced the phenomenon of the group’s first single, MMMBop, earlier that year. I’d bought the CD single the week of its release in a fairly confused state, thinking that Taylor Hanson was a girl, that I had a very large crush on her and that the band were possibly from the ‘70s given the washed out production of that single’s video. I wasn’t a worldly kid, but this was also a time when research on the Internet meant waiting half an hour for an unhelpful Geocities page to download, and when an American group could enter the Australian chart without anyone knowing anything much about them, including the salespeople at the local shopping centre music store. By the time of Where’s The Love, I knew more about Hanson. I knew they were not to be liked, that Taylor was a boy, that he was not to be liked, that MMMBop was a terrible song and I’d shamefully listened to it in secret too many times. I also knew that Where’s The Love had a far superior clip. Where MMMBop had pitched Hanson as a trio of teens causing cute

This was, no doubt, the impression the filmmakers and record company wanted to give. We were supposed to believe that these kids were beautiful freaks of nature sent to earth to be enjoyed by man, woman and child alike. But Taylor Hanson was two months younger than me and was, to my mind, not a freak but a 14-year-old who clearly had people outside his lounge room listening to his ideas about the world. It was there in the clip. And they were big ideas. Where’s the love? I was asking the same question. Not in those terms exactly, but I knew that pop music needed to be simpl. And how simpler to communicate the burgeoning awareness of an individual’s isolation? Where’s the love? It’s not enough. But there was something else going on in that video. My crush on the female Taylor Hanson had been manipulated into envy of, and empathy for, the male Taylor Hanson, the attraction still buried. I wanted to be him, to be famous and heard; I saw myself in him, the way he didn’t fit into the knowing cool of the music clips around him, his awkward androgyny; and deep down I wanted to do things with him, sexy teenage things. The lines were blurred even more by the fact that he looked and dressed a little like my sister: stringy blonde hair and maroon slim-fit suede jackets. She was, at the time, my only link to the grungy real world I knew existed beyond the boundaries of the suburbs I had no means of breaching, no one to breach them with. In my cave downstairs, I longed to know her better. It’s taken me a long time to see that none of those feelings trumped the others. It was not only about my sexuality, and not only a fame fantasy. They were all equally valid, all part of getting older and figuring things out. It took even longer to claim those feelings as nothing shameful, no failure on my part to make good or know more or be more brave. Fifteen years on, Hanson’s question lingers, but not in that lounge room.

Chances are you’ve noticed the talk on the Internet lately about Pioneer’s ‘sync’ button and the effects it might have on DJ culture. The sync button is one of the many new features on the CDJ 2000 Nexus model coming out soon. And to say the least, it’s caused quite a stir! Is adding a sync button going too far? Has the role of DJ now officially gone down the gurgler? Let me try and explain what syncing does. Depending on what mixing software you’re using, it keeps the track tempos snap-locked together, making it basically near-impossible to slip out of time and hear that slight off-beat sound that you might otherwise hear at times. So to an extent it cuts out a lot of the manual beat-mixing side of things and makes the whole process much more user-friendly. So what’s the problem with using Sync? The main issue usually raised is basically anyone with half the idea can step up to the decks and play with little experience. Also, aspiring DJs can go straight past stage 1 of learning how to mix. (This was a pretty important part of the evolution of most DJs). A bit like learning to run before you can walk. But does it really matter anymore? It did maybe ten years ago, but in the current DJ climate, it’s a little more forgiving. There’s not as much focus on being a super-tight DJ who can ride the pitch like a magician. With the way things have progressed, it’s more about what comes from the speakers and how it’s played. And some will argue that anyone can beat-mix and it’s only a tiny part of being a DJ. This is somewhat true; it doesn’t take a genius and chances are after a few hours’ practice you’re stringing together end-to-end mixes. But I’ll add to that by saying not everyone can beat-mix well! Admittedly there’s a real skill with tight beat-mixing that can take years to perfect - and probably moreso going back to the Technics1200’s days and the occasional warped record. This is when the tightest of mixers and technically proficient DJs stood out and gained respect. A good beat-mix was very important. Often you could control a certain level of energy from a tight mix. And it was noticeable. Also, you worked damn hard to keep two very stubborn records in time - using one hand firmly on the pitch with the other cradling the platter whilst having the precision of a surgeon! Bringing in the next record sometimes felt like running the gauntlet, and you really had to work it sometimes, that’s for sure. Should DJs panic? If everyone can beat-mix, aren’t we going to sound all the same? Well, not really, as syncing tracks is hardly a new thing anyway. It’s been around for longer than a lot of people think. Mixing software such as Traktor, among others, has championed sync mode for a while. And not only that - CDJs have a beat counter that tells you the tracks’ tempo pretty much to the decimal point. So it’s been laid out for a while. Again, it’s what comes out of the speakers that counts. None of these advances have really made a difference to the fast-moving DJ world. If anything, it’s opened more doors for greater possibilities. Good DJs are still good DJs, and not as good will still be not as good! Pioneer’s CDJ sync addition is just another step in technology that was bound to happen. The same anxious feelings were felt when CDJs started to push aside turntables and Ableton warped tempos together perfectly. A lot were freaking, but we’re still all DJ’ing! To finish off, I’ll leave you by saying this; Technology will keep your beats in sync, but can it give you good taste in music personality? Will it program your set? Will it tell you the best time to drop the perfect track? And how to mix it? Will it build a night, peak it and bring it down for you? Or teach you experience? Bring you a beer? I think you know the answer … Happy syncing. THE DRUM MEDIA • 47





Sky’High The Weeknd was kind of the face of a new way of doing music. His first three mixtapes were released for free in 2011. They contained a number of the best songs of that year. It was thrilling that someone we had never heard of was releasing music the likes of which we had never conceived of before for a price we had only just become accustomed to paying. The songs! The vague echoes of Michael Jackson! The feeling that somehow the tracks were haunted, or haunting, or something! It felt like a new world. It felt like the future. Now, reality’s struck. The past is back in effect. The Weeknd is planning to make the first three mixtapes to buy. Hooray? Lol? From November 13 you will be able to buy the trilogy as well as some previously unreleased tracks. This is like that Doctor Who episode where they are on a spaceship (from the future) and there are dinosaurs (from the past) who stampede through it and make a bit of a mess. This is like when a horse has run away from the stable you were hoping to house it in and you bolt the door to stable after it has run away. This is like so many things in life: disappointing, and a reminder that we need to cling on to special things while we have them because, sooner or later, a triceratops might just come through to ruin your day. Way to go, The Weeknd. Yawns all ‘round. Sky’High and Nay have a track up for free download! It’s a dream sentence. The track is called Thief In The Night. We love it. There’s a frustrating qualification that comes with these two. You know when someone asks you the “best rapper in Australia” question and you only think of men? And how when someone asks you the “best female rapper in Australia” you realise you’re being asked about a lesser category? It’s called


the patriarchy and we took a few millennia setting it up. Do yourself a favour and knock it down a little by considering these two – comfortably two of our nation’s finest – for your “best in Australia” list. This track will provide you with good reason to do so. Major Lazer, we’ve counted the ways we love you so many times before. One, one thousand; two, one thousand; three – and so on… Now that we are old and cynical it’s rare that we get genuinely excited about release dates. We did for ML and, like the fourteen-year-olds we once were, we marked the date in our diaries and crossed our fingers for a leak a few weeks early. So imagine our dismay when we learned of a delay! Free The Universe will be with us on February 19 2013. That’s near a four year gap between albums; four years of hard work on refining every song. It means that this might just be… the best album ever! Delay or not let’s keep excited, dudes. We are all fourteen again! Our mum was the first person to tell us about the Arrested Development tour. So that’s the level of relevance and silliness we’re dealing with. We think that it’s okay to have fun with silly, irrelevant things though. Twenty years ago Arrested Development were one of the first cabs off the light-hearted, inoffensive, rap-derived pop rank. Now they’re two decades older! They’ll be playing Cockatoo Island on 25 October. People Everyday, y’all! Oh, the hologram of 2Pac at Coachella. It was exciting at the time, and kitsch only days later. There was subsequent speculation about whether the hologram might be taken on tour. Get your tissues out because – we now know – that will never happen. Digital Domain Media Group has filed for bankruptcy. American bankruptcy laws are ridiculous (just trust us. We know) but this still looks like a nail in the coffin for the silly tour you were considering going to for laughs. RIP 2Pac (again).

Gossling Well, it’s a huge week for international tours (and some gleeful nostalgia on my behalf!). Good Charlotte are playing an all-ages show on Friday night at the Big Top, Luna Park, so get down early to rustle up a chunder on the Gravatron before sussing them out. Then on Saturday fellow pop punkers Yellowcard are playing an all-ages show at the Roundhouse with huge supports in the form of The Never Ever and Heroes For Hire. There’s also a host of huge international names on the Fat As Butter Festival, which is open to audiences 15 years and over, and will take place at Newcastle Foreshore on Saturday. Both Yellowcard and Good Charlotte are playing, as well as a little band called Wheatus (we’re all teenage dirtbags at some point) and some great locals too, like Hunting Grounds, Hungry Kids Of Hungary and Grinspoon. Also on Saturday, a little earlier in the day mind you, Gossling will take to The Concourse in Chatswood for an all-ages event called Make Some Noise. Gossling is headlining the gig, which kicks off at 3pm and also features support from Tigertown and The Ah Kees. What makes the whole thing even more enticing is the fact that Goss (calling her that now, because I feel an affiliation with her in light of the comments I’m about to share) has made it very clear that she’s aware of, and keen to support, the all-ages fans, saying: “I am really excited to be a part of Make Some Noise. It’s great to be involved with a show that caters to the younger demographic. It will be a fun one!” In the words of Goss, there’s a few all-ages shows this weekend that are sure to ‘fun ones’ at regular proprietor of such ventures, The Lucky Oz Tavern. They’ve got a big arvo of rock in store for Saturday, with Andy Wenman, Queenslanders Goodnight Midnight and Take Us To

Vegas, the electro-tinged Retina, Steelswarm, Johnny Roadkill, and Fleshlight all playing from 1pm. Then, on the Sunday, things get heavier still with Spent Case kicking things off at 1pm and being followed by Void Reprise, What You Wished For, Emergency Syndrome, Friend or Foe, Alaska, Beneath The Crown, and Lakeside. Both shows will set you back ten bones. Pogo In Mogo is in its inaugural year, a mixed bill festival on the South Coast of NSW that is accommodating to all ages and features the likes of Fait Accompli, Hoodlum Shouts, The Chitticks, Bang! Bang! Rock’n’Roll, Bruce and Dead Bear on the line-up. Now, it’s not this weekend, but next weekend, though I wanted to give you all fair warning! And with that in mind, we caught up with the festival organiser Drew Tweedie to find out more about what’s going down on Sunday 29 September. What was the initial impetus for doing the Pogo In Mogo? So we could party. Can you tell us a bit about the bands you’ve lined up? All the bands have very diverse sounds and styles, from dredgy swamp rock to soul punk, indie and boozy throat-screeching rock‘n’roll. There’s something in this line-up for everybody. Was making the event accommodating all ages an important factor? Yes, because the under 18’s crew are huge and really dig live music. And they just don’t get enough shit to go to around the Eurobodalla area. And my son’s underage as well so it gives them a chance to catch bands. How’s the all-ages scene south of Sydney? I think its going strong – I know a few young local bands that play quite a bit up around Husky and down to Pambula and in Batemans Bay and Moruya. Any last words for the kids thinking about coming along on the 29th? Don’t think about it, do it. And listen to The Bronx.



Three EPS in and Chicks Who Love Guns are already making an impression overseas. Singer Cass Navarro talks to Michael Smith about the Kings Cross of Tokyo.

Eloquent country folksters Laneway have used time out of the fast lane to inadvertently enter the busiest phase of their career. Louise O’Reilly talks to Brendan Telford about the birth of new opportunities.

single off their new and third EP, Moon Eater. The five young guys are all kitted out in ersatz kimonos and kabuki makeup trolling around a carpark with their skateboards, alternating with images of the same guys in their normal guise as the band spitting out the track. “It only took a day and it’s just a friend of ours named Turk Lees who’s just a film student that we know and he had this crazy idea to do this video. It’s one of those things – you never know what it’s gonna look like ‘til he’s done all of his editing. It was a lot of fun. At one point I thought we had finished and I washed all that makeup off and they had to re-do my whole face! We were skating around the Chippendale area and having people honk at us every two seconds.” “We went on this trip at the end of last year to Tokyo for two weeks,” Chicks Who Love Guns’ singer Cass Navarro explains, “and we stayed in Shin-Okubo, which is Korea Town in Tokyo. We pretty much only stayed there ‘cause it’s quite cheap but it’s… Tokyo’s a pretty nice, pretty safe city, but Shin-Okubo seems to be the Kings Cross, if you will, of Tokyo,” he laughs. The guys didn’t get to play that time, but they’ve made some contact that should help them get gigs and they hope to play there later this year or early next. “So we sort of just wanted to reference it because it kind of became this weird obsession at how gross this place was in such a nice city otherwise.” The way they reference it comes in the form of the track and video for Shin-Okubo, the lead

As for the rest of the EP and the Chicks Who Love Guns musical oeuvre in general, “A lot of the time we like to write like grumpy twenty-one year old boys about the things that will probably seem trivial in later life that seem like the be all and end all – and we like to have a bit of a sense of humour about things like that, you know?” Navarro says. “Girls and general discontent for things that you kind of run into when you’re twenty-one [laughs].” WHO: Chicks Who Love Guns WHAT: Moon Eater (Independent) WHEN & WHERE: Friday 21 September, The Standard; Saturday 29, Yours & Owls, Wollongong

2012 is proving to be the year of Laneway. The country-flecked folk duo of Louise O’Reilly and Paul Hannan left the rat race to take their young family into the wilderness – Natural Bridge in the southeast Queensland hinterland to be exact – and their reconnection with nature has given birth to their hauntingly beautiful second longplayer, Turn Your Love Up. Normally such events would be enough, but further accolades have followed with the band winning this year’s Grant MacLennan Fellowship Grant. “When you are shortlisted in something like that you have to surrender yourself to being in the running and nothing more; it doesn’t pay to get your hopes up,” O’Reilly admits. “We were shortlisted in 2011 also, so just to be nominated again was a privilege to us. You don’t want to view it as a competition, which is pretty counter-intuitive, even though as an independent artist the grant is what gets you by, it is the nature of the beast. We are so lucky and humbled, and it is a life-changing experience, because there is no other way that we could get the resources together to do these things that we dream of.” “These things” include travelling to Berlin, an element of the grant and something that O’Reilly has dreamt

about but never thought would truly come into fruition. Nevertheless there were many things to consider. “We had to consider how far it could go for us, as we are a young family and we felt that Berlin was the best (the other choices being London and New York) for creating the perfect life balance for young creative families. We were also looking for longevity. Most recipients [of the award] stay for two months then return, but we wish to stretch out and see how things transpire. We are fitting in as many live shows as we can, and hopefully take in some other countries such as France, which has a good scene. Bizarrely there is a good Brisbane/France connection there, we know some people there. It’s the contrast of the European experience that we are excited about, both personally and creatively. Sitting here in the quiet of Natural Bridge where we don’t even have electricity to the bustle of Berlin with its keen culture and history; we just want to wander the streets, not speak the language and muddle through. Much of the album inadvertently came together from our move away from the city that we loved, and discovering new loves, looking back at the world which is in turns liberating and isolating.” WHO: Laneway WHAT: Turn Your Love Up (Crawler Records) WHEN & WHERE: Thursday 20 September, The Front, Canberra; Friday 21, The Heritage Hotel, Bulli; Saturday 22, The Great Northern, Newcastle; Sunday 23, Clarendon Guesthouse, Katoomba; Wednesday 26, Folk Club; Saturday 27 October, Drill Hall, Mullimbimby

FREE POOL 6.00 - 10.00


23 SEP






Alex Silver’s jazz quartet Snafu will be performing in the Sound Lounge this Friday night. Having recently returned from a trip to Europe, the young trombonist is bringing a fresh perspective to his group’s sound. The band has also recently welcomed guitarist Aaron Flower, a National Jazz Award winner, and features Karl Dunnicliff on bass and Dave Goodman on drums.


Former frontman of outrageously popular indie/ alternative outfit Philadelphia Grand Jury, Simon Berkfinger is returning from his new home in Germany to give local audiences a taste of his brand new solo project, Feelings. Most aptly described as “weirdly beautiful”, Feelings builds on the sounds of Philadelphia Grand Jury; expanding, distorting and improving on that work. He’ll be demonstrating this new sound at GoodGod Small Club this Friday night.


Kenji Takimi, one of Japan’s most respected and notorious house and disco DJs, Takimi has been DJing for over 20 years and performing alongside Andrew Weatherall, Armand Wan Helden and Theo Parish, among many others. Takimi is bringing his slick, solid show to Australia for the first time ever and you can find him at GoodGod Small Club this Saturday night.

CREO What’s the title of your new EP? The Memo. How many releases do you have now? This will be our debut EP. How long did it take to write/record? Some of the songs were from months ago and others were written specifically for the record. So it was a bit of a build-up from old and new material to see what fitted together best. Then we were in the studio laying it down for two weeks. Was anything in particular inspiring you during the making? We recorded interstate at Sing Sing in Melbourne. So it was very much a focused environment where we put every little bit of energy to the task at hand with no distractions elsewhere. It helped create a special energy in the studio. What’s your favourite song on it? They all have a place but we have most fun playing Blue Hearts On Valentines. Will you do anything differently next time? It was an incredible experience and we have no regrets. The only thing we’d probably do differently is set ourselves a deadline! It’s been too long between shows and we’re itching to get back on stage. Will you be launching it? Annandale Hotel, Saturday 22 September, followed by lots of interstate gigs. For more info see: or



This Thursday night marks the sixth year of the lovingly trashy night club Hot Damn. To celebrate, they’ve gathered together a collection of their favourite bands, from Sydney post-experimental/ hardcore band Sienna Skies, to Brisbane acoustic boy D at Sea, as well as punk band Perspectives. This will be topped off with Wake The Giants running through a cover of New Found Glory’s 2002 album, Sticks & Stones. With Hot Damn DJs going all night, and the whole place decorated fit for a sixth birthday party - streamers, balloons, party hats, the works - this is not a night to miss.

Sydney classic rock band The Model School will take to the stage this Thursday night at Oxford Art Factory’s Gallery Bar, totally free. Their new single, Streets I Left Behind, features raucous live guitars, driving drums and bass, and an anthemic chorus. The band will be supported by The Money Go Round and Bedlams.

This Thursday night at Brighton Up Bar, a young Brisbane band are hoping to win you over. Grizzly will be taking to the stage this week, having just recorded their second EP. They’ll be playing this week with Tom Lark.

How many releases do you have now? Two singles and this upcoming EP. How long did it take to write/record? We had been writing for the 12 months prior to jumping in the studio, making sure we went in with songs we were confident with. The recording process was then covered over three weeks.


Superheavyweights will take you on a rollercoaster ride of old-school funk and soul this Friday night at The Brass Monkey, cooking up a full bag of killer covers, from James Brown and The Meters, to Al Green, Bill Withers, Lee Dorsey and plenty more. The band, formerly known as B’Dussy, are hoping to live up to their new name. They’ll be supported by soul/funk songstress Jade Bootay.


This Saturday night at Katoomba RSL is ska/ reggae night, featuring a couple of local ska, soul, reggae and rocksteady outfits. Ska’d For Life are a Blue Mountains ska/soul band doing covers, remakes and originals, featuring two trumpets and a trombone. Papa Gonzo are a ska, reggae and rocksteady band who pride themselves on their smooth live shows. This will be an all ages event, with minors needing the company of a guardian.

On Wednesday and Thursday nights at the Camelot Lounge in Marrickville, Monsieur Camembert will once again present Famous Blues Cheese, their homage (or, more aptly, “fromage”) to Leonard Cohen. Guest singers Abby Dobson and Elana Stone will join them.


What’s your favourite song on it? Emphysema, as it’s been in our repertoire for a long time, but has remained current and to me, it’s the standout song from the EP.

For more info see:


Kiwi singer/songwriter Duan & Two fuses an eclectic mix of acoustic, soul, reggae, dub and roots with the help of his RC-30 Loop Station. He’ll be performing at Moonshine at The Steyne.


Was anything in particular inspiring you during the making? Not particularly, we wanted to create something with more substance and therefore we weren’t going to settle for second best.

Will you be launching it? Yes, the release date is Friday 21 September, with a Sydney EP launch taking place at The Lair on Sunday 23.



After a run of shows at the Edinburgh Festival Spiegeltent, soul-funk nine-piece Saskwatch are back in the country and ready to showcase their debut album, Leave it All Behind, is a heavy-stepping, rich funk album. They’ll be hitting up GoodGod Small Club this Thursday night, so head on down and see what all the critics are raving about.


Sydney band Taking Berlin will be playing the Roxbury Hotel this Friday delivering their own soulful grooves and subliminal tribal rhythm. The band aspire to be “Australia’s answer to Arctic Monkeys”. Either that or “how Dr Seuss would sound on the booze.”

SongsOnStage brings you a collection of the best songwriters and performers in the Sutherland Shire! Having honed their performance skills at SongsOnStage showcase nights all over Sydney, these exciting young performers are bringing the showcase back to its original home, The Brass Monkey. Performers include Peach Montgomery, Anita Lenzo, Wally Byrne, Zachariah Sayed and Micah Christian






The Mark Ginsburg Band has been making music together for nearly five years now, their appearances at Wangaratta Jazz Festival and during their Australian tour earning them rave reviews. This Saturday night, they’ll be hitting up The Basement, performing some of the tracks from their AIR-nominated album, Generations, as well as some new material.

Hot on the heels of the national The New Kids Tour, Gold Coast band Nine Sons Of Dan are on an extended run of dates in September. Released in June, The New Kids EP features six tracks including the attitude-driven rock single, Diamond Skin. They play Sunday at Live At The Brewhouse.

Sydney’s inner-west hotels have long been Sydney’s breeding grounds for roots and rhythm & blues. The inner-west’s The Squeezers perform the own brand of jump, blues and swing this Sunday at the Merton Hotel in Rozelle. The event will be completely free.

This Saturday night, raucous Melbourne indie/ pop band The Murlocs will be bringing their wildly successful new EP, Tee Pee, recorded with Eddy Current Suppression Ring’s Mikey Young and full of their sloppy, washed-out smut, pathetic love songs and quaint ditties, to GoodGod Small Club.

What’s the title of your new EP? Make Believe.

Will you do anything differently next time? It all depends on how well this EP is received, but nevertheless, you have to keep fine-tuning your sound in order to grow and stay relevant.

All the way from South Australia, the youthful (and beardless) gypsy folk band Bearded Gypsy Band will take to the stage this Thursday night at Moonshine at The Steyne on Manly’s Corso. The band are all set to use their crazy, transient beats and fiddle lines to get people dancing with reckless abandon.






Brisbane band Hey Geronimo, fresh from wowing audiences at BigSound, is heading down to Sydney to perform at FBi Social this Saturday night. Their Triple J hits, Carbon Affair and Why Don’t We Do Something?, have garnered them a considerable following. The band will be supported by fellow Brisbane band The Griswolds, maestros of indie/ pop gems Heart Of A Lion and Mississipi, as well as local party-starters Lime Cordiale.

Singer Gregg Arthur and his quartet will launch his latest album, Unforgettable, a homage to the legacy of Nat King Cole. The album has generated plenty of positive press since its release, and will definitely impress the audience. This will all go down at the Dome Bar in Surry Hills.


At Blue Beat in Double Bay, as part of this year’s Sydney Fringe Festival, Jazz Nouveau featuring singer Evelyn Duprai are planning to launch their debut album, Reminiscing. The album is a collection of re-imagined Little River Band tracks featuring a variety of Australian female jazz singers.


Sydney band Community Radio is preparing to release their album, Serious Magic, this Friday. They’ll also be taking to the stage of the Jurassic Lounge this Tuesday night (tonight!) to give audiences something of a spoiler of the album to come. The band craft fine indie pop gems and are definitely worth a listen.


Often cited as Sydney’s “university of the blues”, the Foreday Riders celebrate 45 years as a band this year. Through countless lineup changes, brothers Ron and Jeff King remain at the core of the band, playing harmonica and guitar respectively. The band formed just after the British “blues boom” in the early 1970s, drawing on the stylings of Manfred Mann, The Rolling Stones and The Yardbirds. While still connected to their roots, the band continue to expand and change with each passing year and will be playing at The Brass Monkey this Saturday night.


If you’ve had a tough first day back at work, The World Bar have developed the perfect solution: their Latin Jazz night. It goes down, for free, every Monday night. Their “groove-a-listic cats” will be laying down some gorgeous jazz out on the terrace.


Van Hoorn is a blues/rock band formed, consisting of supermodel and singer Cheyenne Tozzi, and Australian guitarist Josh Mullane. Their first recordings were created out of a barn in the south of Sydney, which were received well by critics and fans alike. The band have opened for acts like The Kooks, Butterfly Boucher and Vogue, and this Sunday evening, they’ll be performing a special set at The Brass Monkey.


Australian blues and roots maestro, Andy Cowan, grew up in a household filled with music, where he heard some of his earliest influences, which can still be heard within his work, from Ray Charles to John Coltrane. Cowan received Blues Album of The Year in 2003, and also came second at the International Blues Convention in Memphis, Tennessee. Andy Cowan will be playing this Friday night at Lizotte’s Dee Why, this Saturday night at Lizotte’s Newcastle, and this Sunday night at Lizotte’s Kincumber.



This special co-headline event brings together two local Sydney bands with vastly different sensibilities. Both bands are fresh out of the studio recording their debut albums and are hungry to share their new songs. Dead Ears’ indie-pop smarts and Lo Five’s soul funk grooves will combine forces this Thursday night at Notes in Enmore. This will be an awesome pre-release showcase for both bands, whose musicianship is at the top of their game.

This Friday night at Oxford Art Factory’s Gallery Bar, one of Sydney’s most exciting, experimental bands will take to the stage. deerRepublic are an indie rock quartet notorious for their boisterous, tight shows and huge, anthemic recorded sounds. Since winning uncharTED National Band Competition and playing Splendour in the Grass in 2010, the band have supported international heavyweights like Bloc Party and The Flaming Lips. They’ll be playing a much-anticipated set this Friday night supported by Brisbane band Cold & Need.


This Friday night is an especially huge one at The World Bar. With renowned, mystical London indie band Mystery Jets stopping in to give a DJ Set, along with the usual motley collection of astoundingly good up-and-coming bands, including Wollongong indie band Jenny Broke The Window, Melbourne’s All The Colours, The Bus Vipers, Total Bore, Louis London, Mung and Total Bore as well as DJs The Ratbag, Swim Team DJs and Cries Wolf DJs.

Chicks Who Love Guns have built a reputation for their ferocious live shows, spending the past few years sharing stages with some this country’s premier acts such as Regular John, Die! Die! Die!, The Cairos, The Scare, Hunting Grounds and Grinspoon. Headline shows have seen dance floors erupt into mosh pits and band members jump into the crowd to join in on the raucous shenanigans. The band is giving another of their no-holds-barred, thrills-andspills sets at The Standard this Friday night.



Buffalo is Sydney-based songwriter Wes Carr’s latest project. From his early days fronting Silverchair offshoot Tambalane to his well-publicised success on reality TV, Carr brings a collection of different musical experiences to his sound. As Buffalo, Carr returns to his singer/songwriter roots in an intimate and natural cocktail of folk and alt/country. Buffalo will be appearing this Thursday night at The Brass Monkey.

The World Bar’s wild club night, Cakes, will be opening up its three rooms to showcase three different kinds of club sounds: the tea room will be devoted to smooth, slick sounds courtesy of Brendan Fing and RUBIO, the back bar is the place to go for disco-driven, fruity tunes, coming from DJs Dr Don Don, Airwolf, Oakes & Lennox, Blaze and Tigerlilly. Finally, the Main Bar will hold the whole party together, with party hip hop blasting, made to order by KATO, Bentley, Astrix Little and Temnien.


JON STEVENS The best record I stole from my folks’ collection was… As the 11th child in my I didn’t get to steal anything, but my parents were very into music so I heard everything from The Beatles to the Stones, Tom Jones to Max Bygraves, so I had a really broad musical education. The first record I bought with my own money was… Bill Withers’ Lean On Me – I loved that record when I was a kid. The record I put on when I’m really miserable is… That’s a tough one – I don’t get miserable very often. Maybe Infidels, by Bob Dylan, but more because it reminds me of the good times. The same with The Beatles, the Stones and those great old records. The record I put on when I bring someone home is… I’m long past all that, but back in the day, D’Angelo’s Brown Sugar was always great to settle back with my girl and a drink, or Sade. But those records were out when I was married, with my wife, so they’re a mutual sort of thing. The last thing I bought/downloaded was… I can’t remember. I do download a bit but I’ve been so busy making my own music [laughs] I haven’t had time to listen to other people that much. My son uses my account so when I look at my statement it’s all his hip hop shit, you know? Upcoming shows: Saturday 22 September, Newport Arms




The Canadian Club in Newport Arms are offering a series of free concert events over the next few months. This week, Jon Stevens will take to the stage. After performing with INXS, in the travelling musical, Jesus Christ Superstar, and during the Sydney Olympic Games’ Opening Ceremony, Stevens has proved there is little he cannot do. There are several options for tickets and prices, ranging from backstage access and a full dinner to a basic entry ticket. It all kicks off at 3pm.


Hayden Calnin, a young, experimental producer and songwriter has spent the past few months knuckled down in his home studio recording his debut EP, City. To celebrate the release of his EP, Calnin will be embarking on a brief East Coast tour, stopping in at FBi Social this Wednesday night. His progressive folk sets have been critically lauded, and compared with everyone from Bon Iver to James Blake.


What are you doing this Tuesday night? Forget that noise and join the party. The World Bar’s midweek party event, Jam, brings you the “bangin’est” party anthems from the past, present and future. It’s the only way to shake of that midweek dust. The Apothecary will be hosting trivia, then grooving into the night with DJs Cristof & Ali spinning tracks all damn night.

This Friday night at the Heritage Hotel in Bulli, indie/ acoustic singer songwriter Sarah Humphreys will take to the stage. She has become known for her quirky “happy-go-lucky” interpretation of the beauty in everyday things, and for songs that are simultaneously painstakingly honest and moving. Humphreys has garnered much industry respect - in 2009, she was crowned the ABC Music Artist of the Year. Her songs have featured in numerous movie and TV soundtracks and most recently her song, Lead Balloon, was covered and released by Kasey Chambers and Shane Nicholson.


Having won the Crowded House International lyric writing competition, toured with Lanie Lane, and released the ‘50s-style melodramatic video for A Place Without Time. Miss Little and her band are about to release their new single, Years. Their outlandish fusion of folk, hip-hop, chamber music and pop has earned them some rave reviews, particular from The Melbourne Age, who described her as “assured, fragile, tender and sexy.” Miss Little will hit up FBi Social this Thursday night, with support from April Maze and Brian Campeau.



This week, fresh off the European summer festival circuit, The World Bar will be hosting international guests, drum & bass duo DJ Friction & MC Linguistics (UK) – with their insanely fast, loud, lyrical sounds. Local DJs Clockwerk and Bass Riot will take to the stage a little later. Then, Deckhead, Heke and Brothers Grimm will attempt to gear you up for the grind. Finally, in the Bordello, let Lights Out slide into your senses up with bad-arse beats and rapturous remixes.


FBi’s much-missed mid-week, hour-long lunchtime set at FBi Social has returned after a short hiatus. This week, the event will feature Knievel, whose recent debut album has bolstered their reputation as a band who are carving out their own niche in the music industry. Their delectable, dreamy guitar pop is worth checking out. They’ll be at FBi Social this Wednesday from 12pm.



Larger than life, The Swingtanic Sextet are a Blue Mountains band who are developing their very own brand of high-octane performance and “grunge-burlesque” musical stylings. Sassy, horn-driven tunes jostle with metal riffs and sexual/sensual lyrics to create a complete musical universe, as you’ll discover this Saturday night at The Vanguard. And ask ‘em about their debut EP.


Be there tonight, Tuesday night, to tell the world you care about the Sando as the Save The Sando exhibition of rock photos snapped by Andrew Pittman, Tracey Nicholson, Fiona Grace Macdonald and more, as well as artworks by Ratih Harun, James Sherwood and the always irreverent Rev Kriss Hades among others, kicks off at the Fire Gallery in Enmore Road,


Feeling left out in the cold this winter? The World Bar can remedy that. Combining soup from their kitchens and white-hot jalapeno house music. This week will feature the music of Cotolette, Manjazz and Ethan Winzer. Who said Sunday was a day of rest? The event is completely free, and not worth missing out on.

Propaganda is The World Bar’s Thursday night party night. It aims to be the city’s sweetest and sweatiest interstellar indie night. Super special guests Bluejuice will be tearing up the Club Room this week with a wild DJ set. Then, DJ-in-residence Jack Shit will be drenching punters in pop-party hyperspeed. Urby and the Propaganda DJs will also bring their tunes to the stage. The night is free for students.

IN THE LEAD UP TO 2SER-FM’S RADIOTHON, WE PROFILE SOME OF THEIR PRESENTERS. Name: Robbie Keswick & Mitch Byatt What show do you present and when is it on? Overdrive with Robbie & Mitch – 4-6pm Wednesdays. What areas/genres do you cover? RK: Musically, we play a mix of all of 2SER’s regular delights. Indie, funk, soul, hip-hop, rock, pop, world music, decades-old re-releases – there’s a strong emphasis on quality local stuff and there’s always a good chance of finding your next favourite band. Why is community radio important to Sydney? MB: Community radio is important because it celebrates all the different and exotic ingredients in your local society or human soup. If people don’t support community radio, what horrors await us? RK: A cocktail of prank calls, lie detectors and endless discussions of the weirdest places you’ve had sex. MB: The weirdest place Robbie’s had sex is his bed. RK: Danger is my middle name. Name one good thing that will come of people supporting the Radiothon. MB: People sharing the love during Radiothon will allow one of the oldest and most celebrated community radio stations in the country to stay on air. You will also allow Robbie’s mum to continue being proud of her son. THE DRUM MEDIA • 51



OH MERCY: Sep 26 Heritage Hotel; 27 Cambridge Hotel; 28 ANU Bar; 29 The Standard; 30 Clarendon Guesthouse


FEELINGS: Sep 19 Beach Road Hotel; 21 Goodgod TIM HART: Sep 19 Lizotte’s Kincumber; 20 Lizotte’s Newcastle; 21 The Vanguard; 22 Yours & Owls; 23 Clarendon Guesthouse POND: Sep 20 The Metro NAKED: Sep 20 Terrace Bar SASKWATCH: Sep 20 Goodgod; 21 Stoke Factory; 22 Transit Bar THE RUBENS: Sep 20 Wollongong UniBar; 21 The Metro; Oct 10 Hoey Moey; 20 The Metro RICK FIGHTS: Sep 20 Oxford Art Factory SOUND OF SEASONS: Sep 20 Yours & Owls; 22 Basement Canberra; 23 The Lair; 26 Cambridge Hotel LANEWAY: Sep 20 The Front; 21 Heritage Hotel; 22 Great Northern Newcastle; 23 Clarendon Guesthouse; 26 Folk Club CHARLIE MAYFAIR: Sep 21 Brighton Up Bar POLO CLUB: Sep 21 World Bar ALL THE COLOURS: Sep 21 World Bar OBVIOUSLY YOUR SUPERHERO: Sep 21 Hamilton Station; 22 Liverpool PCYC; 23 Yours & Owls; Oct 6 Hype Central; 7 Mars Hill Cafe SARAH HUMPHREYS: Sep 21 Heritage Hotel; 30 The Rhythm Hut; Oct 5 The Newsagency; Nov 9 The Glass Onion Society; 16 The Lass O’ Gowrie THE ANGELS: Sep 21 & 22 Bridge Hotel CHICKS WHO LOVE GUNS: Sep 21 Standard; 29 Yours & Owls HEY GERONIMO: Sep 21 FBi Social CASEY BARNES: Sep 21 Palm Beach Golf Club DEERREPUBLIC: Sep 21 Oxford Art Factory; 26 Yours & Owls URTHBOY: Sep 21 Oxford Art Factory JON STEVENS: Sep 22 Newport Arms PEAR SHAPE: Sep 22 Kings Cross Hotel THE MCCLYMONTS: Sep 22 Vikings; 29 Evan Theatre; Oct 5 Newcastle Civic Theatre CREO: Sep 22 Annandale Hotel THE MURLOCS: Sep 22 Goodgod THE PRETTY LITTLES: Sep 22 Annandale Hotel; Oct 18 The Phoenix NINE SONS OF DAN: Sep 23 Live AT The Brewhouse SCARAMOUCHE: Sep 24 The Pheonix; 29 Valve Bar; Oct 3 Young & Owls; 4 Burdekin Hotel; 5 Hamilton Station DRUNK MUMS: Sep 26 Beach Road Hotel; 27 FBi Social OH MERCY: Sep 26 Heritage Hotel; 27 Cambridge Hotel; 28 ANU Bar; 29 The Standard; 30 Clarendon Guesthouse ELIZABETH ROSE: Sep 26 UNSW Roundhouse; Nov 2 Goodgod CLARE BOWDITCH: Sep 27 Lizotte’s Dee Why; 28 The Factory ROLLER ONE: Sep 27 Hibernian House THE MEDICS: Sep 27 Transit Bar; 28 The Patch; 29 Cambridge Hotel THE BEAUTIFUL GIRLS: Sep 27 & 29 Great Northern; Oct 5 The Metro; 6 Anita’s; 12 & 13 Mona Vale Hotel MY DISCO: Sep 27 ANU Bar; 29 Goodgod; 30 The Patch THE AMITY AFFLICTION: Sep 28 Newcastle Panthers; 29 & 30 Big Top Luna Park; Oct 2 University Of Canberra KING GIZZARD & THE LIZARD WIZARD: Sep 28 Oxford Art Factory THE CACTUS CHANNEL: Sep 28 Goodgod DOCTOR WEREWOLF: Sep 28 Chinese Laundry; Oct 20 The Clubhouse REGURGITATOR: Sep 29 The Hi-Fi; 30 Cambridge Hotel; Oct 1 The Hi-Fi; 4 Zierholz; 5 Wollongong UniBar MATT WALKER: Sep 29 Heritage Hotel; 30 Notes NO ZU: Sep 29 Goodgod PETER COMBE: Sep 29 Oxford Art Factory 52 • THE DRUM MEDIA

HORSELL COMMON: Sep 30 We Come Out At Night THE DECLINE: Oct 3 Cambridge Hotel; 4 Lansdowne Hotel KNIEVEL: Oct 3 Local Taphouse KARISE EDEN: Oct 3 & 4 St Stephen’s Uniting Church; 6 Christ Church Cathedral Newcastle BENJALU: Oct 3 Brass Monkey; 5 Heritage Hotel; 6 The Front Gallery; 25 Lizotte’s Kincumber; 28 Moonshine Bar; Nov 21 34 Degrees South; 22 The Vanguard; 23 Heritage Hotel; 24 Cambridge Hotel DAPPLED CITIES: Oct 4 The Metro ROYSTON VASIE: Oct 4 The Front Gallery; 5 Great Northern Hotel Newcastle; 6 Fbi Social VELOCIRAPTOR: Oct 4 Goodgod; 6 The Patch REGULAR JOHN: Oct 5 The Patch; 12 Great Northern Hotel Newcastle; 13 Annandale Hotel BEC LAUGHTON: Oct 5 Elrocco; 7 Lizotte’s Newcastle BIG TOUR feat. TUKA, DAILY MEDS and more: Oct 5 Cambridge Hotel; 6 Hotel Gearin MIA DYSON: Oct 6 Lizotte’s Central Coast DAMIEN LEITH: Oct 6 State Theatre GLASS TOWERS: Oct 6 Goodgod JERICCO: Oct 6 Annandale Hotel NORTHEAST PARTY HOUSE: Oct 4 at UTS Oktoberfest; 5 Cambridge Hotel; 6 Beresford Hotel; 11 UNSW Oktoberfest TIGERTOWN: Oct 5 The Front Gallery; 11 Brighton Up Bar; 12 Cambridge Hotel; 13 Heritage Hotel; 14 Brass Monkey THE DEMON PARADE: Oct 6 Goodgod DRAWN FROM BEES: Oct 6 Oxford Art Factory LONG WAY TO THE TOP: Oct 6 Sydney Entertainment Centre; 9 Newcastle Entertainment Centre TINPAN ORANGE: Oct 6 & 7 The Vanguard MISS ELM: Oct 10 Yours & Owls; 12 Eastern Lounge; 13 Hibernian House THE SPITFIRES: Oct 10 & 13 The Lansdowne ICEHOUSE: Oct 10 Waves; 11 Wyong Leagues Club; 16 & 17 Dee Why RSL; 30 Southern Cross Club; 31 Rooty Hill RSL; Nov 2 Revesby Workers Club; 3 Enmore Theatre TZU: Oct 11 The Patch; 13 The Standard WINTER PEOPLE: Oct 11 Yours & Owls; 12 Cambridge Hotel; 13 The Factory; 14 Clarendon Guesthouse PONY FACE: Oct 11 Junkyard; 12 Greenroom 13 Yours & Owls KATIE NOONAN & KARIN SCHAUPP: Oct 11 Lizotte’s Newcastle; 12 Laycock Street Theatre; 13 & 14 Street Theatre Canberra; 26 Illawarra PAC; 27 City Recital Hall THE PAPER KITES: Oct 11 Heritage Hotel, 12 Oxford Art Factory, 13 Cambridge Hotel HATZ FITZ & CARA ROBINSON: Oct 11 Lizotte’s Dee Why; 12 Camelot Lounge; 13 Katoomba RSL; 14 Lizotte’s Newcastle; 25 Harmonie German Club; 27 Illawarra Builders Club; 28 Lizotte’s Kincumber THE FEARLESS VAMPIRE KILLERS: Oct 12 FBi Social COLLARBONES: Oct 12 The Standard SOMETHING FOR KATE: Oct 12 The Metro FRENZAL RHOMB: Oct 12 Wollongong UniBar; 13 Bar On The Hill COERCE, TOTALLY UNICORN: Oct 14 & 15 Yours & Owls; 17 Bar 32; 19 Sandringham Hotel MARK WILKINSON: Oct 17 Lizotte’s Newcastle; 18 The Basement; 19 Heritage Hotel; 20 & 21 The Front; Nov 8 Brass Monkey; 9 Mars Hill Cafe; 15 Lizotte’s Kincumber; 16 Clarendon Guesthouse KOOII: Oct 18 Blue Beat LISA MITCHELL: Oct 18 Bar On The Hill; 19 The Metro 20 at Wollongong UniBar SUGAR ARMY: Oct 18 Goodgod ANTONIO PAUL: Oct 19 Forbes Hotel; 20 Exchange Hotel SETH SENTRY: Oct 19 The Factory; 20 Transit Bar THE ASTON SHUFFLE: Oct 19 Academy; 20 Standard CAULFIELD: Oct 19 Lanyon Youth Centre; 20 The Lair (early) & SFX (late)

EVERMORE: Sep 20 The Standard CHARLIE MAYFAIR: Sep 21 Brighton Up Bar FAT AS BUTTER: Sep 22 Camp Shortland MYSTERY JETS: Sep 23 The Metro OH MERCY: Sep 26 Heritage Hotel; 27 Cambridge Hotel; 28 ANU Bar; 29 The Standard; 30 Clarendon Guesthouse THE MEDICS: Sep 27 Transit Bar; 28 The Patch; 29 Cambridge Hotel CLARE BOWDITCH: Sep 27 Lizotte’s Dee Why; 28 The Factory STAMPING GROUNDS: Sep 30 Manning Bar TIM & ERIC: Oct 2 The Metro; 3 Enmore Theatre DAPPLED CITIES: Oct 4 The Metro VELOCIRAPTOR: Oct 4 Goodgod; 6 The Patch REGULAR JOHN: Oct 5 The Patch; 12 Great Northern Hotel Newcastle; 13 Annandale Hotel BEC LAUGHTON: Oct 5 El Rocco; 7 Lizotte’s Newcastle TIGERTOWN: Oct 5 The Front Gallery; 11 Brighton Up Bar; 12 Cambridge Hotel; 13 Heritage Hotel; 14 Brass Monkey WINTER PEOPLE: Oct 11 Yours & Owls; 12 Cambridge Hotel; 13 The Factory; 14 Clarendon Guesthouse TZU: Oct 11 The Patch; 13 The Standard MARLOW: Oct 13 Great Northern Newcastle; 20 Annandale Hotel, 24 Lizotte’s Central Coast MUMFORD & SONS: Oct 18 Sydney Entertainment Centre; 26 Canberra Royal Theatre BILLY BRAGG: Oct 23 Canberra Theatre; 27 & 28 Enmore Theatre THE BEARDS: Oct 24 Bar On The Hill; 25 Wollongong UniBar; 26 Baroque Bar; 27 Beachcomber Hotel; Nov 2 The Metro BALL PARK MUSIC: Oct 24 Wollongong UniBar; 26 Newcastle University; 27 The Metro SYDNEY BLUES & ROOTS: Oct 25 – 28 Windsor THURSTON MOORE: Oct 26 Hi-Fi BASTARDFEST: Nov 9 & 10 The Basement Canberra; 17 Sandringham Hotel BEIRUT: Nov 14 Enmore Theatre DI’ANNO VS BLAZE: Nov 29 Cambridge Hotel; 30 Manning Bar; Dec 1 Waves PRIMAL SCREAM: Dec 5 Enmore Theatre HOMEBAKE: Dec 8 The Domain EVAN DANDO & JULIANA HATFIELD: Dec 20 The Metro PEATS RIDGE: Dec 29 – Jan 1 Glenworth Valley GODSPEED YOU! BLACK EMPEROR: Feb 14 Enmore Theatre EINSTÜRZENDE NEUBAUTEN: Feb 22 Enmore Theatre

TUE 18 CAROLYN WOODORTH, ANNA FORBES, ELIZA HERNANDEZ: Merton Estate Hotel - Rozelle CLAIRE HOOPER, MATT ELSBURY: Harold Park Hotel - Glebe GADJO GUITARS: Camelot Lounge - Marrickville GREG COFFIN TRIO, THE BASS MEN: 505 - Surry Hills JULIA MORRIS: Factory Theatre, Fusebox - Marrickville RUSSELL NEAL, MEN WITH DAY JOBS, + GUESTS: Harbour View Hotel - The Rocks

WED 19 AIMEE FRANCIS, + FRIENDS: Sandringham Hotel, downstairs - Newtown ANDY MAMMERS DUO: Maloneys Hotel - Sydney BENI AT THE ASSEMBLY: Marquee, The Star - Pyrmont

BLACK LAKES, COMMUNITY RADIO: Hollywood Hotel - Surry Hills DAN SPILLANE: Mean Fiddler Hotel, Sub Bar - Rouse Hill DARREN PERCIVAL: Lizottes, Newcastle - New Lambton FEELINGS, TOM LARK: Beach Road Hotel, Rex Room - Bondi GREG SITA, + GUESTS: Cat & Fiddle Hotel - Balmain HAYDEN CALNIN: Kings Cross Hotel - Kings Cross HELMUT UHLMANN, HIDDEN ACE, STUART JAMMIN, JAKE BENNETT, DAVID MOULDER, ALEX JOHNSON + MORE: UTS Loft Bar, UTS - Broadway JAMES COLLEY: Factory Theatre, Factory Floor - Marrickville JAZZ NOUVEAU: Blue Beat Bar - Double Bay JESS DUNBAR: Coogee Bay Hotel, Beach Bar - Coogee LOGIC: 505 - Surry Hills

MODERN MURDER, SUMMONUS, SUNSET RIOT: Sandringham Hotel, upstairs - Newtown MONSIEUR CAMEMBERT (LEONARD COHEN SHOW): Camelot Lounge - Marrickville RHYS NICHOLSON ON TRIAL: Factory Theatre, Matchbox - Marrickville RICHARD VALDEZ: Artichoke Gallery Café - Manly RIVAL SCHOOLS, TOY BOATS: Annandale Hotel - Annandale SAMBOSSA: The Mac - Surry Hills TAOS, GAVIN FITZGERALD, MARK MASON, JC RONIKAL: Coach & Horses Hotel - Randwick THE 68 COMEBACK SPECIAL with MAX PELLICANO: The Basement - Circular Quay THE BLACK DROP EFFECT, CABLE, REVERTIGO: Valve Bar & Venue - Tempe THE TOASTERS: The Patch - Fairy Meadow TIEN TRAN: Factory Theatre, Bunker - Marrickville TIM HART, NEDA, STU LARSEN: Lizottes, Central Coast - Kincumber WALLY BYRNE, PEACH MONTGOMERY, MICAH CHRISTIAN, ZACHARIAH SAYED, MARK MATIC, ANITA LENZO TRIO: Brass Monkey - Cronulla

THU 20

031 ROCK SHOW: Scruffy Murphys - Sydney ANDY MAMMERS: Dee Why Hotel - Dee Why BATFOOT!, GOODNIGHT MIDNIGHT, PAPERWOLVES: Jack’s Bar & Grill - Erina

FUTURE ISLANDS, HELLO VERA, RICK FIGHTS: Oxford Art Factory - Darlinghurst HELMUT UHLMANN + GUESTS: Horse & Jockey Hotel - Homebush MANDI JARRY: Harbord Beach Hotel - Harbord MARTY from RECKLESS: Coogee Bay Hotel, Beach Bar - Coogee MATT JONES TRIO: 3 Wise Monkeys - Sydney MONSIEUR CAMEMBERT (LEONARD COHEN SHOW): Camelot Lounge - Marrickville NADA SURF + SPECIAL GUESTS: Annandale Hotel - Annandale NO HEADROOM, EDEMA RUH, RELEASE THE HOUNDS, THE ARCHAIC REVIAL: The Forbes Hotel - Sydney PETER HEAD: Harbour View Hotel - The Rocks PHIL STACK TRIO: The Spice Cellar - Sydney POND, MELODIE NELSON, DAY RAVIES: Metro Theatre - Sydney ROCK STEADY: 505 - Surry Hills RUSSELL NEAL, BRAD MYERS, JASMINE BETH, DARREN PAUL, ALAN WATTERS: The Vanguard - Newtown SAM & JAMIE TRIO: Maloneys Hotel - Sydney SASKWATCH, ROYAL HEADACHE DJs: GoodGod Small Club - Sydney SEATON & JAZZ EARTH: Factory Theatre, Fusebox - Marrickville SONIC MAYHEM ORCHESTRA: Blue Beat Bar - Double Bay SOUND OF SEASONS, THE MAZE: Yours and Owls - Wollongong SQUAWK, DEAD LIFE, OCULUS, NEAR LIFE EXPERIENCE: Valve Bar & Venue - Tempe

TIM HART: Wednesday 19 September, Lizotte’s Kincumber; Thursday 20, Lizotte’s Newcastle; Friday 21, The Vanguard; Saturday 22, Yours & Owls, Wollongong; Sunday 23, Clarendon Guesthouse Katoomba

BEARDED GYPSY BAND, MAX SAVAGE: Moonshine Cider & Rum Bar - Manly BERNIE HAYES: Sandringham Hotel, downstairs - Newtown BLACK LABEL: Sandringham Hotel, upstairs - Newtown BRIDIE O’BRIEN, BLACK RIVER REBELLION: Lewisham Hotel - Lewisham CHARLIE MAYFAIR, THE FALLS: Queens Wharf Brewery - Newcastle DEAD EARS, LO FIVE: Notes Live - Enmore DR GOODVIBE, CHARLTON HILL: Lizottes, Sydney - Dee Why EVERMORE, LAKYN HEPERI, RUBY FROST: The Standard - Darlinghurst

THE CONTINENTAL BLUES TRIO: Whisper Bar - Kings Cross THE RUBENS, BERTIE BLACKMAN, NEW GODS: UniBar University of Wollongong THE TOASTERS: Cambridge Hotel - Newcastle TIM HART, NEDA, STU LARSEN: Lizottes, Newcastle - New Lambton UNCLE JED, + SPECIAL GUESTS: The Basement - Circular Quay WES CARR INTRODUCING BUFFALO: Brass Monkey - Cronulla

FRI 21

ANDY COWAN: Lizottes, Sydney - Dee Why

BIG WAY OUT: Coogee Bay Hotel, Beach Bar - Coogee BLACK DIAMOND HEARTS: Rock Lily The Star - Pyrmont CARINA: Oasis on Beamish Hotel - Campsie CATH & HIM: Courthouse Hotel - Darlinghurst CHARLIE MAYFAIR, THE FALLS: Brighton Up Bar - Darlinghurst CHICKS WHO LOVE GUNS: The Standard - Darlinghurst DARREN PERCIVAL: Lizottes, Newcastle - New Lambton DAVE PHILLIPS: Northies, Sports Bar - Cronulla DAVID AGIUS DUO: Panthers, Terrace Bar - Penrith DINKIBIKE, SEVEN STEADY DJs, SABOTAGE DJs: The Forbes Hotel - Sydney DRY RYDER: City Hotel - Campbelltown DYNAMIC DUO: Crown Hotel - Sydney ELLIOTT THE BULL, THE THIEVES: Lizottes, Central Coast - Kincumber ENDLESS SUMMER BEACH PARTY: Rooty Hill RSL, Fred Chubb Lounge - Rooty Hill FLUX: Crows Nest Hotel (late) - Crows Nest FRIDAY FUNK SESSIONS: Blue Beat Bar - Double Bay GAV DARBY: Ettalong Beach Club - Ettalong Beach HAPPY HIPPIES: Albion Hotel - Parramatta HEATH BURDELL: Clovelly Hotel - Clovelly HOORAY FOR EVERYTHING: Picton Bowling Club - Picton IGUANA: Cessnock Supporters Club - Cessnock INTIMATE LOUNGE MUSIC: Fairfield RSL, Supper Club - Fairfield JAMES MORRISON: The Basement - Circular Quay JELLYBEAN JAM, EVIE DEAN: Dee Why Hotel - Dee Why JOHN FIELD DUO: Harbord Beach Hotel - Harbord KINGSWELL: Fringe Bar - Paddington KOTADAMA: Exchange Hotel - Newcastle LANEWAY, SARAH HUMPHREYS, SINGGONGGO, tHE UNION: Heritage Hotel - Bulli LOLO LOVINA: Camelot Lounge - Marrickville LUKE ESCOMBE: Artichoke Gallery Café - Manly MAD SEASON: Bull & Bush - Baulkham Hills MANDI JARRY: Souths On Chalmers - Redfern NEILL BOURKE: O’Malleys Hotel - Kings Cross NEON STEREO, ROBUST: Candy’s Apartment - Potts Point NEW WEIRD AUSTRALIA: Five Eliza, Fringe Festival Bar - Newtown NICKELBACK SHOW: Pioneer Tavern - Penrith NICKY KURTA DUO: Crows Nest Hotel (early) - Crows Nest OBVIOUSLY YOUR SUPERHERO, + SPECIAL GUESTS: Hamilton Station Hotel - Newcastle ONE WORLD: The Church Bar & Bistro - Windsor OPTIV & BTK, POP THE HATCH, AUTOCLAWS, HYDRAULIX, + MORE: Chinese Laundry - Sydney

PANORAMA: Marlborough Hotel - Newtown PETE CORNELIUS & THE DEVILLES: Wickham Park Hotel - Newcastle RED HOT CHILI PEPPERS SHOW: Engadine Tavern - Engadine REFLECTIONS OF MICHAEL JACKSON: Castle Hill RSL, Auditorium - Castle Hill RICHARD IN YOUR MIND, ILUKA, JORDAN SLY, DJ PHDJ: Upstairs Beresford - Surry Hills RICK FENSOM: Figtree Hotel - Wollongong ROB HENRY: Observer Hotel - The Rocks SAM & JAMIE SHOW: Kings Cross Hotel - Kings Cross SASKWATCH: Stoke Factory - Wollongong SLEEPING KINGDOM, WAKING BEAUTY: Mars Hill Café - Parramatta SMOKING PONIES, + GUESTS: Beach Road Hotel, Rex Room - Bondi SNAFU (ALEX SILVER QUARTET): Sound Lounge, Seymour Centre - Chippendale SONS OF SUN - THE SAM PHILLIPS STORY: Sandringham Hotel, upstairs - Newtown SUPERHEAVYWEIGHTS, JADE BOOTAY: Brass Monkey - Cronulla TALL POP SYNDROME: Miranda Hotel - Miranda THE ANGELS: Bridge Hotel - Rozelle THE BEAR PACK: Factory Theatre, Factory Floor - Marrickville THE POET AND THE THIEF, PAPER WOLVES, THE MASTERPLAN, JACK SELWYN: The Square - Haymarket THE REMEDY: The Stag & Hunter Hotel - Mayfield THE RESCUE SHIPS: 505 - Surry Hills THE RUBENS, BERTIE BLACKMAN, NEW GODS: Metro Theatre - Sydney THE SCAM, TOPNOVIL, DISINTERGRATOR, TRAUMA VICTIM: Valve Bar & Venue - Tempe THE TOASTERS, THE RESIGNATORS: Annandale Hotel - Annandale THEY CALL ME BRUCE: Stacks Taverna - Darling Harbour THUNDERSTRUCK-AC/ DC SHOW, TATTOO FOR YOU - THE ROSE TATTOO TRIBUTE: Blue Cattledog Hotel - St Clair TIM HART, STU LARSEN, NEDA: The Vanguard - Newtown WEEKEND DETENTION: Matraville Hotel - Matraville WHEATUS: The Hi Fi, Entertainment Quarter - Moore Park YOLANDA & THE STOLEN BOYS, SCHLAM, TRUE LOVE CHAOS, THE TROUBLED ROMANTICS: Lewisham Hotel - Lewisham

SAT 22

A CLOCKROOM ASSEMBLY, THESE PATTERNS, CAUGHT SHIP, SCARED FLOWER UNION, INDIA BHARTI: The Gaelic, 1st Floor - Surry Hills ANDY COWAN: Lizottes, Newcastle - New Lambton ANGIE DEAN: Castle Hill RSL, Piano Lounge - Castle Hill BAXTER’S REVENGE: Ettalong Beach Club - Ettalong Beach

BEN FINN: Brewhouse - Marayong BENN GUNN: Huskission Hotel - Huskission BIG SHOTS DEULLING PIANO SHOW: Club Five Dock - Five Dock BLUE MOON QUARTET: Fairfield RSL, Supper Club - Fairfield BRENDAN DEEHAN: Harbord Beach Hotel - Harbord BRYEN WILLEMS: Wyong RSL - Wyong CHICKENSTONES, CHUCKS WAGON, LORD LUCIFER: Harbord Bowling Club - Harbord CRAIG THOMMO: The Belvedere Hotel - Sydney CREO, THE PRETTY LITTLES, PARTICLES: Annandale Hotel - Annandale DANE & AARON: Cookies Lounge & Bar - North Strathfield DARREN PERCIVAL: Lizottes, Sydney - Dee Why DAVE PHILLIPS: Sir Joseph Banks Hotel - Botany

JACK DERWIN: Artichoke Gallery Café - Manly JOHNNY ROCK AND THE LIMITS, SMITY & B GOODE, THE GHOSTS: The Square - Haymarket KATCHAFIRE, V TRIBE, DJ TIKELZ: Enmore Theatre - Enmore MARK DA COSTA & THE BLACK LIST: Crows Nest Hotel (late) - Crows Nest MARK GINSBURG BAND: Sound Lounge, Seymour Centre - Chippendale MATT JONES DUO, MANDI JARRY: Panthers, Terrace Bar - Penrith MATT OKINE: Factory Theatre, Bunker - Marrickville MEL BUTTLE: Factory Theatre, Matchbox - Marrickville MICHAEL MCGLYNN: Kirribilli Hotel - Kirribilli MICHAEL PETERS: Stacks Taverna Darling Harbour MIKE MATHIESON DUO, CHRIS ALEXANDER: Canterbury Hurlstone Park RSL - Hurlstone Park

POND: Thursday 20 September, The Metro

DAVE TICE & MARK EVANS: Sandringham Hotel, downstairs (afternoon) - Newtown DAVE WHITE EXPERIENCE: Marlborough Hotel - Newtown DAVID AGIUS: Castle Hill RSL, The Terrace - Castle Hill DOCTOR P, COOKIE MONSTA, FUNTCASE, SLUM DOGZ: Metro Theatre - Sydney ELEVATION-U2 SHOW: Dicey Riley’s Hotel - Wollongong ELVIS TO THE MAX: Belmont 16’s - Belmont FERRY CORSTEN, SHOGUN, ZOO BRAZIL, + MORE: The Hi Fi, Entertainment Quarter - Moore Park GAIL PAGE: The Mac - Surry Hills GANG OF BROTHERS: Blue Beat Bar - Double Bay GET YER YA YA’S OUT - HITS OF THE ROLLING STONES: Padstow RSL - Padstow GHOST TRAIN: Mars Hill Café - Parramatta HAZY CLOUD, EDDIE BOYD & THE PHATAPILLARS, WILTRICITY: Lewisham Hotel - Lewisham HEATH BURDELL: Northies, Sports Bar - Cronulla HERNAN CATTANEO, FRITZ KALKBRENNER, THE HUMP DAY PROJECT, ROBBIE LOWE, + MORE: Chinese Laundry - Sydney HORNET: Exchange Hotel - Newcastle IGUANA: Royal Federal Hotel - Branxton

MIRIAM LIEBERMAN: Camelot Lounge - Marrickville NEVERMIND-NIRVANA SHOW: Beach Palace Hotel, Cider Room - Coogee NICKY KURTA: Hillside Hotel - Castle Hill ONE HIT WONDERS: Ettamogah Hotel - Rouse Hill ONE WORLD: Bulli RSL - Bulli ONS OF SUN - THE SAM PHILLIPS STORY: Sandringham Hotel, upstairs - Newtown OUTLIER: Scruffy Murphys - Sydney PARTY REVIVAL: Macarthur Tavern - Campbelltown PARTY VIBE: Mercantile Hotel - The Rocks PEACHY: Bayview Tavern - Gladesville PETE CORNELIUS & THE DEVILLES: Marrickville Bowling Club - Marrickville PETER HEAD: Harbour View Hotel - The Rocks POSTCARDS DUO: Mean Fiddler Hotel - Rouse Hill POTBELLEEZ: Marquee, The Star - Pyrmont PRINCESS NIKKI OF BRITTON: Factory Theatre, Container - Marrickville RADIO INK, TOURISM, SMOKE AND SILVER, F.R.I.E.N.D.S DJs: Upstairs Beresford - Surry Hills REFLECTIONS OF MICHAEL JACKSON: North Sydney Leagues Club - Cammeray RIP IT UP: Bald Rock Hotel - Rozelle ROB HENRY: PJ Gallaghers - Drummoyne ROCK DOGS: Oatley Hotel - Oatley

TOUR GUIDE LAST DINOSAURS: Oct 20 & Nov 9 The Metro, 10 Zierholz NEOTOKYO: Oct 20 Annandale Hotel HUSKY: Oct 21 Oxford Art Factory BALL PARK MUSIC: Oct 24 Wollongong UniBar; 26 Newcastle University; 27 The Metro THE BEARDS: Oct 24 Bar On The Hill; 25 Wollongong UniBar; 26 Baroque Bar; 27 Beachcomber Hotel; Nov 2 The Metro

CLARE BOWDITCH: Sep 27 Lizotte’s Dee Why; 28 The Factory


THE TOASTERS: Sep 19 The Patch; 20 Cambridge Hotel; 21 Annandale Hotel RIVAL SCHOOLS: Sep 19 Annandale Hotel FUTURE ISLANDS: Sep 20 Oxford Art Factory EVERMORE: Sep 20 The Standard JAMES WALSH: Sep 20 & 27 The Star; 14 Florida Beach Bar; 16 Clarendon Guesthouse; 26 Brass Monkey; 28 Upstairs Beresford GOOD CHARLOTTE: Sep 21 Big Top Luna Park ENTER SHIKARI: Sep 21 UNSW Roundhouse BONE THUGS-N-HARMONY: Sep 21 UC Refectory Canberra; 22 Cambridge Hotel; 23 The Venue; 25 The Metro WHEATUS: Sep 21 The Hi-Fi FERRY CORSTEN: Sep 22 The Hi-Fi YELLOWCARD: Sep 22 UNSW Roundhouse KATCHAFIRE: Sep 22 Enmore Theatre; 23 Cambridge Hotel THE SCRIPT: Sep 24 The Metro MYSTERY JETS: Sep 23 The Metro KRYSTLE WARREN: Sep 23 Factory Floor; 25 Lizotte’s Kincumber JAMES MORRISON: Sep 25 Enmore Theatre THE FRAY: Sep 26 The Basement MARIANAS TRENCH: Sep 26 The Metro FEAR FACTORY: Sep 27 The Hi-Fi KELLY CLARKSON: Sep 27 Sydney Entertainment Centre SCISSOR SISTERS: Sep 27 Sydney Opera House SNOW PATROL: Sep 27 The Standard; Oct 1 State Theatre GARY CLARK JR: Sep 28 Annandale Hotel PURAVIDA ROADSHOW: Sep 29 Blue Beat DEFEATED: Sep 29 & 30 Annandale Hotel HIGH ON FIRE: Sep 29 Manning Bar EL GRAN COMBO DE PUERTO RICO: Sep 29 & 30 UNSW Roundhouse EIFFEL 65, N-TRANCE: Sep 29 Selina’s GARTH TAYLOR: Sep 29 King St Brewhouse ULCERATE: Sep 29 Valve Bar PAUL OAKENFOLD: Sep 30 Hordern Pavilion MC LARS: Sep 30 We Come Out At Night DAS EFX: Sep 30 The Metro LADY ANTEBELLUM: Oct 1, 2 & 3 Sydney Opera House Concert Hall LITTLE HURRICANE: Oct 3 The Vanguard TOTALLY ENORMOUS EXTINCT DINOSAURS: Oct 4 Oxford Art Factory HIGH WOLF: Oct 5 The Square FUNKAGENDA: Oct 5 The Marquee NEKROMANTIX: Oct 5 The Hi-Fi JOE BONAMASSA: Oct 5 State Theatre; 7 Newcastle Civic Theatre MELLE MEL: Oct 5 The Metro ALLO DARLIN’: Oct 5 Green Room; 6 Red Grapevine RUSSIAN CIRCLES: Oct 5 ANU Bar; 6 The Hi-Fi STEEL PANTHER: Oct 5 & 6 Big Top WARBRINGER: Oct 5 Bald Faced Stag; 10 The Basement Canberra; 14 The Patch CANNIBAL CORPSE: Oct 6 The Metro MARTIKA: Oct 6 The Auditorium; 7 The Metro; 13 Unity Nightclub BILL SUMMERS: Oct 7 The Basement Circular Quay THE EASTERN: Oct 9 The Front; 11 Camelot; 12 Clarendon; 14 The Junkyard TORTOISE: Oct 11 The Hi-Fi STEVE AOKI: Oct 12 Enmore Theatre EVERCLEAR: Oct 12 The Hi-Fi DARREN PERCIVAL: Oct 13 Newport Arms & Belmont 16s; 14 Australian Brewery; Nov 17 Shoalhaven Entertainment Centre; 18 The Studio; Dec 1 The Cube; 2 Southern Cross Club; 8 Smithfield RSL; 14 The Juniors; 15 Concourse Theatre RUDIMENTAL: Oct 13 Chinese Laundry SLUGABED: Oct 13 One22 MAROON 5: Oct 13 Sydney Entertainment Centre

COUNT BASIE ORCHESTRA: Oct 13 Sydney Opera House Concert Hall THE SWELLERS: Oct 16 The Basement; 17 The Patch; 18 Hot Damn; 19 Cambridge Hotel XIU XIU: Oct 17 Goodgod GOMEZ: Oct 18 Newcastle Panthers; 19 The Hi-Fi ALT-J: Oct 18 Oxford Art Factory MUMFORD & SONS: Oct 18 Sydney Entertainment Centre; 26 Canberra Royal Theatre JAY SEAN: Oct 18 The Cube; 26 Enmore Theatre SMASH MOUTH: Oct 18 Waves; 19 Rooty Hill RSL; 26 UNSW Roundhouse THEESATISFACTION: Oct 19 Goodgod GRAILS: Oct 19 Oxford Art Factory BIG FREEDIA: Oct 19 Goodgod LEE RANALDO: Oct 20 Oxford Art Factory FUNK D’VOID: Oct 20 Chinese Laundry THE BLACK KEYS: Oct 21 Newcastle Entertainment Centre; 22 & 23 Sydney Entertainment Centre BILLY BRAGG: Oct 23 Canberra Theatre; 27 & 28 Enmore Theatre THURSTON MOORE: Oct 26 Hi-Fi BEIRUT: Nov 14 Enmore Theatre DI’ANNO VS BLAZE: Nov 29 Cambridge Hotel; 30 Manning Bar; Dec 1 Waves PRIMAL SCREAM: Dec 5 Enmore Theatre EVAN DANDO & JULIANA HATFIELD: Dec 20 The Metro GODSPEED YOU! BLACK EMPEROR: Feb 14 Enmore Theatre EINSTÜRZENDE NEUBAUTEN: Feb 22 Enmore Theatre


FAT AS BUTTER: Sep 22 Camp Shortland STAMPING GROUNDS: Sep 30 Manning Bar PARKLIFE: Sep 30 Centennial Park ALL OUR FRIENDS AT NIGHT: Oct 5 UC Refectory FIESTA: Oct 6 & 7 Darling Harbour DOOMSDAY: Oct 12 Sandringham Hotel; 13 ANU Bar DRUNKEN MOON: Oct 12 Digger’s Club; 13 Manning Bar GENTLEMEN OF THE ROAD: Oct 20 Dungog Showgrounds WHIPLASH: Oct 20 Sandringham Hotel; 26 Cambridge Hotel; 27 ANU Bar SYDNEY BLUES & ROOTS: Oct 25 – 28 Windsor STONE DAY: Oct 26 University of Canberra SURRY HILLS FESTIVAL: Oct 27 Prince Alfred Park PROGFEST: Oct 27 Annandale Hotel STEEL ASSASSINS: Nov 2 – 3 Sandringham Hotel BASTARDFEST: Nov 9 & 10 The Basement Canberra; 17 Sandringham Hotel A DAY ON THE GREEN: Nov 10 Bimbadgen Winery GRAPHIC FESTIVAL: Noc 10 & 11 Sydney Opera House OUTSIDEIN: Nov 10 The Factory NEWTOWN FESTIVAL: Nov 11 Camperdown Memorial Rest Park HARVEST: Nov 17 Parramatta Park MULLUM MUSIC FESTIVAL: Nov 22 – 25 Mullumbimby FORESHORE FESTIVAL: Nov 24 Commonwealth Park Canberra STEREOSONIC: Nov 24 Sydney Showgrounds HARBOURLIFE: Dec 1 Fleet Steps HOMEBAKE: Dec 8 The Domain FESTIVAL OF THE SUN: Dec 14 & 15 Sundowner Breakwall Tourist Park PEATS RIDGE: Dec 29 – Jan 1 Glenworth Valley BIG DAY OUT: Jan 18 Sydney Showgrounds SOUNDWAVE: Feb 24 Sydney Olympic Park BLUESFEST: Mar 28 – Apr 1 Tyagarah Tea Tree Farm THE DRUM MEDIA • 53

RUSSELL NEAL, THE PUG, + GUESTS: Earlwood Hotel - Earlwood SARAH PATON: Observer Hotel (early) - The Rocks SASKWATCH: Transit Bar - Canberra, ACT SKA’D 4 LIFE, PAPA GONZO, THE MEZZAPHONICS: Katoomba RSL - Katoomba SOUND OF SEASONS, NINE SONS OF DAN, ATLANTIS AWAITS, LOVE & SATELLITES, THE LONDON TOWN FIRE: The Basement - Canberra, ACT STEPHANIE JANSEN: Northies, Beach Bar (afternoon) - Cronulla STEVE TONGE: Observer Hotel (afternoon) - The Rocks STORM IN A D CUP: The Oxford Hotel, Supper Club - Darlinghurst SWINGSHIFT - COLD CHISEL SHOW: Bull & Bush - Baulkham Hills TEEZ, 2BUSY2KISS, MINDQUD, THEOBEATS: Candy’s Apartment - Potts Point THE ANGELS: Bridge Hotel - Rozelle THE AUSTRALIAN PINK & KATY PERRY SHOW: Blacktown RSL. Celebrity Room - Blacktown THE FOREDAY RIDERS, CHRIS MAWER: Brass Monkey - Cronulla THE MAJESTICS, THE CHRIS GUDU BAND, SAM DERCHIE: Red Rattler - Marrickville


THE MINUTES WITH MEL AND PATIENCE: Factory Theatre, Factory Floor - Marrickville THE MUNG, TORTURED, RED BEE, HELLITSELF, WHORETOPSY, MOTHER EEL, + MORE: Valve Bar & Venue (afternoon) - Tempe THE MURLOCS: GoodGod Small Club - Sydney THE RHYS NICHOLSON VARIETY HOUR: Factory Theatre, Fusebox (late) - Marickville THE SWINGTANIC SEXTET, JUNK: The Vanguard - Newtown THE THINGOS: Town & Country Hotel - St Peters TIM HART: Yours and Owls - Wollongong TINA HARROD JAZZ BAND: 505 - Surry Hills TOM BURLINSON: Revesby Workers, Whitlam Theatre - Revesby TRINITY TIGER TONES, ALEXIS SELLIES: Notes Live - Enmore WEEKEND DETENTION: Pennant Hills Hotel - Pennant Hills WILDCATZ: Cronulla Bowling/Recreation Club - Cronulla WOLLOMBI MUSIC FESTIVAL feat, THE WIDOWBIRDS, TOM UGLY, THE CASINO RUMBLERS, + MORE: Wollombi Valley



The Fat As Butter festival features Good Charlotte (pictured) headlining alongside rap star 360 and rock veterans Grinspoon. This year’s line-up also includes Yellowcard [USA], Wheatus [USA], Mystery Jets [UK], Marianas Trench [CAN], Urthboy, Hungry Kids Of Hungary, Pond, Seth Sentry, The Rubens, Hunting Grounds, Yacht Clubs DJs [LIVE], Bombs Away, Rebecca & Fiona [SWE], Eiffel 65 [ITA], N-Trance [UK], Shockone and more, including the Red Bull X-Fighters. The festival takes place Saturday 22 September at Camp Shortland, The Foreshore, Newcastle.

YAHA, FOOTSIE AND THE PSYCOS, KOLONEL BIZARRE, SMALL TOWN INCIDENT: The Forbes Hotel - Sydney ZANE PENN DUO: Cessnock Supporters Club - Cessnock ZOLTAN: Revesby Workers - Revesby

SUN 23

ANDY COWAN: Lizottes, Central Coast - Kincumber AT THE HOP: Belmont 16’s - Belmont BIG BEN: Oscars Hotel - Pyrmont CAMBO: Observer Hotel - The Rocks

CRYSTAL BARRECA, ROSIE, NATALIE MAGE: The Vanguard - Newtown DARREN PERCIVAL: Lizottes, Sydney - Dee Why DAVID AGIUS DUO: Ettamogah Hotel - Rouse Hill DUAN & TWO: Moonshine Cider & Rum Bar DYNAMITE: Bar Petite - Newcastle ELEVATION - U2 ACOUSTIC: Orient Hotel - The Rocks FANNY LUMSDEN, BEC SANDRIDGE, BITY BOOKER: Annandale Hotel (afternoon) - Annandale

FAR EAST MOVEMENT: Big Top, Luna Park - Milsons Point GEMMA: Kincumber Hotel - Kincumber GOSSLING, TIGERTOWN, THE AH KEES: The Concourse - Chatswood JOHN LEIGH CALDER QUARTET: White Horse Hotel -Surry Hills KATCHAFIRE, V TRIBE: Cambridge Hotel - Newcastle KRYSTAL WARREN: Factory Theatre - Marrickville KURT WILLIAMS: Northbridge Hotel - Northbridge

LOVE THAT HAT: The Mark Hotel - Newcastle MARK HOPPER: Artichoke Gallery Café - Manly MATT JONES DUO: Paragon Hotel - Circular Quay MIKE MATHIESON DUO, CHRIS ALEXANDER: Bankstown Trotting Club - Bankstown MYSTERY JETS, TOUCAN: Metro Theatre - Sydney NINE SONS OF DAN: King Street Brewhouse - City OBVIOUSLY YOUR SUPERHERO, + SPECIAL GUESTS: Yours and Owls - Wollongong

ONE WORLD: Bald Rock Hotel - Rozelle PETE CORNELIUS & THE DEVILLES: Beaches Hotel (afternoon) - Thirroul PETER HEAD TRIO, + FRIENDS: Harbour View Hotel - The Rocks PETER NORTHCOTE: Bridge Hotel - Rozelle PHANTOM DANCER: Five Eliza, Fringe Festival Bar - Newtown ROB HENRY, BRAD JOHNS: Observer Hotel (afternoon) - The Rocks RUSSELL NEAL, NAOMI CRAIN: Salisbury Hotel - Stanmore SAM & HEATH DUO: Bull & Bush - Baulkham Hills SOUND OF SEASONS, D AT SEA, BREAKAWAY, THE MAZE: The Lair, Metro Theatre - Sydney SPEAKEASY SUNDAYS: The Standard - Darlinghurst STEVE EDMONDS BAND: Premier Hotel - Broadmeadow STEVE TONGE: Hillside Hotel - Castle Hill SYDNEY BLUES SOCIETY: Botany View Hotel - Newtown TERRY BATU: Wisemans Ferry Inn - Wisemans Ferry THE POD BROTHERS: Mosman RSL Club - Mosman THE ROAD RUNNERS: Marrickville Bowling Club - Marrickville THE SLOWDOWNS: Sandringham Hotel, downstairs - Newtown

THE SLOWDOWNS: Sandringham Hotel, downstairs (afternoon) - Newtown THE SQUEEZERS, + FRIENDS: Merton Estate Hotel - Rozelle TIM HART: Clarendon Guest House - Katoomba TOM TRELAWNY: Harlequinn Inn - Pyrmont TRIPPING UP THE STAIRS: Mean Fiddler Hotel (Afternoon) - Rouse Hill VAN HOORN: Brass Monkey - Cronulla XATER BAY, TIGER & THE ROGUES, THE ACCIDENTS, + MORE: Valve Bar & Venue - Tempe YUKI KUMAGAI, JOHN MACKIE, TONY BURKYS, PAUL FURNISS, ALAN GILBERT: Cronulla RSL - Cronulla ZOLTAN: Harbord Beach Hotel - Harbord

MON 24 BRIAN CAMPEAU TRIO: 505 - Surry Hills BROADWAY UNPLUGGED: The Vanguard - Newtown MANDI JARRY DUO: Revesby Workers - Revesby MANDY J DUO: Revesby Works, Skylight Lounge - Revesby THE SCRIPT, SINEAD BURGESS: Metro Theatre - Sydney


PIANO/KEYS PLAYER WANTED FOR ROCK/POP BAND BAND REQUIRE TRADITIONAL STYLE KEYS PLAYER I.E PIANO, ORGAN, STRINGS, SYNTH ETC. Band is based on Central Coast has established Management/Publicity & Sony Publishing. Must be ambitious and dedicated. Must be available to rehearse weekly and play shows. Age: 18 – 30 Style: Beatles, Counting Crows, Nirvana, Sonic Youth, Cold War Kids

Contact Rob Carroll Phone: 0431 056 840 Email:



For bands and events $200 for the day


From recording, mixing, mastering to professional CD manufacture. DEMO DEAL 2 days recording/mixing at reduced rates

Balmain 2�24 Track / Pro Tools / Classic Analog 20 years in the business. Our recordings cut through the noise. Call or email now for the latest deals including mastering and manufacture

EP DEAL 5 days recording/mixing/mastering + 500 pro manufactured CDs MINI ALBUM DEAL 7 days recording/mixing/mastering & manufacture ALBUM DEAL 15 days recording/mixing/mastering & manufacture CONTACT T 02 9331 0666 Add us and Like us on facebook ok – ‘damien-gerard-studios’

MADCDs cos Cos we g ive a sh it

SoundEdit Services Audio Editing/Mastering, Format transfers Artwork design /layout/ printing CD’s, DVD’s

CD Duplication

July/August Special 100 CD Copies with 4 page colour insert (single fold) , & rear inlay supplied in standard cases

(from 1 master)

$275 inc GST Mob: 0418 232 797 Ph: 02 8002 4029 THE DRUM MEDIA • 55

EMPLOYMENT ADMINISTRATION Boy / Girl singer song-writer team ( seeks new ruffians to join their folk band. Must be professional, enjoy copious amounts of fun & be prepared to sing backing vocals with group. Own transportation preferable. For more info email to

iFlogID: 19696

Dedicated/Versatile Singer & Guitarist (19yrs) available for any genre - from soul to alternative rock! Drummer 18-26yrs preferred. Also seeking Bassist and Keyboardist. Northern Beaches. Ph:0432872290 - Ziggy.

iFlogID: 19151

SOUND & MUSIC FREE COMPOSER FOR SCORING I’m a 20 songwriter/composer with a setup for recording/producing music. I’m interested in developing experience in composing scores for any type of film. Although I have very little experience in composing for film I do have a great deal of experience in songwriting and composing music for bands. As a result, i’m prepared to offer my services and compose for your project for free!!! I can compose in most styles and have access to 1000’s of virtual instruments. Contact Ben on 0448221479 or

iFlogID: 19637

DJ AVAILABLE- ANYTIME -0416306340 for any dj service club or home or birthday call anytimeGET A REAL DJ NOT MP3 PLAYER OR CRAPPY DOWNLOAD.......VINYL DJ ROCKS


iFlogID: 16083

Drummer wanted to jam with guitarist and bass player. Great way to get some practice. Influences, Black Sabbath, Sonic youh, mudhoney, melvins, sleep etc. We Jam around the north shore area. Mark 0416 551 339

iFlogID: 19664

Experienced Manager required for established Brisbane based artist. Must have industry contacts, previous and current experience and be ruthless. Contact Justin

iFlogID: 19087

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@

OTHER Sennheiser HD25-1 II Headphones – The industrys leading Studio, Monitoring and DJ headphones. Get the genuine article for $279.00 with FREE DELIVERY AUSTRALIA WIDE from Lamba - 02-9758-8888 - www.lamba.

iFlogID: 19714

PA EQUIPMENT Shure SM58 vocal microphone – The industry standard. Get the genuine article for $129.00 with FREE DELIVERY AUSTRALIA WIDE from Lamba. Call us on 02-9758-8888 to get yours today.

iFlogID: 19712

STUDIO GEAR Roland Boss Digital Recording Studio 8 Track and Professional CD Burning and Mastering System All in One, Portable with Multi Effects and Loops, 0421690000, May Swap Trade, QLD

iFlogID: 19698



JVM410H 100w Amplifier Head & 4x12 1960A Cabinet. Brilliant condition, only 2 years old, includes footswitch & lead, speaker lead, wheels, instructions. $2799 ONO. Ph. 0407952062

iFlogID: 19752

iFlogID: 19270

MUSIC SERVICES BAND MERCHANDISE 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

DUPLICATION/ MASTERING CD MANUFACTURING:Acme is Australias best price CD manufacturer. 500 CD package = $765.05: 1000 CD package = $1320.00 Short run also available.

FUNK GUITARIST NEEDED Sydney based covers band seeks a FUNK/ROCK guitarist. The band plays at all the cover band staples in the City and is currently gigging up to 3 times per week. If you can play funk AND rock and have played in professional bands before then contact Will at willdieu@

iFlogID: 19693

Get your Band/ Business online with affordable website design. From $299 Services include Seo, Social network marketing Includes free 1000 Facebook likes, 22k twitter followers. Contact

iFlogID: 19089

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 susiehurley@, 0404 067 051

iFlogID: 19566

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

Peavey 5150 CS Stage 2 150 watt amplifier for sale $1800, with an Ibanez GR200 guitar for sale $900. Ring Neil 0414 673 531.

Promote your business online with Seo services Facebook likes 1k - 10k



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: 19091


iFlogID: 13289

Attention Musicians, Record Collectors, Universities, Libraries - new Book (print/cdROM/ direct download) compiling 100 years of popular music. GO TO web-site on how to buy.


iFlogID: 18844



Music Clips, Live Performances, Promos, Showreels. Let us help you to promote your work or shoot your next gig. $50 per hour for filming and editing. For DVD and online delivery. We also do websites and blogs.

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



iFlogID: 13287

DRUMS DRUM KIT WANTED, anything considered. Also looking for vintage drum kit ludwig/ Gretsch etc , snare drums or cymbals, ph 0419760940 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. 93362190 Hampton Rd, Fremantle, WA


iFlogID: 18328

ZILDJIAN Drum Stick Clearance $10 PAIR!!: 5A, 5B, 7A, Wood / Nylon Tip – Plus Travis Barker, Brooks Wackerman, Ronnie Vannucci & Dennis Chambers Series. Lamba - 02-9758-8888

iFlogID: 19716

GUITARS Acoustic Yamaha Guitar, Solid Top, Great Sound and Condition, Comes with Carry Case, $420 ONO May Swap or Trade, 0421690000,, QLD

iFlogID: 19700

iFlogID: 19643

iFlogID: 17747


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.

SWEETLEAF REHEARSAL STUDIO MTDRUITT open 7 days, 3 rooms, aircon, food & beverages, Flat lug, Parking, PA & Lighting Hire Call - 9832-8890

iFlogID: 17546

iFlogID: 18951

iFlogID: 19672

Recording Studio available in Western Sydney w/junior engineer. Looking for heavy/rock bands, ProToolsHD, Live/Iso room(s). MesaBoogie gear inc. Contact would suit demo/EP/pre production, price on contact.

iFlogID: 18953

PHOTOGRAPHY Image is everything! If you have a band wanting to get ahead let me capture the next gig. High quality pictures say everything. 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

iFlogID: 17120


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


MANAGEMENT A Manager is required for a successful Singer/ Composer/Performer/Recording Artist, poprock band/show. Maintain the success, work up with us to next level: international success. Phone Extraordinary Entertainment 99691179 (Mosman).

iFlogID: 19704

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: 15162

OTHER ++ play more chinese music - love, tenzenmen ++

iFlogID: 19564

Matts Vintage Guitars - Fender Gibson Martin Rickenbacker Guild Gretsch Vintage and USA Buy-Sell-Trade Ph.0413-139-108

iFlogID: 19724

Peavey 5150 CS Stage 2 150 watt amplifier for sale $1800, with an Ibanez GR200 guitar for sale $900. Ring Neil 0414 673 531.

iFlogID: 19577

iFlogID: 14468

Award-winning Experienced, Qualified Music Producer: 1.Doing Instrumental version of any song for $40 2. Mix your multi-tracks for $50 and produce personalized original instrumentals for $50. 3. Check lovenabstudio on email:

iFlogID: 18269

20 years of playing and teaching experience.

iFlogID: 19608


All repair work and setups. Call Timo 9484 4374

ONLY $30 per hour!

iFlogID: 19034

STUDIO HIRE 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.

iFlogID: 18640

University degree qualification

5 STRING BANJO TUITION Up-Picking (Pete Seeger Style) and 3 Finger Picking (Scruggs Style). tel. John 0431953178

iFlogID: 19427

AAA+ GUITAR LESSONS Special rates $25 half hour lessons for new students. Beginner/Intermediate all Roots/ Blues/Country/Rock/Punk. See other adds for advanced, Steel Guitar etc. Numbers limited. Call Jeff 0412518070

iFlogID: 19189


Advanced slide guitar, lead & rhythm & lap steel. All styles. Beginners welcome. Ph Jeff. 0412518070



rock, country, blues, folk, celtic styles, music theory, arranging, ear training, singing, banjo and mandolin.

iFlogID: 17084

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



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

LYRIC WRITING TUITION Lyric writing is an art form that rarely gets paid the attention it deserves in modern music.

tel. John 0431953178

iFlogID: 19423

CENTRAL COAST GUITAR LESSONS Beginner to advanced all ages, tailored lessons to suit you, most styles catered for, everything from basic open chords to scales and theory. Call Fred on 0400 347 955

iFlogID: 19748


All styles from Duane Allman and Ben Harper to Blind Willie Johnson and Son House. www. tel. John 0431953178

All you need is a place, a pad and pen, or a PC (with internet ideally) and a willingness to learn. I will travel to you and provide lessons in the comfort of your own home. $50/ Hour.

All styles and topics covered,check website for details. Beginners to Advanced levels welcome. Please call Mitchfor rates available.m.0418267827


times wsite.

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

Private Guitar lessons from an experienced teacher.

For availability call on 0408461868. For a free e-copy of my book ‘On Becoming a Singer..A Guide To How’ email me on Lessons include the entire scope of singing...voice production, musicianship, interpretation, performance skills etc.

iFlogID: 18602

VOCAL TUITION for students having problems with pitch, placement and breathing. tel. John 0431953178

iFlogID: 17102

Want to play Guitar... but don’t know where to start?

Contact or see www.

or email


iFlogID: 19344

iFlogID: 19185

iFlogID: 19650

Wanted left handed electric guitar teacher Parramatta area,

Easygoing, flexible entertainment. Call for a quote today.

iFlogID: 16661


iFlogID: 18334

EXPERIENCE MALE DRUMMER Seeks covers band/ fill in work 60’s to 80’s looking for easy going people with a positive outlook. Age group 35 plus NO DRUGS ph Mark 0422 173 728

iFlogID: 16308

WWW. KALEIDOSCOPETUITION. COM.AU Learn to play the kaleidoscope way Unique colour coded method guitar or piano Teach yourself or have lessons 0428335874 books available at dymocks or buy online

iFlogID: 19708

iFlogID: 19470

Experienced Soul Reggae R’N’B Blues Funk drummer (36yo) available for work preferably in Northern Beaches. Call Michael 0402 549423 email siczex@yahoo. See me playing drums: sydneypollak

PROFESSIONAL DRUMMER AVAILABLE Im currently seeking like minded musos/bands to collaborate with. I’ve studied under some of Australias leading drummers, have professional gear and my own studio. My style - Solid hard hitting grooves with progressive influences.. Think.. Helmet, Faith No More, Alice In Chains, Tool, COG, Karnivool. PROFESSIONAL MUSOS ONLY. NO COVER BANDS. Scott 0400800875

Contact John at...


iFlogID: 19647

iFlogID: 19618

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

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.

iFlogID: 16562


Everything negotiable.

iFlogID: 17324


Call Dave 0410 963 972

Contact John Ertler 9654 8143, 0400 323 982,

Low hourly rates.

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.

PH: 0422 868 959

Situated in Annandale, Vienna People is a recording studio and production house, priding itself on its creative atmosphere, quality gear and strong relationships built with all artists. Packages for all styles and budgets, and strong connections with session musicians/mastering engineers + record labels. Call Scott on 0421791427 and come and check it out!

willing & able to adapt to your event.

I look forward to hearing from you.

Rock & Blues

iFlogID: 15737

Dubstep to Drum&bass

iFlogID: 19105

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.

Tailored Tuition at your Pace... with Guitarist for Sydney Band ROCKMONSTER

Pro Tools, Logic Pro & Studio One Training. Advice on Home & Professional Studio Recording. Learn from a pro with over 30 years experience.

DJ Dj available


Seven Hills, Sydney.

Music publicity. Do you want to get noticed? Affordable exposure for your band by someone that actually cares! Drop me a line!

iFlogID: 19767

Drummer available for paid work Influences funk jazz drum n bass prog rock. 0401237147

Improvising, Theory, Song Writing, Technique

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

Mature age bass player requires fill in or permanent work. Very experienced in most types of music, have great gear & I am reliable. High standard. Please phone 0403357019


All levels, All ages, All styles.

iFlogID: 16948

BASS PLAYER Electric & upright bass. Good gear. Comfortable in most styles. Experience performing live and in the studio. Check out my website if you wanna hear more. steelechabau

KN!VZ Entertainment Group

iFlogID: 19159

Music Lessons at Beat Industry Tuggerah. Guitar, Drums, Vocals, Keyboard, Bass. Certificate courses and AMEB available. Free introductory lesson. Ph: (02)4353 4749


iFlogID: 19425


Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses!

iFlogID: 15452


iFlogID: 16159


Learn to craft beautiful, meaningful and interesting lyrics with an experienced and easy going mentor. I will teach you the techniques, tricks and stylistic nuances that will help you build a solid foundation, and write songs that cut through the drivel of today’s radio.



iFlogID: 19254

A good lyric paints a mental picture. Thankfully, exactly how vivid that picture is, is now in your hands!!

Professional all round live/studio drummer with 28 yrs experience. From Robert Johnson to Eric Clapton.

Singing lessons in a positive environment with a highly experienced and professional singer/songwriter. Lessons tailored to suit individual needs. Also beginners guitar. for more details. Inner West, Rosanna 0431 157 622.

iFlogID: 19429


iFlogID: 19274

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: 18477

iFlogID: 19744

iFlogID: 18961

Laid back lessons, with a focus on having fun learning the art of writing. 0423 334 083.

iFlogID: 19276

GUITAR TUITION Fingerstyle guitar, open tunings, slide, flat picking, improvisation,

iFlogID: 19582


Immersion Imagery strives to offer quality & creative music videos to suit your style & budget. Portfolio of over 30 artists.

Fundamentals: Music Theory, Chords, Sight reading, scores. Paddington CALL NOW 0416960673


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!

Recording a single, EP or Album at Radio Release quality isn’t as hard or expensive as you might think. Stop wasting time!

Your voice has the ability to sing at the Audioslave/Muse/Aretha/ Yeah-Yeah-Yeahs level because of Design. Increase your range sing with effortless power learn to sing the right technique. Microphone technique, recording techniques, songwriting Newtown

All ages & capabilities!

PHONE JOHN: 0431953178

iFlogID: 18131

iFlogID: 13827


iFlogID: 19683

Have you got a song in your head? Music Producer available to turn your imagination into reality. Professional results and affordable rates.

iFlogID: 18987

Stanmore based. Beginners are welcome and encouraged! Play entry-level chords to learning to play melodies and arrangements. Jazz, blues, finger-style country, classical, rock and funk.

Professional Guitar Tech and Luthier. Clients have played with Jimmy Barnes, Guy Sebastian, Human Nature, Short Stack, Moving Pictures etc.

iFlogID: 19187

iFlogID: 19278

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

iFlogID: 16690


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. 0404716770 syd based

iFlogID: 13368

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!

A friendly mentoring approach

iFlogID: 19645

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: 17906

iFlogID: 19365

iFlogID: 19183

iFlogID: 18453


iFlogID: 18949

PA Hire – Systems to 16000 Watts. Only the best: Dynacord, EV, Allen & Heath, DBX, Lexicon, Yamaha, Soundcraft, JBL, Shure, AKG. Speakers, Monitors, Mixers, Microphones. Professional Advice. Lamba 9758-8888

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.

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

ph 02 9654 8143, mob 0400 323 982,

A Edit Website Design Film or Make-up

***Every song Produced, Mixed & Mastered to Radio Release Quality***

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.

Complete Album & Demo Recording, Production, Instrumentation,CD Mastering. I’m committed to achieving for you the highest quality in a creative, friendly environment.

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.

You’ll never regret recording your songs... but we garuntee you’ll ALWAYS regret not doing it!

Music Entourage

Matts Vintage Guitars - Fender Gibson Martin Rickenbacker Guild Gretsch Vintage and USA Buy-Sell-Trade Ph.0413-139-108

Phone: 0421 302 045


Enquiries: (02) 9807-3137

0421987370 Rock crew internships offer. Full training provided by muso/prod w/ 30 yrs + ind exp in all facets of music prod. Must b keen, honest, reliable & have car. 0434 959 986.

iFlogID: 19670


SALES & MARKETING People needed to send eMails offering a new music Book for sale. Must have own computer payment by commission via Paypal. Contact Bill on (02) 9807-3137 or

iFlogID: 18062

Need a mixer? Hire desks up to 32 channels – Dynacord, Allen & Heath, Yamaha, Soundcraft, Presonus. PA, Foldback, Microphones, processors also available. Hire the best gear from Lamba 9758-8888

iFlogID: 18332

Twitter followers 1k - 100k

iFlogID: 13117

iFlogID: 19399

Youtube views 1k - 100k Prices start from $20

iFlogID: 19575

iFlogID: 18316

Seo Marketing ~ Facebook likes, YouTube, Twitter views

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: 19706

Free online and print classifieds Book now, visit

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:

iFlogID: 17160

PLAY JAZZ Jazz band has an opportunity for singers and wind players - intermediate level plus. For more information contact band leader on 9807 8866 (Dave) or email :

MUSICIANS WANTED & therollindice for song demos. Call or message

iFlogID: 19603

iFlogID: 19492

TOP INTERNATIONAL DRUMMER available. Great backing vocals, harmonica player and percussionist. Gigs, tours, recording. Private lessons/mentoring also available.

iFlogID: 14261

GUITARIST 19 year old guitar player looking to form Rock N’ Roll band. Influences: Guns N’ Roses, Aerosmith, The Sex Pistols. I live in Sydney-Cronulla. Call tom on 0401722767.

iFlogID: 13358

BLUES/ROCK GUITARIST looking to join or form a good rock band i have written a fair few riffs my favorite guitarists/ influences are Slash,Page,Hendrix,Angus Young, im 22 yo from dee why call or text Mitch if interested 0423478128

iFlogID: 19614 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

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!

iFlogID: 19240

SINGER Depressed female singer seeking purpose. Dark music preferred, eg. metal, rock, industrial. Can also play some electric violin. Contact

iFlogID: 18798


ROOTS BAND NEEDS MUSCIANS! Roots bands needs mainly melodic muscians to create a bigger sound. Looking for muscians who are fairly experienced, who are committed enough to practice once a week, who are good at composing and improvising and have an interest in a multi-genre approach to music. We will be preforming and composing mainly originals, genres will be persuing include not just roots but Latin, Jazz, Blues, Funk, Reggae, Folk and World music styles. I’m looking for mostly melodic musicians such as horn brass players, woodwind, strings (violins, cello’s) mandolin or a lead guitarist versed in these genres would be nice, also anyone who plays a cultural signifcant instrument (sitar, buzuki, Ude) would be cool, and a percussionist is also wanted. I already have a drummer and a bassit. We are based around the east, south and inner city. I want to create music, do gigs, record, as well as love and live the music. If your up to the task call Jackson on 0423649365 or email me on

iFlogID: 19626 Seeking experienced lead & backing singers, bass, keyboard, sax & trumpet players for REGGAE band in Northern Beaches. Call Michael 0402 549 423 or email

iFlogID: 18612

WANTED: FEMALE BASS PLAYER We are a well established all girl punk/rock/ pop outfit from the inner west. We 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!!! 0404977255

iFlogID: 19560

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

iFlogID: 19629


Drummer and Bass player wanted. Semi professional Bues Band 70s covers and originals. Hawkesbury or Sydney CBD. Phone Stuart 4572 1872 or Patty 0438 383 540

iFlogID: 19710

Sydney metal/rock band seek drummer with character urgently. This band is crazy and has flare. Please watch these youtube clips and interviews to find out more about AGEHA rr3f3sY&list=UUHATkUz3TO2LLNRfwufQ cSQ&index=1&feature=plcp

iFlogID: 19761

Experienced drummer with a commitment to practice and regular rehearsals required for Melbourne-based alternative rock band. Influences QOTSA, Foo Fighters, Nirvana… 469

0411 372

iFlogID: 16936 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!

NIGHT FLIGHT - LED ZEP TRIBUTE Drummer wanted. You must have great timing, feel, pro kit & own transport. We are not a looka-like band. Rehearsing weekly at Northshore Music Studios Hornsby. Gigs waiting. Age 30 50 m/f. Contact

iFlogID: 19612


We are an indie rock band that are based in the Sutherland Shire. We are looking for a devoted, motivated and talented drummer - preferably between the ages 18 and 25. For those who are keen and willing to make the commitment please contact us on 0403913488. Peace.

iFlogID: 19728

iFlogID: 19621

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: 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.

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 guitarist/singer needs a guitarist, bass player & drummer to start a piss poor sydney rock band. louddirtyrocknrollbased musak with a touch of twang. 0403508102

iFlogID: 19654


MUSICIANS WANTED & therollindice for song demos. Call or message 0410 296 627 or

iFlogID: 19494 Looking for an experienced reggae guitar player for a Northern Beaches based band. Call Michael on 0402 549 423 or email siczex@ swing/jazz guitarist to join working combo in Sydney playing same, also some blues and rockabilly. Tab charts & cd, some rehearsals required .95192440 m.0417089964 vlucantonio

19 year old guitar player looking to form Rock N’ Roll band. Influences: Guns N’ Roses, Aerosmith, The Sex Pistols. I live in Sydney-Cronulla Call tom on 0401722767.

100 A4 full colour on Gloss = $40 100 A3 full colour on Plain = $50

Experienced Progressive Heavy Groove Band seeks, Strong Heavy/Melodic Vocalist. READY TO PLAY!!! Call Sven - 0421540972

iFlogID: 19361


HORN Looking for an experienced sax & trumpet players for a horn section for a Northern Beaches based REGGAE band. Call Michael 0402 549 423 or email

iFlogID: 19401

KEYBOARD 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!


Email bio:

iFlogID: 19730 Looking for an experienced reggae keyboard player for a Northern Beaches based band. Call Michael 0402 549 423 or email siczex@yahoo.

iFlogID: 19197

The Neurotic Dentists, garage punk band (playing all original songs) are looking for a front man to lead Sydney and perhaps the world out of the musical wilderness and the pain of painsville, awaken minds and the neighbors with some down and dirty Rock ‘n’ Roll and on stage brou ha ha. Would like to start gigging ASAP. Aiming for November, December.


iFlogID: 13407

iFlogID: 19763

Contact or see www.

iFlogID: 15450

A dynamic vocal range and various singing styles. Can sing with feeling and breathe life into the lyrics. CONTACT, Phil or Allan. Phil: 0439 026 480 (Txt details during work hours and will call back later) Email: ( send a bio, a demo, whatever you’ve got really. Just drop us a line and let us know what you’re into and what styles you like etc etc)

Graphic designs, desktop publishing, logo, cd cover, business cards, flyers - very reasonable price. 7+ years experience. Contact: Nix 0401270304

iFlogID: 18514 Limited Edition mens tees and hoodies with a sense of humour. All hand-screened and numbered.

iFlogID: 13611

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

iFlogID: 19367


Contact or see www.

iFlogID: 15454 If you want to use DRUGS, that’s your business If you want to STOP, we can help. Narcotics Anonymous 9519 6200

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: 16217 Learn massage! Thai massage shop jobs available $40/hr no experience necessary Central location 0450 758 399

iFlogID: 18957 What happens when you start paying attention? When you become an active member and start participating in this elusive thing we call life.



iFlogID: 19109

ALLAN: 0407 924 841 ( after 4pm on weekdays)

iFlogID: 19678

iFlogID: 19523

iFlogID: 17980

iFlogID: 17016

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.

School of Rock teaches students from primary school to high school, from anywhere in Sydney with any level of musical talent. School of Rock helps students form a suitable band based on each of their musical likes and level of experience. Classes run every day of the week (Weekdays: 4.30pm – 6.00pm, Saturday/ Sunday: 8.30am – 10.00am) at $320/per term (including all teacher fees, room and instrument rental). Each term includes a free recording session @ Zen Studios and a live show at The Valve Hotel in Tempe. Contact Ash 0450-406-201.


Avaliable in Gladesville Teach all Levels, ages and experience.16 years experience. I studied at The Billy Hydes Drumcraft Academy and Obtained a Diploma in Drummig. $60/HR Mob: 0402663469



iFlogID: 18762

PIANO LESSONS 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

iFlogID: 19056

NIGHT FLIGHT - LED ZEP TRIBUTE Night Flight - Led Zeppelin Tribute band require a bass player. You must have excellent playing ability, feel, tone & timing. Rehearsals are weekly at Northshore Music Studios Hornsby. For more information & a set list please contact

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 or Ph: 9550 3977

iFlogID: 19181

iFlogID: 19601


DJ DJ Gear Hire – CDJs, Turntables, Mixers, Speakers, Lights, Lasers. Only the best equipment. Delivery available. Pioneer consoles $70, Full Systems with 2x 625W speakers $120. Call Lamba 9758-8888

WANTED OTHER Looking for music that is fresh and original??? Check out

iFlogID: 19736

iFlogID: 19674

Studio 1 (SSL Room): Was $1300 + GST Per Day



Indie rock duo from Campbelltown looking for a dedicated drummer. Between 18 - 25, own gear and transport is required. Contact Anton: 0426822750

iFlogID: 18719


iFlogID: 19548


Get your Band or Business Online Cost effectively from $299 including Hosting, Shopping Cart and 5 email addresses!

iFlogID: 19193

Drummer 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

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.



Looking for a reggae bass player for a Northern Beaches based band. Call Michael on 0402 549 423 or email

from $299 including Hosting and email addresses!

Has a flare for the dramatic and a penchant for the theatrical.

iFlogID: 19219 rr3f3sY&list=UUHATkUz3TO2LLNRfwufQ cSQ&index=1&feature=plcp


A dynamic performer who can engage and interact with the audience.

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

Sydney metal/rock band seek vocalist with character urgently. This band is crazy and has flare. Please watch these youtube clips and interviews to find out more about AGEHA



iFlogID: 19098

iFlogID: 16754 Get your Band or Business Online Cost effectively and PROFESSIONALLY -

iFlogID: 13864



musicians wanted for rocknroll call vee 93193513


iFlogID: 19221

iFlogID: 19246 Keyboard/Synth player wanted to complete 5 pc lineup for country rock band. Mix of covers and originals. Rehearsals/audition at Botany. Harmony vocals an advantage. Paid gigs waiting.

100 SRA3(32 x 45cm) full colour on Gloss = $80

Logos, Hosting and 5xemail addresses and much more! Contact or see

iFlogID: 19556

iFlogID: 19750


100 A3 full colour on Gloss = $80

Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $299 including UNLIMITED pages,

Looking for female backing singers for a Northern Beaches based REGGAE band. Call Michael on 0402 549 423 or email siczex@

iFlogID: 19528


iFlogID: 19369

iFlogID: 19326

Looking for other original acoustic duo’s/bands with a following to share the bill and do live gigs together. Contact

iFlogID: 17428

Seeking an experienced lead & backing reggae singers for Northern Beaches based band. Call Michael 0402 549 423 or email siczex@yahoo.

SINGER NEEDED 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

Fully Qualified & 8yrs Experience, Thai Massage $49/hr or Sensual Balinese Aroma $69/hr. In/Out calls, Male/Female Welcome. - By Anson 0433646338

iFlogID: 19451

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: 19195

iFlogID: 19722 The SideTracked Fiasco seeks guitarist.. Influences RHCP, RATM, Primus, Sublime. Pro gear/ attitude. You can listen to songs @ Rehearsals Petersham. Contact Johnny 0434-970-561.


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 Contact Ph: 0415409715

iFlogID: 19558

iFlogID: 19242 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 for song demos. Call or message 0410296627 or


iFlogID: 19746

0410 296 627 or




Rock band Release the Hounds needs a drummer. Gigs and tour booked. Ep just released. Band has management. Influences ACDC GNR etc Please contact



HARD ROCK band needs Rhythm Guitarist with songwriting skills that can also play some lead and sing. Good gear and own transport essential, but more importantly a willingness to succeed and work your ar$e off to get where you want!! We have a deal pending and very big things on the horizon, so get in NOW!!! No time wasters!!!

Email 0403898378


iFlogID: 19490


Think, Falling in reverse meets Avenged Sevenfold and Alexisonfire meets Taking Back Sunday.

iFlogID: 19702

age 25-45, good gear and transport, avail Fri/ Sat nights.

Dead In Motion is looking for band members. Metal, with influences such as Disturbed, Evanescence, In This Moment, etc, and Japanese visual kei. Contact Dead_In_Motion@hotmail. com for more details.


iFlogID: 19550

MUSICIANS WANTED & therollindice for song demos. Call or message

iFlogID: 19592

0410 296 627 or

iFlogID: 19244


BASS PLAYER wanted for AGENCY backed, WORKING, Sydney Cover band - PARTY CENTRAL and ABSOLUTE DIVAS.

Contact Troy: 0400 27 5154


Call now to secure your booking! Dates are filling fast! 02 4362 3299

Studio 2 (Harrison Room): Was $550 + GST Per Day NOW $250 + GST PER DAY Studio 3 (Hybrid Mix Room): Was $400 + GST Per Song


Free online and print classifieds Book now, visit





Nevermore guitarist Jeff Loomis took the classic techniques he learned from listening to the likes of Jason Becker and Yngwie Malmsteen and recast them into a playing technique all his own. Wednesday 26 September, Allans Billy Hyde and Schecter Guitar Research proudly present Loomis in a performance/clinic from 7pm at Allans Billy Hyde Camperdown, tickets just $15 online or instore.


With a backline installed, Sydney Livehouse (the Lewisham Hotel’s auditorium) is now offering independent artists and bands the option of a recorded rehearsal for just $220 including GST for a three-hour session. You have to bring along a USB hard drive to take away WAV files, with a minimum of 20 gig free space, the perfect way to get a demo or even just drum files to take elsewhere for that live feel. For more information or to book a session, call aJay on 0414 590 070.

NEW NEIL YOUNG & CRAZY HORSE Going completely against industry wisdom, Neil Young & Crazy Horse are releasing a second new album, Psychedelic Pill, barely three months after releasing their Americana set, recorded again at Audio Casablanca with Young producing with John Hanlon, whose engineering and mixing credits include records for Stephen Still, Robyn Hitchcock and Cat Stevens, and Mark Humphreys. And, despite being just eight songs, it’s a double-album with an additional alternative mix of the title track – that’s how long the tracks are, truly old school. Knowing Young’s thoughts on the whole CD/MP3 thing, he’s ensured that there’s a vinyl release – a three-LP set in fact. It’s all released through Warner Music Friday 26 October.


The Who’s Pete Townshend will be picking up the Les Paul Award at the 28th annual Technical Excellence & Creativity (TEC) Awards in Anaheim, California at the end of January next year. The TEC Awards honour “outstanding achievement in audio technology and production.” The third album, unimaginatively titled #3, by Dublin’s The Script, was recorded at Sphere Studios in London and produced by band members Danny O’Donoghue and Mark Sheehan with fellow Irish producer Jimbo Barry and mixed by Mark Stent (Coldplay, Muse, Oasis, No Doubt). Old Crow Medicine Show headed into Sound Emporium in Nashville with Englishman-in-California and founding member of Flogging Molly, producer Ted Hutt (The Gaslight Anthem, The Bouncing Souls, Dropkick Murphys) to record their latest album, Carry Me Back. Hutt also mixed the album with Ryan Mall at King Size Sound Labs at Eagle Rock, California, Tom Baker then mastering it at Precision Mastering in Hollywood. Glasgow’s Frightened Rabbit recorded their forthcoming fourth album at the famed Monnow Valley Studio in Rockfield, South Wales, with producer Leo Abrahams (Brian Eno, David Byrne, Grace Jones). Scottish singer/songwriter and multi-instrumentalist, Sandi Thom recorded her fourth studio album, Flesh & Blood, at 16 Tons studio in Nashville, Tennessee with producer Rich Robinson of The Black Crowes. Canadian singer/songwriter Tim Chaisson recorded his new album, The Other Side, at Woodshed Studio with producer Colin Linden (Bruce Cockburn, Lucinda Williams). Vancouver, Canada metal band Bison B.C. recorded their third album, Lovelessness, due in October on Metal Blade, at Soma and Electrical Audio Studios in Chicago with producer Sanford Parker (Pelican, Yakuza, Zoroaster). Irish singer/songwriter Damien Dempsey, who has just signed with ABC Music’s alternative imprint FOUR|FOUR, recorded his latest album, Almighty Love, in Kilburn, London, with producer John Reynolds (U2, Bjork, Seun Kuti). The eighth album, Away From The World, from the Dave Matthews Band, was recorded in Seattle earlier this year with UK producer Steve Lillywhite (U2, The Killers, The Rolling Stones, Peter Gabriel). Tim Whitten (Augie March, The Go-Betweens) recorded the debut album, A Year At Sea, from The Winter People, with Brooklyn NYC’s Peter Katis (Interpol, The National) producing and Rich Costey (The Shins, Bloc Party) mixing. The forthcoming fourth album, Atlas, from Parkway Drive, was recorded in Los Angeles with producer Matt Hyde (Slayer, Hatebreed). 58 • THE DRUM MEDIA

For album number 26, 3 Pears, Dwight Yoakam kept things real, though he’s not looking to be retro, as he tells Michael Smith.


orn in Kentucky, it was in Los Angeles rather than Nashville that singer/songwriter Dwight Yoakam’s mix of traditional country, rock, Americana, pop and soul found its first real audience, in the early ‘80s. It’s where he recorded his major label debut LP, 1986’s Guitars, Cadillacs, Etc., Etc., and it’s where, 25 albums later, he recorded his latest, 3 Pears, surprisingly perhaps only the second he’s produced himself. He utilised four different studios around LA – Sunset Sound, Capitol Studio B, EastWest and Henson Studios – to record the album. “All four are pretty historic rooms,” Yoakam explains from a chair in the Warner lot where he’s being prepared for a film shoot in the Warner Sound Live Room. “Three of the four are Neve boards; at Henson, we were using an SSL, but that’s still the old school of Class A/D [analogue desk], and we were using the same amps, moving from room to room. It was interesting – I enjoyed the experience.

Yoakam’s vocal on A Heart Like Mine is drenched in reverb; very Sun Studio meets mid-‘50s rockabilly. “Beck ran that through an Atari eight-track one-inch tape machine from the ‘70s, and he actually put the tape slap onto that, so it’s real tape slap that he’s got running. We were just exploring what was here in the moment. We weren’t trying to do anything that was retro but unlike on contemporary records where it’s all cut into hard drive, Pro Tools, it’s done through real tube amplifiers, tube mics and through Telefunken mic pre’s – some of the best music recording was done that way. “The thing he and I kind of established on [those two tracks] was my approach. I just went in by myself with my electric guitar and his assistant engineer played drums and synth engineer played the bass, and I overdubbed a little electric and acoustic, and I found that to be a good template for the rest of the record.” Gibson recently released a limited edition of one of Yoakam’s trademark guitars, the Elitist Dwight Yoakam “Dwight Trash” Casino Epiphone, and has also released a Dwight Yoakam Honky Tonk Deuce Acoustic-Electric guitar.

“EastWest Studios was originally United Western Recorders, where I did some of my original demos back in 1981, that were on the Best Of that Warner’s and Rhino put out in 2004, and it was really interesting to go back, and we worked in there a lot. Capitol Studio B, we cut Long Way To Go there, blocked out the time there for the one track, but we worked a lot in the old A&M Studios, which are now called Henson. Those are great rooms – the molecules in those rooms are simply magical.”

While it’s been seven years between 3 Pears and his last album, 2005’s Blame The Vain, his first not to be produced by guitarist producer Pete Anderson, Yoakam was writing new material throughout. The gap was essentially down to his decision to leave the independent label he’d signed with – New West – and seek another major label, ultimately signing once more with his original label, Warner Music. As for the songs themselves, though undeniably country, they’re shot through with Yoakam’s other, sometimes unlikely, musical passions. For a start, the album opens with the track, Take Hold Of My Hand, written by Kid Rock.

As it happens, United Western Recorders’ Studio 3 is the room Brian Wilson used for much of the recording of The Beach Boys’ Pet Sounds. While Yoakam produced the bulk of 3 Pears, he did hook up with Beck to co-write, record and produce two songs – A Heart Like Mine and Missing Heart. “I just wanted to be in real rooms with real sonics. Beck and I went to Sunset Sound where we cut Missing Heart. The first track I recorded with Beck, A Heart Like Mine, was actually at his home studio, which is dubbed The Library, in one section of his house.”

“There are a variety of melodic influences throughout,” he explains. “I mean there’s a bit of The Monkees’ lick from I’m A Believer, Neil Diamond’s song, at the beginning [of A Heart Like Mine], but it turns into a bit of an homage, unintentionally, to the Stones’ The Last Time kind of meets Johnny Cash. I grew up listening to Top 40 radio when it was truly an eclectic mix of all kinds of music, and that’s had a major impact on me that remains. So with Trying, I’m sure the influence of having heard Sam Cooke’s work is there.”

There are two versions, too, of Long Way To Go – a full band version and a haunting solo voice and piano one that closes the album. “Yeah, it just seemed that night, in the studio, Joe Chiccarelli was actually engineering, and I walked by the mic and I said to my extremely talented multi-instrumentalist sideman Brian Wheelan, ‘Hey, would you just play the chord changes on Long Way To Go?’ ‘cause we’d just recorded it – he played bass on the track, on the electric version – so he started playing it through and I said, ‘Just play the changes. I’m gonna sing it stripped down like that.’ And we did a version of it that way, and there’s an additional verse on that version.” Monday 24 September Yoakam will be presented the Cliffie Stone Pioneer Award at the sixth annual Academy of Country Music Honors Awards in Nashville. Then in November, Yoakam brings the guys he made the album with to Australia for a tour. “Hopefully people will see what the new album has in it for me, the message of joy and happiness.” 3 Pears is out Friday through Warner Music. Dwight Yoakam plays the AIS Arena, Canberra, Thursday 15 November; the Hordern Pavilion, Sydney, Friday 16; the WIN Wollongong Entertainment Centre Monday 19



Tech 21 are one of the the effects heavyweights, based in NYC, USA on Andrew Barta’s vision of the Sansamp. His legacy lives on through other killer pedals like the new ‘Boost’ series featuring a form of drive coupled with up to 21dB of clean, switchable boost. The Tech 21 Boost Overdrive was first under the microscope. I used this pedal with my Les Paul and Marshall Plexi to get a beefier tone out of my amp. The overdrive consists of controls for ‘Level’, ‘Tone’, ‘Drive’ and ‘Sparkle’. All the usual suspects are here except for the addition of the ‘Sparkle’, which “adds upper harmonics for an open, snappy sound.” The overdrive did a very convincing ‘TS808’ emulation, a great ‘Top Booster’ for ‘70s drive, and good blues overdrive when dialed in with cleaner tone. Overall I thought this pedal sounded great for older ‘70s and ‘80s hard rock/metal tones, and using the boost on its own sounded the best with my Marshall for getting the tone I was after. I took the same approach with the Boost Fuzz pedal and plugged into a driven amp, and what could be better than a Strat into a vintage Marshall for that Hendrix sound. The combination of a driven amp plus fuzz results in magic. Again, this pedal sees the same format of ‘Level’, ‘Tone’ and ‘Drive’, but the inclusion of ‘Sag’ adds an extra dimension, “allowing notes to bloom and sing at your command, for a dynamic, organic performance.” A wide array of tones was available, from Hendrix to Weezer to The Smashing Pumpkins. This pedal did a killer job of emulating those vintage Germanium fuzz pedals guitarists drool over. The Boost Distortion has hints of that iconic modern Tech 21 distortion heard all over the world on some great albums (nevermind…). It was easy to a get a thick clear distortion that emulated a modern high-gain amp, and is perfect for turning a good clean amp into a monster. This time the ‘Sag’ effect “adds an expressive tube-like response to every pick stroke,” and did a good job of sounding like a worn-in tube amp when digging into the strings, adding that tube feel even with solid-state amps. Finally, a pedal for bass; the Boost Fuzz Bass was my favourite of the bunch, as it did a number of

different things really well. I plugged this pedal direct into my mixing desk as I was after that insane fuzz bass you hear on Nine Inch Nails recordings and on some electronic recordings and it delivered with unexpectedly good results. This time the secret ingredient was the ‘+ Clean’ knob, which dialed back in a clean signal making it possible to blend fuzz and clean together generating a massive doubled sound when distorted guitars are in the mix. There is so much drive on tap that it is possible to go from warm, spongy drive to insane globs of mush that would be perfect for heavier styles such as stoner rock, death metal and industrial music. Dialing back the ‘Level’,

‘Tone’ and ‘Drive’, and boosting the ‘+ Clean’ adds a bass boost to your overall tone, while turning the ‘Tone’ up keeping the ‘Drive’ midway was cool for ‘Sabbath-like’ rumble. This new line of Tech 21 pedals is great and will appeal to musicians searching for a certain sound, whilst still having the flexibility to produce a variety of different tones. Each pedal has a certain vibe to it and the inclusion of a switchable clean boost means you won’t have to rely on your sound tech to turn you up for lead passages. Reza Nasseri For more info head to


Applications for October closing soon


CHOOSE FROM: Audio Production | Film Production Live Sound Production | Electronic Music Production

For more information visit: or call 1800 SAE EDU Byron Bay | Brisbane | Sydney | Melbourne | Adelaide | Perth

Australia’s best stand up comedians are heading to the Comedy Store with full length shows this Spring...






Drum Media Sydney Issue 1128  

Drum Media is a Sydney icon. The people behind Drum virtually invented what has come to be known as street press. For over 15 years, Drum ha...

Read more
Read more
Similar to
Popular now
Just for you